Art Events Data Table

ISEA_bot_2017 is a bot that will live indefinitely on Twitter, a pseudo-life-form that subsists and consists of the work presented at ISEA2017. The bot bases its tweets on the papers from the proceedings of ISEA2017, and re-generates the texts using a Markov chain algorithm.

gridCycles is a series of 8 webpages. Each page is made up of the same set of HTML, CSS, and Javascript, with changes to specific characteristics and variables in each one. The works form a free-floating environment that creates a multiplicity of image and language, intended as a speculative visual text system. Because the animations are entirely code-based, each one is a unique iteration from within the gridCycles cosmology.

Image Atlas is a minimalist work that raises complex questions about language and translation, socio-cultural differences and communication and information technologies. The internet user accesses a sparse black page with a search bar and two options for sorting the results, either alphabetical order or Gross Domestic Product (GDP). The results of his or her search are lists of the most popular images according to local search engines. These images are associated with 20 countries, from Afghanistan to the United States.

As a remediation of the traditional atlas, the work encourages a reflection on the organization of knowledge and its accessibility. It reveals the claim to objectivity and the Eurocentric bias of the traditional atlas while unveiling the ideological filters of search engines. Image Atlas decompartmentalizes the web by bringing these images together on the same page and encourages a comparative look that is both political and playful. The simplicity of the interface appeals to internet users who can enjoy the differences in the meaning of a word or its differing interpretation.

Imagine that sound never fully disappears and is present in our universe forever. What would it sound like to hear all the sounds of the past and present? RL2000 presents an immersive idea inspired by the recent announcement by researchers at the Harvard-Smithsonian Centre that they have documented sound waves produced by the Big Bang soon after the birth of the universe. The audience is invited to imagine the implications of hearing sound from the deep past, and to place themselves in a situation where perceptions of time, space and place might be disrupted.

Collocations is an interactive work of experimental writing designed for tablet computers. It appropriates two key texts from Niels Bohr and Albert Einstein’s historic debates about the complementary relationship between position and momentum on the one hand, and determinacy and indeterminacy on the other. In quantum mechanics that relationship is mediated by an experimental apparatus through which the experimenter observes the phenomenon in question. In Collocations, the tablet computer is that experimental apparatus, and the user’s manipulation of its position in space allows certain poetic texts to emerge at the expense of others. As the user moves the device, certain words from within Bohr and Einstein’s original texts begin to vibrate, becoming highlighted and forming poetic subtexts. Striking a delicate balance between completely predetermined and randomly generated texts, these poems embody the fundamental indeterminacy of matter. At the intersection of science, art, language and code, Collocations posits a new quantum poetics that disrupts classical notions of textuality and offers new possibilities for reading.

In this work the artist explores a bodily relationship to digital imagery in the internet age. The video focuses on the absurdity of being able to order a towel printed with a .jpg. A floating landscape of digital debris contains verbatim recitals of chatroom conversations about towel printing, videos painted onto fingernails using iCloud nail polish, spinning 3D CAD scans of towels, and YouTube tutorials about how to make CGI towels. Through this work, the artist examines what it means to bring the digital image into the physical world, and creates a vision for how to feed these objects back into the realm of the digital.

Build Your Own Cities is a stationary interactive work intended to open a dialogue about land use, development and place through playful involvement. Visitors create their own vision of domestic development atop the sawhorse reconstruction of a pool-speckled neighborhood: each person reimagining their own occupation of place.

Adam & Atau exploit a commonly available consumer electronics device, the Apple iPhone, as an expressive, gestural musical instrument. A live duo, gestural music performance, running Pure Data on iPhones, transforming this object of music consumption into an expressive visceral musical instrument that captures performer gesture. One device in each hand, in 4 hands duo, a chamber music for live sampling, time stretching, and granular synthesis. With sensors, signal processing, synthesis and sound output embodied on one device, it is a self contained digital musical instrument for the performance of post-laptop music.

In this video Adrian Pijoan creates a synthetic ocean by feeding the white noise from a CONAIR Soothing Sounds Machine into a Max patch. The generative audio and video field becomes part of the landscape within a museum diorama of an alien planet.

Hakanaï is an interactive solo choreographic performance that unfolds through a series of images in motion in which a dancer gives life to a space somewhere between the borders of imagination and reality. The interactive space is composed of on-stage animations that move in physical patterns according to the movement of the dancer and the rhythm of the live sound. Hakanaï takes the audience on an immersive experience exploring the imaginary and the spatial, the liminal and the ephemeral. Curated by Philippe Pasquier and Sarah Fdili Alaoui. Hakanaï is a Japanese word defining the ephemeral and the fragile. It is the union of two characters, one meaning “man” and the other “dream”. Starting from these premises, the French company AM/CB created a unique interactive choreographic solo performance that offers a dreamlike environment where a single dancer moves within a cube, interacting with the images projected on its walls, tracing arcing parabolas and sine waves with hands, arms, and feet. Among the artistic and technological stakes, the attention is focused on the human being and their body through the use of interactive technology. Hakanaï is a 45-minute interactive solo that becomes an installation and allows the audience to experience the interactive visuals for 80 minutes. Hakanaï has been performed all around the world and has gained worldwide recognition since its debut in 2013.                                                                                                     Soundscape: Christophe Sartori & Loïs Drouglazet. Dancer: Akiko Kajihara

The proposal for this artist residency is to explore local craft and vernacular design cultures in Gwangju, along with the street-level electronics scene, and subcultural activities such as sound-system scenes, hacking and toy culture, combining these elements to create locally-relevant automatons. The artist will bring his design, interactivity, sculpting and fabrication skills to the project. The resulting work will reflect a combination of influences, those brought by the artist, combined with those of the locale, in the creation of hybrid, affective objects made from local material, which bridge cultures, ‘high’ and ‘low’ art and technology.

(x)trees is a socially interactive, virtual forest generated from search words found in tweets and text messages. It is a collaborative experiment in data visualization, video mapping, and participatory art. The artists have collaborated to create an indoor installation of the (x)trees with multilayered elements such as interactive branches, leaves, flowers, and sounds collected from nature.

This piece is an audio/visual exploration of the contestation of space in the Basque Country focusing on occupied zones, street festivals and the struggle over what is seen and heard.

My Google Search History raises several questions about our use of search engines: what traces and what archives are we producing without even noticing? Incidentally, how do we reintegrate these automatically generated archives into our own experience and make these recordings, that were designed by and for machines, intelligible to human users?

Google systematically records its users’ queries, and in this sense, the ‘history’ it offers is already an archive of this monitoring: Albertine Meunier’s self-reflexive remediation acts as a reminder. This gesture of repetition allows the deployment of a critical (but also playful) thought on the collection of our data.

My Google Search History comes in two volumes, published five years apart, one in 2011 and the other in 2016. Albertine Meunier presents, in book form, her browsing history on the Google search engine, like an extimate, rather than intimate, diary of her successive queries. The data is subject to minimal editing work, punctuated only with eccentric titles and extraction dates. In addition to the books, the project has also given rise to filmed performances in which the data is recited like a long glossolalic poem.

Leviathan is an interactive musical system still under development and experimentation that links musical and visual creation resulting in a live electronics piece for Paetzold recorder with live visuals.

Leviathan attends performance interactivity but also the historically shaped relationships between the agents involved: composers, performers and computer. The specific indications for Leviathan are a series of indications directly related to the supercollider code control routines. The indications suggest to the performer many actions to change between fixed and variable states interacting with the live electronics.

This project works with two elements: real time and fixed time, exploring de differences and similarities between them through three dimensions: technical, musical and conceptual. From a technical point of view, this project is working with a system called “Machine listening”, so the piece can generate itself taking as inputs the sound events from the Paetzold recorder. The same happens with the visuals, there is a video generated in real time, which is mixed and processed with many different effects constructing a very special audiovisual context.

The central role of the library as a central cultural system is transforming into a still undefined new type of cultural body influenced by the spontaneous creation of different types of DIY libraries interconnecting at some point (or not) to the centralised library system. Libraries should evolve from their historical and “monumental” role, which delivers socially relevant services, into an extended, networked and shared infrastructure of knowledge, rivalling the online type of “instant” knowledge in facilitating social and cultural exchange. Two of the possible approaches to start this kind of process, which would be meant to open and socialise even more the library system, is to create “temporary libraries”, in order to fill specific knowledge needs during cultural events becoming then permanent, and “distributed libraries”, in order to integrate relevant collections of specialised knowledge accumulated elsewhere in the traditional library system without structurally intervene in it.

This work is a from-scratch “blank slate” live coding performance, improvising percussive techno, and occasionally bringing in and remixing elements from Peak Cut EP.

The work is a war film and a visual exploration of hermeneutics. The artist appropriates footage from World War II and reconfigures it in order to manipulate the expectations of the viewer.

Stalking Self is part of an ongoing series of animated narratives using image and sound sourced from popular media. This work explores ideas such as individuation, the relationship between predator and prey, and the erasure of personal history.

Interference (String Network) is an audiovisual performance that explores the possibilities of embodiment of an electroacoustic work in real time through gestural interaction with a unique audiovisual device. On stage, an audioreactive play of light unfolds gradually: Alexis Langevin-Tétrault (CA) builds a network of strings with which he interacts to create a sound universe between the industrial noise, electronica and acousmatic music. Through the staging of corporality and the dialectical relationship between the human and the machine, Interférences (String Network) presents an allegory of the globalized and interconnected modern world in which the individual seeks to derive meaning from his experience and attempts to preserve its freedom of action. Composer and musician from the post-rock, acousmatic and electronic scenes, Alexis Langevin-Tétrault proposes a singular brutalist universe and infuses a dynamic of live music to a musical genre rarely incarnated by the performance.

Credits:
Alexis Langevin-Tétrault: Concept, device manufacturing, programming, composition and performance
Lucas Paris : Design and manufacture of lights
Nicolas Bernier : Advice on the artistic direction
Anne Thériault : Advice on dramaturgy

This project was created thanks to the support of the Conseil des Arts et Lettres du Québec, the Château Éphémère – Fabrique sonore et numérique (Fr), the Université de Montréal and the Social Sciences and Humanities Research Council of Canada.

In a world plagued by a deadly new disease composed of viral shadows, young, healthy volunteers across the globe step forward to test a breakthrough vaccine. Using motion-tracked generative effects projection-mapped on the body, the Shadowpox storyworld re-imagines immunity as an acquired superpower, but one whose bearers are framed as villains as often as they’re hailed as heroes. This research-creation doctoral project explores how a participatory science fiction storyworld can help young people build scientific, civic and media literacy by exploring immunization and vaccine hesitancy through a networked superhero narrative.

The project’s first phase, a full-body videogame for gallery installation titled Shadowpox: The Antibody Politic, debuted during the 2017 World Health Assembly in Geneva, where The Lancet called it “one of the most powerful and playful ways to illustrate both the individual and population-level implications of community immunity.” With the advent of COVID-19, the team created a new, online version of the game, Shadowpox: #StayHome Edition, shifting the focal decision from vaccination to physical distancing.

This work is the second I have constructed to deal with this (light-based) theme.lt is a digital construction. “Die verbleibende Stunden im Leben des Allan Giddy” is a backwards counting machine. I calculated how many hours I would have left to live based on the average for a New Zealand male born in the 1960’s, this I then programmed into my small machine and set it running. I took care, allowing the machine to retain memory (using capacitance) during “night-sleep” periods when the display disappears while the “machine” counts more slowly. Somewhat more theoretical than “CLOCK”, this piece, while counting the hours remaining until my presumed demise, is in fact an autonomous agent, freed from its maker while contracting its rhythms and pace towards demise from its independent reaction to the light around it.

Both pieces (Clock and Hours Remaining in the Life of Allan Giddy) are provoked by Rudolph Steiner’s questionable statement,”everything in the universe is made from light”. I hypothesised that if everything was indeed made of light it would therefore be deconstructed by light’s incessive bombardment, and that the time that this deconstruction would take, for any given mass and light intensity, could be calculated. With this in mind I constructed a device capable of ‘evaporating’ a round of wood. After consulting physics Professor, John Smith of the University of New South Wales, Sydney, Australia, I came to realize that this deconstruction did in fact take place with many materials.

Using high-tech, hand-held recording devices, students from Amy Biehl High School (Albuquerque) take sonic samples from their environment, and analyze and manipulate them to create intricate collages of sound. Teacher Alyce Santoro is an interdisciplinary artist and inventor of Sonic Fabric, a textile woven from 50% polyester thread and 50% audiocassette tape recorded with intricate collages of sound. The students’ sound projects are featured during Intel Education Day, along with a talk and demo by Santoro. Produced in partnership with OFFCenter Community Arts Project.

Cave Plexum is a wall-mounted black rotary telephone from the 1950’s posited as a recruitment tool for a group of dissidents who are infiltrating a government entity with the intent to blow the whistle on corruption. The phone is part of a larger project and acts as a rabbit hole which allows further interactions with the dissident group, and will ultimately let members participate and collaborate with the artists (a.k.a. the Operator) over time.

The Visibility of Blackness(2018) is a performance of the remembering of BE- ing by Amala Groom; of the past, present and future. In iterating and existing single channel work, The Invisibility of Blackness(2014) the artist moving from the present into the past, now in unison incanting on the left; the future moves into the present moving into the past and on the right; the past moves into the present moving into the future.
The contrast between the two works is in the nature of what the artist accounts as both the invisibility and now inhering, the visibility of the Aboriginal experience as what is visible to some is not always visible to others as we tend to only ‘see’ out of the lensd of our own ‘experience’.
The progression across the iteration not only manifests in uniting the western linear notions of time with the Aboriginal aspect of its indivisibility for the artist his is personal; a reflection upon ‘growing up’, of maturing into her cultural remembering, moving from the desire to have her externa sovereignty recognized by Colonial Project to embodying the knowingness that her self- sovereignty matters most.

In a domed whispering gallery, even the quietest sounds are carried from one end of the room to another: communication across great distance. Whispering Galleries delivers messages across time — helping a voice lost to history reach a contemporary audience. Visitors to Whispering Galleries see their own image reflected and distorted on a screen, and on its surface, a glowing text appears to float: an entry from an anonymous 1858 diary. The author worked with his hands in many roles: as a woodworker making handles, a dry goods clerk sweeping up and making trade, and a violinist making music at home and church. In daily entries, his week is measured by handwork. Visitors to Whispering Galleries use their own hands to sweep the dust from his diary: gesturing over a Leap Motion controller, they scatter pixels from the text, leaving behind a web of whispers: erasure poems that tell a hidden narrative of 19th-century life, labor, and art.

Mycelium Mock-up is an architectural installation composed of a wall built of mushrooms with embedded screens that play looped videos and image sequences pertaining to urban aspirations and failures of the last two decades in Vancouver. The walls are constructed of environmentally sustainable blocks of agricultural waste and mycelium. Mycelium is the root structure of mushrooms, a thread-like fungus that plays an essential role in natural world, aiding in the decomposition of materials and converting them to biologically available elements. Vancouver utilizes global capital in an effort to reinvent itself as the world’s greenest city. This ambition, when combined with the mechanism of global speculative development, produces a paradox. Despite the presence of some of the most progressive and experimental urban planning policies in North America, how can global capital, with its attendant pressures to produce short term gains, construct a sustainable city? When space is a commodity exchanged on speculation, why not build as cheaply as possible? The installation engages with the cycles of demolition and speculative construction that embody these tensions through the use of video and next-generation sustainable construction materials.

Imagine a future where the American dollar is worthless. To re-build the economy, citizens must use the only resource available: decades of post-consumer waste. With no way to afford expensive international electronics, but with a deep human desire to connect, they sift through obsolete products searching for working parts. The goal is to build a new communications infrastructure that is community-controlled and far from the prying eyes of any government. Amelia Marzec’s New American Sweatshop manifests itself as an installation that models a functioning manufacturing plant. It relies on volunteer labor to hand-build semi-functioning prototypes of what our technology could look like in the future. All supplies, furniture and uniforms are created from local salvaged goods.

We are fragmented invites us to consider our methods for arranging and organizing information, and the differences and similarities between a sociological and an aesthetic approach. The work consists of a modeling of data previously obtained through research at the crossroads of the humanities and legal sciences. This survey by the Centre for Applied Human Rights aimed to collect, in the form of interviews, the testimonies of several human rights activists in different at-risk countries (Colombia, Kenya, Mexico, Indonesia, Egypt). Hanafi reuses this material for artistic purposes, who created a data bank allowing us to read the testimonies and navigate between them according to different classification criteria: geographic or affective.

The archiving is carried out while refraining from reducing personal experiences to an informational heap that is only meaningful in terms of accumulation. This characteristic of the work—maintaining the irreducible complexity of the experiences while granting a broad overview—places us, as spectators, in the active posture of a “researcher” as we navigate through the scattered excerpts according to an arbitrary and non-linear path.

Landscape is what can be seen, and not in physical terms but as an outward expression of human perception: “a landscape is a cultural image, a pictorial way of representing, structuring
or symbolising surroundings”, so it will always be a personal take over an area of land, of human elements buildings or structures with a cultural and aesthetic dimension.

Anatomía para el movimiento: línea 3 is a project where you can see wire that has the characteristic of being composed of two materials (Niquel and Titanium) that react differently when they are exposed to a certain temperature. This makes that this object, called generically Muscle Wire, appears to be an object gifted with life that twists itself when stimulated with electricity as if it was a little Frankenstein. The act of observation has become scarce in this fast-paced world. In Anatomía para el movimiento, the author turns this wire in an observation subject, in the same way that the scientists comtemplate a flower, an animal, a part of the body or any natural phenomena; to then translate these observations to a medium that can make that act (the observation) to last through illustrations. What builds the installation of Anatomía para el movimiento: línea 3, are then modules that refer to the representation (illustrations / drawings) and to what is represented (Muscle Wire), where the drawing translates time into space (sequence).

Following the formal rules of dodecaphony, for “Zwölftonform” twelve consecutive titles are composed exclusively with twelve consecutive frequencies. The basic structure for each title is made by up to twelve different sound samples from a generated sine waveform. Built on this basis, these arrangements reference and illustrate especially over time the complexity and increasing compression of the original shape. Following the serial character of the composition concept, the titles were published consecutively as EPs. For the visual translation and presentation as a live performance and audio-visual installation, the sinusoidal waveform is abstracted along the album convention. Following parameterized principles, twelve visual embodiments of this basic shape arise. The increasing complexity is now visible and the prevailing simplicity at the beginning inverted by the end. This evolving aesthetic is punctuated with a grid, that divides the base with the value of the sample number.

Andreas Maria Jacobs of the Netherlands, recipient of this e-poetry residency, is the editor of the online Nictoglobe Magazine: A Journal of Transmedial Arts & Acts. He is creating an e-poetry project on ISEA2012 themes during a stay at a rural New Mexico retreat.

“Nalareksa 0.3: Acidic-tive” installation was part of M.A.R.I.N. Ecolocated: Littoral Lives exhibition for ISEA2009. The instruments for the first time was used to analyze salt water sample taken from Belfast harbor where M.A.R.I.N catamaran was docked during its’ participation in ISEA2009. For the installation several sensors were developed on the instruments to create sounds effects from the main sound generator which is the physical impact of air and water.

RE/F/r.ACE is a participatory video performance. Images uploaded by the audience  are processed to create unique animations representing the diversity of human life in the city. An intensive and psychedelic sound environment adds to the visual mix creating a dynamic composition reflecting the rythm and flow of the urban experience.

Saturated Highway Forest Death Psych Synth Panic (2015) is a three second pulse of collective musical intelligence composed by metadata. It proposes itself as a new genre, approaching – but never touching – a collective generic distillation of TOTAL DARKNESS. The ongoing composition is tagged as Saturated Highway Forest Death Psych Synth Panic and plugged back into the generic metadata system so that the flashed image becomes a label for the new genre. For ISEA2015 the work is presented as a loop that infects the space: three seconds of sound/image, then three minutes of silence. Each day the file will be updated so that it grows and develops over the event.

Three Hollywood Grammars is a computational video made by deconstructing three classic scenes from Hollywood cinema: the A/B walk-and-talk conversation essential to police procedurals, the “mano à mano” shootout of neo-noir thrillers, and the gritty urban chase scene of 70s Hollywood realism. Each of these iconic cinematic patterns was deconstructed, edited, color graded, and exported as single frames. For exhibition, these frames are then reconfigured through the use of sequencing grammars and computer algorithms to generate a disrupted video montage that emphasizes pattern over story. Sound is distorted through the use of granular synthesis. The result is a portrait of the structures and routines that form the basis of American movie montage. Viewers engage the deep structure of Hollywood cinema rather than any forward progression of story. The results feel both familiar and startling, informative of the visual patterns residing as archetypes in popular cinema. Beyond this, the repetitions and pattern making revealed by algorithmic recombination make these experiments arresting visual statements in their own right.

General Event statement

Book Launch

Part I – Guillermo Rendón G.
Etnohistoria and Orígenes
Territorialidad: The Virrey – A reliable document.
Linguística: General principles – Phonetics – Lexical – Grammatical Functions.
Los Números: Cardinal – ordinal – operational structure – archaeological and archaeolinguistic
supports.
Dioses de la Antigüedad y del Presente: From totem to the only God – Tinarkama, practice of collective introspection.
Organización del Cabildo: dignitaries – councils, meetings –
Reafirmación: Quimbaya, an active society, a living culture and its current strengthening.

Part II – Anielka Ma. Gelemur
Culto Matriarcal: Sinifaná, the moon goddess – lunar calendar – Symbols of the periods that form the lunar cycle – the four sacred nights.
The Taixaraka, introspection, orientation and balance.
The five tutelary hills.
The orphic interpretation – methodological models
The Quimbaya diet, millennial formulas.
Housing settlement.
The Quimbaya right.
The naurikirma, Mario Guerrero Guerrero – Mario Guerrero Cañas, illustrator of the book – Quimbaya visual magic.

Part pet, part machine, ‘If you’d like to…Albuquerque’ is an audio hybrid with strong adaptive potentials that allow it to explore diverse habitats. Based on the familiar phone menu format, participants are invited to listen in to site-specific options, press a key to register their choice and take an imaginative leap.

This piece is a part of the “Dark Path” series. This electroacoustic music focuses on sound marks of a sonic landscape. It embodies a sense of history beyond itself. Beyond the analysis of the used recordings, there is a history that is personal. The piece aims to examine and explore the transformative possibilities of the computer music.

This work was developed during a three weeks artist residency at the Liwa Oasis.

1. Black Gold: painted camel bones, wood boxes, sand.
2. Palm Burka: a sculptural figure in sewn date palm tree bark,
3. Video projection installation of Color Synesthesia VI with sound by C.C. Hennix, and fog machine. Installed in an empty transparent greenhouse.
4. Measuring the Desert: a performative land intervention.

This work was developed during a three weeks artist residency at the Liwa Oasis.

1. Black Gold: painted camel bones, wood boxes, sand.
2. Palm Burka: a sculptural figure in sewn date palm tree bark,
3. Video projection installation of Color Synesthesia VI with sound by C.C. Hennix, and fog machine. Installed in an empty transparent greenhouse.
4. Measuring the Desert: a performative land intervention.

For Manhattan Unfolding 1 Spalter shot original footage from a helicopter over the city, exploring Manhattan’s iconic yet ever-changing landscape. Custom software allowed the artist to interfere with normal viewing practices, merging east with west and representation with abstraction. The piece offers glimpses of a city constantly unfolding in time.

Sunrise over Rockefeller Centre, NYC is a geometrically patterned video generated from aerial style footage shot from the 45th floor of an apartment building. The piece features iconic New York City landmarks, including Rockefeller Center. The rhythmically structured compositions isolate and abstract features and motion in the landscape, highlighting the passage of yellow taxis down Fifth Avenue, for example.

This installation takes familiar, often stressful and annoying devices and creates an alternate reality that uses disposable, unwanted phones and unwanted noises and turns them into something beautiful. Each bird consists of a load of broken phone junk. The working phone communicates via serial to a device that then decides how the bird should move, when it should answer calls (from the public or other birds), and when it should make calls.

n.a.

Vanishing Walks is a show without actors. It is “acted” in its totality by the public on stage with the help of tablets. Taken together, viewers are connected to a device that is going to be inseparable from the theatrical performance. The device is both an expression space and a tool that determines the rules and restrictions of the show. Viewers follow the instructions of a text that appears on the screen of their tablet. This has the form of a classic theater text, with the stage direction, for the indications of play, and a text “dialogued” intended to be read aloud. As much as the scenographic factory that supports reading, the tablets are connected to all the scenic elements: from video projections to lighting, to music. Each viewer intervention is synchronized with the writing of music or video projections, giving them an additional dramatic “responsibility”. Two stories are told simultaneously: the story of a community that is disintegrating -within the story- and the appearance of a new one -the spectators- actors on the scene. Vanishing Walks describes the events that led a group of people to shed their body wrapping in favor of a purely virtual existence. Vanishing Walks describes the events that led a group of people to revel in their bodily wrapping in favor of a purely virtual existence. The characters belong to the Furry community and their group was created in Second Life before alternating their encounters between the real and the virtual. Following their will to transgress their human condition, they found a way to discharge their consciousness in a computer machine, seduced by the promise of an immortal life in the form of an artificial intelligence. But this new life, far from being singular, reduces them irremediably to a form of computer life without autonomy. Converted into executables through a computer program, the “consciences” became script lines. Deprived of humanity, turned into computer language but incapable of developing their intelligence, “consciences” do not try to recover their human condition or escape from their new life, they simply repeat the lines of command constantly, for in this has become their function. Vanishing Walks proposes a reflection of our relation to virtuality through a spectacle without actors. It is a form of participatory and immersive theater that aims to break the barrier between performing arts and new technologies, in particular, the inclusion of mobile technologies on stage. It also breaks the boundary between the viewer and the actor, between the audience and the stage.

Ranger-Déranger is an abstract composition of white pixels set up inside a black rectangle. The pixels change places one at a time. Two opposing forces are in play: On one side the software endeavours to arrange the pixels in neat, straight lines. On the other side the machine works to displace the pixels at random. It is a model for the universal struggle between order and chaos.

Körper is an acousmatic piece entirely based on the elaboration of an acoustic pulse sequence which was produced in the course of a MRI diagnostic test. The aesthetic idea implied in the composition refers to the topical and controversial theme known as “global control and censorship”. Through the examination of the constant and continuous information flow, which is either consciously or unconsciously produced by everyone, it is possible to accomplish a condition of control; that condition ought to benefit the national and global security. The question is: How deep or intrusive should the control on individuals be in order guarantee global well-being and security? If nowadays cameras and sensors constantly watch movements of the individuals in cities and buildings, can we assume that in the future cells and chemical reactions in our bodies will be scanned and examined in order to gather information to be collected, stored and processed? Technically speaking the composition uses exclusively a short audio recording of a MRI test. Spectral editing and resonant filters are chained in order to isolate restricted areas in the whole sound object. The foundation material is clearly revealed only at the very end of the piece.

R-evo is a short acousmatic piece about the idea of change by means of disruption, evolution or revolution. Sometimes a change can be a fusion of different points of view, other times it is as simple as a change of habit. In this work, short vocal samples extracted from Joseph-Maurice Ravel’s choreographic symphony “Daphnis et Chloé” are processed with acoustic instrument samples and synthesized with other elements.

Une rencontre is intended as a “virtuoso” piece where short vocal samples are deeply processed together with acoustic instruments samples and synthesized elements in order to achieve or at least tending toward a total fusion of these elements. It is not just a mixing work, but instead it is the fusion of more sound objects in one, mainly through convolution algorithms. In this way I especially researched for a spectral merging of voice and acoustic or electronic instruments. I intentionally propose an artificial procedure where the allocation of formantic regions is extracted from audio samples of singing voices, and subsequently superimposed to audio samples of traditional acoustic instruments or even to synthesized sounds. In few points an overload of harmonics has been deliberately caused in order to experiment an emphasis of the expressive strength and emotional communication of the resulting timbre. The title reveals the aesthetic sense of the work, where a relevant meeting can be not just an encounter, but also the occasion for a mutual exchange, therefore everything and the whole of the world are in continuous transformation, by means of mutual confrontation.

BELUGA invites participants to transform their experience of human interaction into visible light and movement. The Belugas are winged blimps floating in space, which, through the use of embedded sensors, are aware of their surroundings, people, and conversations. As people talk, the Belugas react, gently illuminate, and then flap toward the source of the conversation. As people gently touch the Belugas, they respond and change colors.

General Event statement

Weeping Bamboo: Resonances from Within is an exploration of new forms of communicating and preserving indigenous forms of oral culture. It is a locational sound art piece offering a sitespecific, reactive soundscape that is experienced in public at the Plaza de Bolívar of Manizales, Colombia.

The project builds on the notion of resonance, the correlated vibration of bodies, to transmit sonic, tactile, and gestural experiences. It creates a rich layering of different stages of the
history of Manizales through an augmented reality experience that merges environmental sounds with a spatialized soundscape. Through a custom made headset a spatialized audio experience is transmitted by way of the bone structure of the skull, which makes it seem as if it were coming from the space within the listener’s head. The multi-channel soundscape merges with the environmental sounds perceived through the ear. Beginning with narratives of indigenous myths in concert with today’s environment, the project offers a narrative soundscape that is correlated with the actual geography of the plaza through a GPS location-tracking unit, inertial sensors and a microphone.

I Love You, Keep Going was born in a heavy traffic jam in California. I wondered if it might be possible to invoke a story about nature, and my country’s addiction to oil, in such a way that an
audience could feel these opposing forces in their bodies rather than simply their minds. Working with Iranian film editor Arya Ghavamian, whose nation’s history is entwined with oil, I created three looping films which invite the visitors to mount bicycles and “change the story.”
In Chapter One, where nobody bikes, the oil industry destroys the heart of the world. In
Chapter Two, where one person rides, the fear of death and destruction are activated. In Chapter Three, where multiple cyclists join forces, transcendence and harmony with nature
become possible. Viewers may passively watch the world’s destruction, or become part of the
story and change the future.

GESMI is a fully autonomous computationally creative system that generates style-specific electronic dance music based upon a machineanalysed corpus. The corpus consists of 24 Breakbeat and 24 House tracks that have been transcribed by human experts. Aspects of transcription include musical details, timbral descriptions, signal processing, and descriptions of overall musical form. This information is then compiled in a database, and machine-analysed to produce data for generative purposes. GESMI began producing complete breakbeat tracks in March 2013.

Afterlife is an immersive virtual reality experience inspired by Buddhist contemplation techniques where we can escape the sensory overload of our physical environment for a moment. Everything in this world is designed to focus the attention to simple things like colours, light and droning sounds or to let the spectator experience the vastness of space. The work created in collaboration with Herwig Scherabon, Arno Deutschbauer, Michael Ari and Lukas Fliszar, commissioned by sound: frame, aids in understanding the inconsistency of life and to detach oneself from one’s ideals and expectations. The experience invites the audience to be just a spectator and let go of his or her thoughts, expectations and worries.

“Meandering” intends to ‘meander’ through varying ideas, emotions, environs, levels and forms of consciousness, and styles, to take the viewer on a journey of the soul.

Oblique Reflections utilizes the Southwest’s abundant sunshine to create daytime pojections. Through mapping sunlight onto the architecture of a building, the work re-imagines them as canvases for large scale reflection patterns. These expressive visual elements contribute to the interplay between architecture, site and human presence.

Asian futures, without Asians is a visual analysis of 40+ years of American science fiction cinema. It draws from the histories of art, architecture, design, fashion, film, food, and weaponry. The multipart research project analyses how white Western sci-fi filmmakers depict futures inflected by Asian culture but devoid of actual Asian people. With coronavirus fears manifesting in irrational anti-Asian racism and conspiracy theories, this selection of images highlights how an old, xenophobic trope has persisted over two centuries.

Second Livestock is a virtual reality world for battery-farmed chickens. By performing a straightfaced parody of virtual reality platform Second Life, the project attracts non-traditional art audiences to a conversation about the consequences of people choosing to spend more of their lives in virtual spaces, and questions the differences between how we treat animals and how we treat ourselves. The artist performs the presentation in the persona of the CEO of Second Livestock. The vocabulary and visual language of the presentation mocks the hype of technology firms who are perpetually introducing new, disruptive technologies. After the presentation the audience is invited to experience the VR world through the CCI (Chicken-Computer Interface), a prototype consisting of an Oculus Rift VR Headset and a custom-made omni-directional treadmill.

Primetime and Lunch Hour included Trevleaven’s punk film of spit, sex and cult recruitment.

Late-nite is characterized by the Electric Sound program, broadcasting broken signals and images to the ferry’s night hawks.

Following after lunch, is Love Boat, filling the afternoon with drama and heartbeats.

Primetime and Lunch Hour will mark a full survey of what ISEA TV has to offer, presenting all works related to the festival activities. Works will include: Japan Media Arts Festival reel.

Breakfast begins with TAX FREE, a playful program echoing the festivities from the night before.

Ten artists meet in a virtual world to experiment with sonic phenomena, telepathy and collectivity, between flesh realities and wired technology. In the first performance, PwRHm, two virtual sine tone instruments are tuned to the harmonic series of the AC frequencies of North America and Europe. Separated by continents, networked performers play with breath, avatar movement and light emissions to explore this pure sonic relationship in virtual intimacy. In the second work, Heart of Tones, a tone is minutely explored within a half tone above and below a prescribed pitch, through subtle timbre variations and movements by performers on virtual instruments. The resultant beats, timbre shifts and audio illusions create rhythms, transformations and textures that are precisely mirrored in colour spectrum shifts on virtual screens and capes worn by the avatar performers. With the final work in the series, Aleatricity, two hundred years of science, technology and cultural history are exposed when the accidental discovery of the nerve-system by Luigi Galvani and the world’s first science-fiction novel Frankenstein are brought into visual and acoustic proximity.

1. PwRHm by Tina Pearson
2. The Heart of Tones by Pauline Oliveros
3. Aleatricity by Andreas Müller

Avatar Orchestra Metaverse (AOM) is a globally dispersed telematic collective based in the virtual online environment Second Life. AOM investigates possibilities of networked audiovisual performance with virtual instruments that enable each member to trigger sounds, animations and visuals independently while playing together in real time. AOM’s experiments with sonic phenomena, perception, culture, artistic practice and identity in sometimes provocative contexts have led the group to revelations about technology and its intersections with thoughts, feelings, processes and interactions. Since its formation in 2007, AOM has created over thirty audiovisual works by sixteen composers screened live in eleven countries.

Transmedia storytelling provides engagement opportunities around what it means to ‘be’ in the world and the moral choices that further a goal of making the world a better place.

This project is about the unreliability of our planet swollen and full of cavities. It is a tale of contemporary and future use of the open space where the audience witnesses this infinity of uniform and hyper-detailed mutations that shake and quake its boredom. With no particular rule raped sea waters flow into a gorge where even early morning rays fade, carving the gap of distance with mankind.

This geological poem roots out of the last earthquake that shook Italy and which the artist felt on her own skin. This quake, like a ghost, haunted the people and the morphology of a huge area in the middle of the night. The artist investigates, in a game that goes beyond space and time, new possibilities for the sceneries crunched years ago by bulldozers, thus praising what might survive to the corrosion of the acid ocean of contemporary times.

In Framed Scrolling, you are stuck on “rails” in an endless tour of a virtual museum filled with screens on which you can watch Baron Lanteigne scroll through different pieces from the online exhibition Re|Search. This virtual exploration is a reflection on our relation with screens and space and how those can impact our perception of artworks. His aim was to generate something pointless and cumbersome by how it aspires to present artworks which are now trimmed and distorted. Their integration in physical space disfavours how we consume the works.

Tangible Data explores and infiltrates an online community that develops a “virtual” art market for a cryptocurrency-hungry public. The project consists of a series of animated loops created and monetized according to the consumption requirements of this community. The loops are then deployed on several online platforms ranging from Twitter to Discord.

For ISEA2020, you are invited to navigate from one platform to another, recreating the artist’s trajectory—mapped on the website—and to immerse yourself in a community little-known to the art world. The average time for exploring the work is fifteen minutes. The animations as well as the website that hosts them serve as prototypes for a physical installation planned for 2021 and reflect the transmedial and evolutionary nature of a project that is already unfolding within three distinct exhibitions: the group exhibition Principia Discordia presented by SuperRare x Felt Zine, the online exhibition [The art happens here] by Annka Kultys Gallery and the online exhibition Re|Search by the Archiver le Présent Collective.

“Barry Doupé’s Thalé experiments with the phenomenology of light and colour through fiber-optic flower arrangements. Doupé’s animations are inspired by the Thale Cress plant, which is commonly used in biological mutation experiments. His rotating electronic floras, which resemble neon lights, sex toys and fireworks, glow in the dark digital void.”                                          _Amy Kazymerchyk, Fabulous Festival of Fringe Film

This is an octophonic concert of soundscape compositions by Vancouver composers, presented in an 8-channel surround-sound format. SFU is the home the World Soundscape Project, founded in the early 1970s by R. Murray Schafer, and its audio documentation practices have created some of the materials heard in these works. For instance, Barry Truax’s Pacific Fanfare includes several Vancouver soundmarks from the 1970s and recently, heard both in their original state, and digitally resonated and time-stretched so they can “resonate” in our own memories. In Ben Wilson’s Sediment, layering plays a key role as it does within sedimentary formations, heard as descending (or ascending) through a rock formation, passing through each level of strata. Maureen Liang’s No Destination is about a melancholy individual openly sharing her emotions with Siri — the virtual assistant on her mobile device. Hildegaard Westerkamp’s Into the Labyrinth is a sonic journey into India’s culture on the edge between dream and reality, similar to how many visitors experience this country. Yves Candau constructs a magical and delicate soundscape within an imaginary forest, and Truax’s Earth and Steel takes the listener back to a time when large steel ships were built in enclosed slips, and rich metallic resonances rang out.

With “Rapchiy” the ISEA participants/audiences – or people in the mentioned public space – will have the opportunity to engage with brain reading devices and in particular contribute to the revelation of the hidden designs that were subconsciously integrated in their conceptualization and fabrication by the initial device developers/makers. In the course of embodied research with brainactivity reading technology, particular aesthetic properties emerge whilst altering the topological stance: reducing the 3D typical use of the neurodevice to a flat surface constellation. Departing from that observation, hidden designs are sought for in the entanglement of human head, neurosignal detecting machine and paper in between. They are revealed by following the contours of the device with the help of a pen and vegetal ink. The 2D drawings can be transformed again into 3D with the help of scanning and 3D printers (ceramics or wood/PLA filament). Depending on the availability.

In Transmutation de base (Basic Transmutation), choreographer Aniara Rodado and artist physicist Jean-Marc Chomaz create a participatory space for immersive human-plant interaction. While the dancers perform movements derived from scientific research into the movement of plants, into mechanical transduction, morphogenesis and collective plant movements, the audience is invited on stage to be immersed into the olfactory scope produced in real time by the large distillation apparatuses that are blown, on purpose, as ‘glitches’. In order to address and destabilize human stereotypes of how plants are considered, Rodado distills symbolically highly charged plants. Contact microphones and hydrophones amplify the microfrictions emerging from a ‘sound kitchen’, a ‘alchemist factory’, completing the immersive smell scape with a sound scape to create intriguing effects of synesthesia. This piece aims at emphasizing the need to slow down to a ‘plantamorphized’ temporal scale, and engage in other sensorial interaction modes than the human-centered sight beyond cognition in times of environmental crisis and anthropogenic excesses.

Music created by: Jorge Barco

We critically engage with a number of issues/behaviours specific to cross-cultures and consumer culture in our work and develop projects that use new media/technology as a fusing and transmitting element.

KindleGlitched is a series of glitched kindles donated, found or bought on eBay, signed by the artist. The generated visuals are unique and permanent. The work can be contextualized in relation to Retail Poisoning, which is the act of intentionally injecting critical/corrupt/fake/ glitched data and/or hardware into existing online and offline retail outlets.

Computers Watching Movies shows what a computational system sees when it watches the same films that we do. Software written by the artist uses computer vision algorithms and artificial intelligence to allow the system to decide what to watch. Clips from six popular films are used in the work, enabling viewers to draw upon their own visual memory of familiar scenes. The work asks viewers to consider the implications of computer vision for contemporary culture.

Tracing You employs the IP address as a trail of breadcrumbs in order to trace the internet user who consults the home page of the work. From this identification number, the site speculates on the user’s geographical position and displays a series of six tiles presenting photographic images accompanied by geographical coordinates. Leveraging data collection processes and monitoring infrastructures, Tracing You links the information obtained to available images of places in the vicinity of that position. The purpose of these images is to reveal the location and immediate environment of the individuals who visit the website.

As stated by the artist, the result is sometimes surprisingly precise, and others very approximate. This randomness woven into the work conveys its dual aim: making the surveillance mechanisms to which we are subject visible, while at the same time alluding to the inconsistent documentation of physical spaces and the erratic effectiveness of tracing devices.

Bipolar is a group of binaural sensory studies. Diptychs of static images, such as ocean and grassland or wilderness and city, are paired with split channel headphone audio. Visually the two remain distinct. Listening to the corresponding audio, the sounds blend together as the dissonance becomes harmonic.

Along the Frontier of Resolution is a three-channel video installation that depicts screen recordings from Google Earth. Each recording shows a sustained tracking shot along the threshold between the digital model of the city and the flat, unmodeled digital terrain that is adjacent to it.

Inspired by new technologies and network theory, System uses custom software and generative audiovisual synthesis, manipulated and controlled by gestural interaction and touch interfaces, to explore relationships between modern society and individuals, communication strategies, power and technological progress. The work offers an allegory for a globalized and interconnected world in which individuals seek to make sense of their experience and attempt to retain some freedom of action. The performers assume the role of this individual, interacting in real-time with audiovisual processes that affect the formation and behaviour of their output, while responding to the network of data and information generated by sound and image. The aim is to avoid chaos or a totalitarian takeover by the system. Projected onto a giant screen, System illustrates the reflexivity and tension at the core of a contemporary experience mediated by technology.

In Tempo Rubato, a rapid and sporadic flow of commercial imagery is anchored by the natural human disposition to posit facial and bodily features. The disparate characteristics of the source images – magazine covers, advertisements, publicity photos, and stock imagery – become a flurried average that both articulates and complicates notions of identity.

As a sculptural installation, By the Road takes up notions of detritus, nostalgia and liminal spaces. Vinyl records are placed in boxes, as though left behind. The 8 soundtracks consist of the sound from car chases in famous movies translated into Death Metal music. By the Road also refers to The Roadside Picnic that the film Stalker is based on. As a character in the book says, “the objects left behind seem as though aliens just had a picnic by the roadside and left, moved on.” In this way, By the Road intends to generate an experience of the in-between spaces.

This exhibition is, in part, a culmination of a three-week international project, where artists and idigenous youth participate in a cultural exchange. My Land My Light creatively integrates science, technology, and indigenous knowledge to realize a series of illuminating interactive artworks. The collaboration investigates how science, technology, and indigenous knowledge can be utilized to create meaningful visual culture promoting identity, agency, and autonomy.

Spontaneous Reclamation

The transition between end and beginning involves an understanding of the irony of these words. Because of the interconnectedness of natural elements and the influence one event or entity has upon the other, there can be no ending status in nature. Spontaneous Reclamation deals with the juxtapositioning of decay and rebirth; old and new; and organic form and geometric structure. The evolution of natural, organic elements into structured entities is governed by an understanding of the nature of reclamation. As an artist, I attempt to reclaim the essence of an experience and in return the experience gives birth to an idea. I massage the idea into tangible form and work in harmony with the medium. The chosen medium guides the process as well as provides challenges for defying the limitations of the medium. Therefore the birth of the tangible form of the idea is no more a beginning as it is an end.

The changing of the seasons marks a beginning to some individuals and an end to others. Spontaneous Reclamation is part of a series of images inspired by the decay and selective perseverance of natural elements in autumn. The essence of life begins to succumb to the grips of death yet an alternate form of life evolves from the decay. The image deals with alternate forms of spatial perception. The illusion of depth and translucency works to connect the elements into an interwoven array of rebirth and decay. Visually we are allowed to traverse the spatial arrangement of elements yet we have no grounding in reality. We must carry with us the concept of up, down, in and out. We make connections between visual experiences in our life and the spatial arrangement of the elements. Spontaneous Reclamation attempts to capture the essence of experience and challenge our notion of beginning and end.

In Dark Storm Phials boredomresearch creates a world of fragile, growing forms that have a brief opportunity to release sonic pulses of energy before being destroyed by a mysterious rumbling force in their environment. The delicate forms are related on the level of the computer model to the vulnerabilities that exist in the natural world and exhibit behaviours that are not dissimilar to that of the commercial high street or a financial system. This work addresses the uncomfortable relationship we have as a culture with destructive processes, despite them being essential for growth.

The video work Old light (refraction) stems from research into different modes of knowledge and the time scales in which they are situated. Inspired by a news article linking scientific discovery and First Nations Australian oral history, this work distils a 1,200km journey taken by a cabbage palm seed some 30,000 years ago into a single minute.
In relation to the human inability to fully understand deep time, First Nations Bunorong/Kulin writer Bruce Pascoe states “sixty-five thousand years is forever”. This year’s theme for ISEA Lux Aeterna resonates with the concept of linkages between deep time and the present moment, as found in Old light (refraction). The work encompasses notions of solid and fluid, of static and motion, intimating the multiple ways knowledge is dispersed across space and time. By projecting onto large public spaces interstate and internationally, a temporal shadow of the work is briefly transposed onto the wall and witnessed in a fleeting moment in the bystander’s life.

ZeroOne opening Night:

Brad Isdrab’s Boris and Bianca is a fantasy game, a “choose your own adventure” movie. This immersive experience bridges the gap between Sculpture, Storytelling and Technology. By interacting with characters and objects within the game the user makes decisions, guiding the story. The dynamic narrative plays out differently depending on the choices made by the user. The ultimate goal: to help Boris find his love, Bianca, and reach enlightenment.

Meticulously crafted in stopmotion animation, visually reminiscent of the films of the Brothers Quay. This is a symbolically charged fairytale inspired by Beauty and the Beast, constructed from scenes based on the Kabalistic Tree of Life and the Major Arcana of the Tarot. It offers glimpses into another world, a place of fantasy and visual metaphor.

The interactive video will be presented in an environment created from installations of the actual puppets and props,and accompanied by the cello compositions of Zoë Keating. Keating uses live electronic sampling and repetition to layer the sound of her cello, creating multi-layered compositions which explore the boundary between the familiar and the strange, the ugly and beautiful, the dark and the transcendent.

Techinically, We Are With You: Mirror, is a 9 Cubic Foot, True 3D Volumetric Display based on persistence of vision, or briefly the Hologram from Star Wars. Originating from the artist run centres and DIY communities in Vancouver, it is a bold shot across the bow of “3D” TV. Conceived by media artist Brady Marks, this 3D Display prototype was built at VIVO Media Arts Centre, shown at Maker Faire Vancouver (2014) and Science World (2015). It is both an artwork and meta work, or Platform for 3D Kinetic Experimentation, continuing the tradition of putting new and emerging technology in the hands of artists to explore the medium’s scope.

In Mean Time, two figures walk the neighbourhoods of Woodstock in Cape Town and the Downtown Eastside in Vancouver. They are mirrored by their movement, by the architecture that surrounds them, and ultimately by the urban revitalization that is the totalizing framework of their activity. The work explores questions of how we speak of – and how we might mitigate – the power and control that are at the centre of gentrification and colonialism. The work features compositions by mira calix and Jesse Zubot.

This mobile art installation and sustainable energy demonstration is an aesthetically beautiful, fully functional power and art station. Started with a 1981 Ward School Bus and outfitted with photovoltaic panels, high-capacity batteries, an HHO generator and a backup gasoline generator, the artists added an air compressor, a bank of solenoids, air brushes and a DJ station, in their quest for expressive applications for sustainable energy.

Sisyphus is a series of kinetic sculptures that control the path of a large ball bearing as it rolls through a field of sand, leaving dunes in its wake. It is made possible by DIY CNC technology. Sisyphus VI melds current developments of a lightweight mechanism and furniture and the ability to control the mechanism via WiFi.

The Destruction Lab is a happening that takes place in a public space in which the artists perform different processes of destruction. These include chemical, such as dissolution in solvents and electrolysis, physical, such as heat from furnaces, or use of power tools, and abstract, such as erasing digital files. The public is invited to participate through a variety of means, creating a coordinated artistic process.

California has been experiencing its most severe drought in the past five years. Drought has affected wáter changes, biological phenomenon and the ecosystem, which has become an inspiration and great resource to artists and designers because it had a significant impact on the sustainability and the environment. These questions and issues have been our inspirations, and we create an interaction tool to depict the causes and impact of the drought and promote awareness of water consumption and ecosystem. California Drought Impact, an interactive multimodal data artwork, visualizes and sonifies multivariate data describing California’s drought using lasercut wooden sculptures and digital visualization with sonification using hand motions and camera tracking. This work aims not only to explore new aesthetically meaningful visualizations but also to allow users to learn about the causes of drought by examining the past and present and predicting the future of the California water system as both an art installation and a potential educational application. It depicts the past, present, and future of the drought by altering water morphology (water metamorphosis), which occurs as a result of climate changes. This data representation also leads to a new media interactive interface utilizing audio synthesis, visualization, and real-time interaction.

The video explores the construction of three-dimensional spaces and questions the generation of artificial worlds, where organic is represented by poligonal geometry. It invites to the immersion of the viewer in environtments which mutate digitally, but where evolutive processes and transformations are modeled from reality fragments. Contruction of objects are not just developed with 3D tools as visual contruction, it is also generated thereafter parameters of programation which reconstruct fiction and imagination in an aleatory way.

SUB is a sound performance that aims, by exploring the acoustic activity of the underground, to make audible sound spectra that normally go unnoticed. With ?SUB Carlos tries to explore the sounds of the Anthropocene, the geological epoch that follows the Holocene. In this era ?humans have become the most relevant geological force on Earth.? Human activity has irreversibly changed the composition of the atmosphere, the oceans and even the Earth’s crust. The causes of this scenario can be found in the physical infrastructure of capitalism: big cities, industrial complexes, massive transport systems, etc… Carlos considers that this infrastructure produce acoustic activity on the underground, a space that vibrates and where the sounds of natural origin of immense scale such as earthquakes and the rotation of the Earth itself melt with the sounds produced by the human activities. Sounds that are projected to the underground and are an unmistakable sign of the Anthropocene. Carlos also tries to put in connection the ability of the Earth to create and process sonic energy and to question reality beyond human’s perception as well as th need of digital software ot understand things that are bigger than us.

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Indeterminate Hikes + IH is a mobilc media app that transforms everyday landscapes into sites of bio-cultural diversity ard wild happenings. Join ecoarttech for an Indeterminate Hike at the Downtown Block Party.

Catfive has been producing their own brand of sonic mayhem for the last 6 years, combining sounds and images of the world in which they exist into a semi-critical, semi-humorous reflection of popular culture. Through the use of laptops, turntables, television and radio, Catfive seeks to reinterpret the mainstream media, and break it down into digestible chunks, danceable beats, and give something back to the community.

Random War (2011) realizes Csuri’s original 1967 intention – that people experience art as a real-time virtual event. His vision of Random War (1967) as an interactive art object is only being realized as he celebrates his 89th birthday.

Extemporary Land Art on Google Earth presents a new series of Net-AR artworks created and usable exclusively on Google Earth. The works, Augmented Forces on Google Earth, Augmented Sky-Trip on Google Earth – the Strawberry Ice Storm, Augmented Cave – the Dispersed Parthenon, and Augmented Desert – the Liquid Gale, are a series of site-specific artworks that aim to create virtual land art. The works construct a sort of mise en abyme or droste effect in which one element shifts the other in depth. This merges the Google Earth environment with the augmented area in order to create a new space.

In 1970 the radical art and architecture group Ant Farm (1968–1978) travelled cross country in a “Media Van” shooting video and networking with other artists. Ant Farm Media Van v.08 (Time Capsule), an interactive sculpture made in 2008, invites users to leave a “donation” to a digital Time Capsule, but also functions as a small video theater showing works made in 1970. This on-going project migrates across time and space and intersects with new ubiquitous technologies.

Death of an Alchemist is a novel written with data: a literary narrative generated in real time from online information. In the story, a present-day narrator logs onto the Internet to investigate the death of Johannes Trithemius, a German abbot and alchemist who died in 1516. He left behind a mysterious book, the Steganographia, which is to contain the hidden secrets of the universe disguised in code. The work consists of a wall of projected text and symbols that is generated by scraping a range of online data sources for news headlines, social media posts, gifs, memes and more. As the text flickers and updates with each new piece of data that is received, readers are invited to follow the clues to unravel the mystery of the Steganographia and discover who killed Trithemius and why.

As of version 10.8 (July 2012), Apple Inc.’s Mac OS X desktop operating system has included Dictation, a feature modeled on Siri, the iPhone voice-recognition interface. When activated, this feature cross-references spoken audio input against an online database of speech data and, using this data, transcribes the audio into text. The accuracy of this transcription is variable. Mac OS X also features a speech synthesis utility capable of “reading” text selections aloud in a variety of differently accented computer voices. The verisimilitude of these various voices is, likewise, variable. In Recursive Dictation, Mac OS X text-to-speech output is recursively routed to the Dictation feature and vice versa. The result is an iterative stream of text and synthesized speech that, due to the limitations of the speech synthesis and speech recognition software, is both ever mutating and never endin

Vex is broken geometry. You can hear it screech and groan as it undulates under pressure, until the moment it snaps and explodes into a furious and broken – but perfectly synchronised – dance of both sound and form. A behavioural computation model directs Vex’s geometric movements, which in turn conducts its granular soundtrack. Vex never repeats itself. Its visual and sonic contours tightly follow a seemingly natural pattern of movement, randomly disrupted by the broken algorithms that drive it. Vex takes you on a journey between the ambient and the violent.

Short 1985 film created by Chris Wedge at Ohio State University. Though visually sparse, the film marks a significant turning point in computer animation, both for eschewing the usual chrome-and-perfect-geometric-shapes of the era, and for extensively applying traditional animation techniques — follow-through, squash-and-stretch, etc.

Seed Broadcast Mobile Seed Story Broadcasting Station will be holding a Seed Broadcasting event in partnership with Valle Encantado and Dragon Farms, at the ISEA2012 Block Party. This project explores grassroots efforts to save, share and grow seed and food sovereignty through broadcasting these passionate voices across the airways of our nation. Everyone is welcome to come by and explore the solar powered broadcasting station and its interactive multimedia library. The artists also will be conducting audio interviews, so bring your personal seed stories to broadcast.

Possibly ISEA2013’s most beguiling experience! Surrender to beauty and wonder when entering this responsive ‘cloud’. Its creators recommend that participants “walk through the cloud, touch the balloons, avoid cables, contemplate the electronics components at close hand, make noise, and move freely” – but also suggest spending some time standing back and enjoying the cloud as a whole, whilst other visitors trigger interlinked audio and visual responses with their sound and movement, and ‘virtual’ visitors also tinker with the cloud’s coloration. Prepare to be enchanted!

In this work, the artist rode the Denver Light Rail with a handheld 3D scanning device in order to capture real journeys and distill them into something new. The fragmentation and gaps in data are defined by the physical bumps, speed, and curves in the movement of the train. While the final models are still, they are in fact documents of time, perspective and perception.  Sound Design by George Cicci.

Symphony 505 creates an orchestra of automobiles and re-visions their mechanic motion as dance. Working with a group of people within the lowrider community that have built and customized their cars, their lowriders will be further transformed, in their familiar landscape, into both musical instrument and dancer. Using wireless audio technology and suped-up sound systems, a conductor (or audience) will be able to “play” the cars as the drivers perform a series of movements and gestural sequences. Embedded within the architecture of Albuquerque, the vehicles’ ability to respond to and dominate their environment is the catalyst for this moving symphony.

Using old and recycled technologies side by side with new ones, RUIDO will born as the story of a city, in this case Medellin… some old photos, handcrafted projectors and a lot of NOISE around us, around you, around everybody. CICLUX will make a live cinema performance with eighteen people moving around, improvising, building a film brick by brick; the piece will be unique and the act can be a audiovisual experience full of movement mixed with the environment. We design our own software and hardware to bring this real-time film always new to you.

There are many wild inhabitants living in the city with us. Many wild plants are edible and even quite delicious. This field tip departs at 5 pm to spot, map, smell and taste the edible landscape, decoding the urban grid. Boskoi is a free wildfood app for Android smartphone.

Why does the universe behave like it does? Is it acting out its own drama regardless of the audience? Or does the mere presence of an audience forcibly choreograph the show in front of them in dynamic ways? Project Analemma has sent its crew to the furthest reaches of space to answer these questions, and they have come back with surprising answers. Join project director, Dr. Patrick Alexandre, and the crew members, Alan Rosseter (physicist) and Ryan (photographer), to hear them discuss their latest mission, showcase unprecedented photographs, and explore the exciting implications that could change the nature of reality.

DRMCHN is an audio/visual installation wherein the viewer is asked to close their eyes to observe. The pulsating lights stimulate the optical nerve to alter the brains electrical oscillations. The dream machine was originally conceived by Brion Gysin/William Burroughs (who were inspired by Walter’s ‘The Living Brain’). DRMCHN is being reformatted in digital and analogue form with accompanying audio translated from Bey’s Temporary Autonomous Zones.

COME/IN/DOC / Collaborative Meta Interactive Documentary / is a transmedia meta-documentary that reflects on the interactive documentary. It consists of 3 interconnected parts: a documentary series, a multimedia platform and exhibitions. This is the result of four years of intensive research (2012-2016) conducting interviews with experts in the field of interactive documentary with the aim of answering a basic question: what is an interactive documentary? The idea is to reflect about this emerging field using different platforms. The project could be described as a “meta-interactive-doc”, an experimental interactive documentary that reflects himself on the new genre.

COME/IN/DOC is a collaborative project because many people selflessly worked on it in one way or another. But especially thanks to the experts in interactive documentary who made the project a collaborative work in the broadest sense. COME/IN/DOC is a meta-documentary that attempts to explain a kind of documentary based on that actual genre. COME/IN/DOC is interactive because its platforms and interfaces, social networks and training make it possible for people who are interested to participate, contribute and even generate content. COME/IN/DOC is a documentary created through theoretical and applied research and has become a unique and valuable tool for training and teaching.

Play (Live) is a site-specific realization of an experimental film that addresses issues of intimacy, ambiguity and eroticism. Utilizing video projection, manipulated sound and live choreography, the piece attempts to reveal the potentiality of piano playing as a choreographic device by making its relationship to the live material ambiguous

Nervous Structure is a site-specific, interactive installation consisting of a string and fabric structure illuminated with interactive computer graphics that react to the presence and motion of viewers.The piece consists of three planes that intersect: the physical plane (the structure), the virtual plane (the projection), and the perceptual plane (the viewer and his/her interaction).

Cultural Camouflage is a series of design projects that seek to explore and document unconventional cultural patterns and local identities.

Seventy Flights in Ninety Minutes was made from the top of Hayden Butte in Tempe , Arizona. For 90 minutes, the artist photographed every airplane that flew overhead and then digitally stitched together the photographs, re-creating the experience of living in a flight path by compressing an hour and a half into one apparently single moment.

The connection established between ideology and technology results in what Roosegaarde calls “techno-poetry.”

Machines to Listen to the Sky is an ongoing project initiated in 2013 by Dan Tapper to repurpose Very Low Frequency (VLF) natural radio antennas into installations, sculptures and art objects. VLF is an area of the radio spectrum that contains signals propagating in Earth’s ionosphere such as lightning and the northern lights as well as emissions from celestial objects including Saturn and the Sun. The VLF band also contains interference from man-made electromagnetic activities. This installation combines images and sounds detailing the breadth of information found in the VLF spectrum as well as the machines and devices used to transduce VLF into audible forms.

Once upon a time there was limited distraction and an abundance of hours. Dana Dal Bo’s Tomorrow I Will Be Thinking About the Future combines footage of the Curiosity Rover landing on Mars with smartphone video of our moon being passed by a cloud. These events are brought together to create a feeling of nostalgia for our former imaginings of the future.

How long is a moment ? How does a moment feel ? What is the past, what is the future ?

The Moments project investigates the perceptual length of ’a moment’ of attention and of the historical tension be- tween the argument for and against time in the universe.

Introduction
With scientific estimates of what a perceptual ’moment’ often hovering between three and four seconds but opinions across the worlds of art, perception, philosophy and cognition often disagree widely. [1] The project investigated just how long a ’moment’ might be and then asks the question;
’what is it to see the now, remember the past and anticipate the future, though we can conceive of the things are they truly real, do we truly experience them ?’
The ’moments’ project recorded instances of noticing, mo- ments of attention, and records them. Collating video since early 2014 the project has so far recorded close to a thou- sand separate video clips. Contrasting this huge library of intimate moments of ’attention and ’presence’ is a series of extended walking self-portrait video ’derives’ inspired by Guy Debord, the French situationist and would-be father of psychogeography.

Guillermo Rendón García is in all aspects, one of the most important Colombian composers from the XXth century, still active at his 81 years of life. Son of Manizales city (host of this great event) he represents one of a kind generation of Colombian artist and composers from all sort of places that set a path for present-day musicians and performers. Daniel Forero, Colombian classical guitarist and director of Atemporanea GQ, has been committed to rescue all this vast archive of guitar music written by Rendón, mostly works only performed at their first audition at the 80’s, and putting them again on stages in the country and abroad, doing performances and recordings of this music from the first time. This task that began more than 10 years ago, generated a whole new interest on Rendón’s guitar music on new performers today. Therefore, this recital presents a summary of the most representative guitar works from Guillermo Rendón: his Ciclo del exilio which is his very first and most important guitar piece, his guitar quartet Trémolo tremulante, a dramatic and touching musical marvel remembering the Armero’s devastation by the Ruiz Volcano (part of Manizales landscape as well) and the premiere of his first Guitar Sonata Op. 89 performed for the first time by Daniel Forero.

Nearest Costco, Monument or Satellite is a networked sculpture that accurately points to the nearest Costco, monument or orbiting GPS satellite(s). As an artwork it explores how we form our sense of of place in the contemporary environment. It merges together ideas from sculpture, locative technologies and the subjective human sensation of where we are. The work is arranged as an array of networked electronic pointing sculptures in fl ight cases, with each sculpture containing the electronics required to control a pointing arrow held above the case by a telescoping mast. In practice, a central control unit directs the sculptures to locate the familiar (Costco or a local monument) and the unfamiliar (the locations of orbiting GPS satellites). This performance of technologically-assisted direction fi nding, produces a swaying field of arrows that point to locations in choreographed poetic movement, and is governed by materiality more than information.

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Light Pattern is a programming language that uses the meta-data from photographs that are taken with an Arduino-controlled camera for source code. In effect, this work writes code in photographs instead of in text-based code such as “GOTO 10”. Variations in the colour and exposure between photographs are interpreted by the computer as commands. When installed in the gallery setting, the Arduino-controlled camera takes a continuous stream of photographs, which builds a perpetual series of new Light Pattern programs. These programs are shown in video form, and stand at the intersection of photography and code.

Plasma is referred to as the “Fourth State of Matter” because the number of electrically charged particles it contains are suffi cient to affect its properties and behaviour. Plasma also refers to the liquid component of blood that holds the blood cells in suspension. This work references energy, thunder and blood, and uses a percussion instrument called a sinori.

It is 2030. We have managed to find a way to see more than just 5% of our reality. We have now penetrated the shroud of mystery of dark matter and dark energy that make up around 95% of our reality; and harness it to create transcendental communication. This garment of 2030 allows us to teleport ourselves into each other across time and space to different degrees by mutual consent to create a pure spiritual connection undistorted and untarnished by social constructs. This garment facilitates and supports us to be emotionally naked with each other. Social media has finally become soulful media.

My work is concerned with aesthetics that result from interactive, reactive and generative processes as they relate to intersections between natural and mechanical systems.

Two journeys through Afghanistan: the first accompanied by the field hospitals and medics. The second, outside the military environment, considered the landscape and communities in the North.

A looped single channel video, documenting the anticipation and preparation for treatment of mass casualties within conflict.

After two years of negotiations between the Wellcome Trust, Imperial War Museum and Ministry of Defence, Cotterrell was invited to observe the Joint Forces Medical Group at Camp Bastion in Helmand Province, Afghanistan. He underwent basic training, was taught the rudiments of battlefield first aid and was issued with body armour. In November 2007, he flew in an RAF C17 from Brize Norton to Kandahar, the sole passenger in a plane loaded with half a million rounds of palletised munitions and medical supplies to join Operation Herrick 7.

A companion piece to Serial Loop, Green Room is an alternative vision of the same event: the arrival of casualties at Camp Bastion for treatment after a Major Incident. Medics prepare for the entrance of their assigned patients. Doctors, nurses, technicians and observers shuffle, chat and arrange the scene, their bodies and faces concentrated on the tasks to come over the next four hours. Like actors preparing to enter the stage, the players here come forward and withdraw from the cameras gaze as they consider the work ahead of them.

The Ostrich Effect is built using commercial automated call-centre servers, customising their IVR (Interactive Voice Response) programs to broadcast and handle telephone campaigns while programming individual call centre systems to dial and trigger each other. The work is a generative installation that explores the recursive loops that might occur in a hypothetical scenario. The computer-based conversation will never be resolved and continuously re-attempted. This installation focuses on the commercial and social power of these systems. Away from potential domestic customers, it instead explores the limited, comic, frustrating and, at times, sinister, permutations of these interactions.

Frozen Music Ensemble is a unique vehicle for the development and implementation of a novel kind of extended electro-acoustic music presentation, at times lasting upwards of thirteen hours. Each performance is a kind of acoustical ‘tuning’ or redrawing of the existing aural landscape through direct sound generation and amplification.

CAMERA 2067 is an image-capture device that takes photographs and sends them to a database in the cloud, where they will be hidden until the year 2067. The project engages the form of the camera as an intimate object that is at the same time a black box. Relaying transmissions between the present and the distant future, it engages the internet as a guarantor of memory and therefore history.

Participants discuss and experience ideas of technology and non-technology; voice and objects; black boxes and out-of-the-boxes. David Moss, considered one of the most innovative singers and performers in contemporary music, says, “Consider this: a spoon is technology; your vocal chords are technology; a song is technology…technology is transfer of power.” Presented by The Outpost Performance Space.

In this work a scale model of a luxurious dinner table built from crystal is deconstructed over time by the amplifi ed sound frequencies of a vintage 70s organ. The work is intended as a critique of class inequality and focuses on how the intimate scale of relationships in our social systems are linked to the deterioration of democratic process.

What is a personal name? What is its role in the society?  Name Readymade is a project presentation dealing with a wide range of issues related to the “name changing” gesture perpetrated by three Slovenian artists

Hauling Ice is an experimental setup and narrative environment featuring an animatronic sasquatch rowing a small, wooden boat. The boat, floating in a wading pool, tows a large, hissing, inflatable iceberg, in front of a wall-mounted, marine-glacial panorama backdrop. Wall text, charts and graphs included as part of the installation indicate the artists’ experimental design. It is an attempt to answer the question: Can a sasquatch tow an iceberg with a rowboat?

Architecture outlines an urban realm that is rife with default flows and physical policies. In Edge, A Super–Architectural Typeface, Dawid Górny and Jacopo Atzori transmit the motion of skateboarding into a dynamic typeface that is realized through performance. Bringing skateboarding into relationship with typography in the context of the built environment allows the alphabet to become a functional structure, inviting a performative critique of architecture.

The Obsolescence Project brings the artifacts, noises and silences of our analog past back from the dead, where they are reanimated through a series of projected photographs. These 30 images are culled from Achong’s year-long daily photographic blog of obsolete things, selected to echo the calender format. The blog and images are a kind of quest for the consideration of obsolete things, whether real, owned, borrowed, imaginary or metaphorically obsolete. The work pursues notions of longing, time, trash, residue, and waste, and embraces the residual trace of objects and memories that are discarded, left behind, or junked.

Deeper than Digits: Tepid Night Erased is a poetry generation algorithm with humans in the loop.It composes and displays a new short poem every few minutes to enrich the thoughts of passersby. Additionally, anyone may edit the poems generated by the algorithm or suggest new words or phrases. Not only will these edits be displayed until the next poem is composed, but the algorithm will re-use them when composing future poems. In this regard, the human is influenced by the poems written by the computer, and the computer is in turn influenced by the human, resulting in a collaborative relationship. Likewise, subsequent people that edit the poetry then also interact with the previous people who did so through the algorithm, and the resulting poetry is a sort of crowd-sourced collective intelligence as mediated by a machine.