Presentation Data Table

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Title Presenters Symposium Type Category Image Venue Abstract Sponsorship Support Keywords
  • Visualising Invisible Networks as Collaborative Arts Practice
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  • Pip Shea
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
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  • The practice of collaborative art-making is interested in the “creative rewards of collaborative activity” (Bishop 2006). This paper explores the rewards offered by collaborative art projects that incorporate the practice of visualizing communications networks and networked objects. It does so by considering the following hypothesis: having knowledge of the underlying structures and dynamics of networks unveils the actors within networks (Latour 2005); and, gaining an understanding of the distribution of agency among network actors helps facilitate consciousness around participation in networks (Lovink et al. 2009).

    It is a response to Bruno Latour’s (2010) recent call to action that “we need to invent new ways to represent networks and new ways to make sense of them”; and, recognition of Roy Ascott’s (1989) assertion that “making the invisible visible” was “the great challenge of late twentieth century art” (Ascott 2003, 222). The paper examines cybernetics and the field of telematic art to gain a sense of how collaborative art and design practice can respond to rendering invisible communications networks visible.

    References

    1. Ascott, R. 2003. Telematic Embrace: visonary theories of art, technology and consciousness. Berkeley: University of California Press.
    2. Bishop, C. 2006. The Social Turn: Collaboration and its discontents. Artforum International.
    3. Latour, B. 2005. Reassembling The Social: An Introduction to Actor-Network-Theory, Clarendon Lectures in Management Studies: Oxford University Press.
    4. Latour, B. 2010. Networks, Societies, Spheres: Reflections of an Actor-network theorist. Paper read at Annenburg Networks Network, at Annenburg.
    5. Lovink, G., G. Coleman, N. Rossiter and S. Zehle. 2009. From Weak Ties to Organised Networks: Ideas, Reports, Critiques. In Hogeshool van Amsterdam, edited by I. o. N. Cultures. Amsterdam.
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  • Visualization of Taekwondo Along the Path of Motion
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  • YoungEun Kim, JiYong Lee, KyooWon Suh, JoungHuem Kwon, and SangHun Nam
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  • ISEA2019: 25th International Symposium on Electronic Art
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  • Poster
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  • 2019 Overview: Posters
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  • Asia Culture Center (ACC)
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  • Continuous artistic efforts have been devoted to visualize the motion path of humans. If a series of motions that have occurred during a period of time is simultaneously visualized in one frame, the outcome can be interpreted from the viewpoint of motion flow over time. From the viewpoint of behavioral arts, the proposed study acquired the movements in Taekwondo and discussed a method for producing media artworks that aesthetically express the motion path shown by Taekwondo. Herein, the actual media artwork was produced according to the discussed method.

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  • Visualizing the Invisible: Exploring the Border between Science and Culture
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  • Kristy H.A. Kang
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  • ISEA2008: 14th International Symposium on Electronic Art
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  • Artist Talk
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  • 2008 Overview: Artist Talks
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  • This presentation will showcase a recent science visualization project produced by The Labyrinth Project’a research initiative on interactive narrative at the University of Southern California’s School of Cinematic Arts’ in collaboration with pioneering molecular biologist Jean Chen Shih. “A Tale of Two Genes: Exploring the Biology and Culture of Aggression and Anxiety” is an interactive project that explores the borders between nature and culture, innovation and ethics by presenting Dr. Shih’s thirty years of pioneering research on a crucial pair of brain enzymes, known as MAO A and MAO B (monoamine oxidase) that help control aggression and anxiety in mice and men. Her work has provided the first tangible evidence for a biological basis of aggressive behavior. Besides visualizing the latest advances in molecular biology and genetic research, this multimedia presentation also engages ethical questions in science (including stem cell research and cloning, the use of laboratory animals, and unequal access to medicine). Using original animations documenting the exciting discoveries of Dr. Shih and by presenting interviews with scientists explaining how they became interested in biology, this project also encourages youngsters to choose science as a career. Using this project as a model for interactive science education, the National Chengchi University has collaborated on a Mandarin edition to be distributed in Taiwan.

    Founded in 1997, the Labyrinth Project works at the pressure point between theory and practice, producing a form of digital scholarship that combines cultural history and artistic practice. Their works have been featured at museums, festivals, and conferences worldwide and have won several prizes, including a British Academy Award and the Jury Award for New Forms at the Sundance Film Festival. All of their works are interdisciplinary collaborations with artists, scholars and cultural institutions. “A Tale of Two Genes” is their first collaboration with a scientist.

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  • VIVO (Video Interactive VST Orchestra) and the Aesthetics of Interactivity in the Age of Care-Less Capitalism
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  • Fabio Paolizzo and Ruth Cain
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
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  • Is it possible to use interactive arts, and specifically interactive music, as tool to enhance consciousness? How interactive arts and consciousness intersect with Derrida’s concept of a given?

    Under capitalism, we increase the requirement for care by focusing on the subject as an independent economic entity, but at the same time we increase the requirement for care, precisely because of the focus on the individual economic attainment. Because of this economic undervaluation, collectivity, sacrificiality, emotional giving and other components of the ¨given¨ become simultaneously intensely problematic and sought after.

    The research spans the fields of musicology, socio-legal studies, software development and composition. Working hypothesis of the study is that users, who individually and collectively create and self-reflect in an emergent grammar, as defined by Hopper, may approach a new type of relational consciousness. Relational consciousness is denied and demanded by late capitalism. The development of an apparently relational consciousness online, problematizes issues of (dis)embodiment and global distance, posing the question of how new virtual form of relationship might mitigate the harshness, isolation and anxiety of care-less capitalism.

    The present study recognizes that specific structures of interrelation may allow the formation of a such a new consciousness, which might operate independently, escaping the overwhelming control of capital. In music, these structures may support the relation between the consciousness of human agents’ self and the musical instrument and musical facts that these users are shaping.

    VIVO (Video Interactive VST Orchestra) is an interactive software musical instrument, which implements these structures, and openinmedia.?net is the social network that hosts it. Users can collaborate, create, publish and share, both open and copyrighted contents and resources, online.

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  • Vi­sual Ab­strac­tion, Cul­tural and Artis­tic Pro­duc­tion in Vir­tual 3D Space
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  • Nettrice R. Gaskins
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Panel
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  • Sabanci Center
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  • Panel: The Big Bang of Electronic Art: Merging Abstraction and Representation in the Age of Digital Imaging

    Ab­strac­tion and the psy­cho­geog­ra­phy of urban space fuel my in­ter­est in de­vel­op­ing spe­cial­ized forms of rep­re­sen­ta­tion: al­pha­bets, draw­ings, paint­ings (graf­fiti), sculp­ture and so on.  Much of my art­works in Sec­ond Life, a vir­tual 3D space, are based on a va­ri­ety of sub­jects that vi­su­ally ap­pear sim­pli­fied and re­arranged – stripped down to ex­pres­sive and com­mu­nica­tive es­sen­tials.  The sim­pli­fi­ca­tion that re­sults from ab­strac­tion does not mean less than pro­found than rep­re­sen­ta­tional works; in­stead, these sim­pli­fi­ca­tions allow deeper mean­ings to emerge.  I use in-world (Sec­ond Life) tools to con­struct vir­tual ob­jects that are tex­tured and as­sem­bled to sim­u­late mod­ern graf­fiti. I ma­nip­u­late artis­tic el­e­ments (tex­ture, color, etc.) using a three-di­men­sional mod­el­ing tool based around sim­ple geo­met­ric shapes that al­lows for the cre­ation of vir­tual art ob­jects. In this process, all parts of the art­work be­come mu­tu­ally in­ter­ac­tive and in­ter­re­lated – as a sys­tem.  Ex­trud­ing two-di­men­sional forms and in­cor­po­rat­ing in­ter­ac­tive el­e­ments re­veal new ways to gen­er­ate rep­re­sen­ta­tions that break set rules and es­tab­lish new prac­tices that ex­tend viewer/user par­tic­i­pa­tion.

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  • Vi­sual Ef­fects Remixed
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  • Peter Richardson
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Panel
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  • Sabanci Center
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  • Panel: Visual Effects Remixed

    Tra­di­tion­ally mov­ing image vi­sual medi­ums in a per­for­ma­tive / gallery con­text have been pri­mar­ily ex­pe­ri­enced as “play­back” medi­ums, in which ma­te­r­ial is fixed in time and is played from be­gin­ning to end. Real-time vi­su­als on the other hand re­quire the in­ter­ven­tion of a per­former or a user. In the case of the VJ or live fim­maker, he or she chooses the video clips in real-time, se­lects the op­tions for ef­fects and de­ter­mines the com­posit­ing of im­ages and ef­fects. Re­cently a num­ber of (tra­di­tional) Nar­ra­tive film mak­ers have moved away from struc­tural nar­ra­tive and into the realm of ‘live cin­ema’, remix­ing their films for au­di­ences as a per­for­ma­tive ex­pe­ri­ence. This raises in­ter­est­ing pos­si­bil­i­ties to ex­tend the genre with a per­for­ma­tive art based ap­proach. British di­rec­tors Peter Green­away and Mike Fig­gis in­creas­ingly work with this method. The ‘live cin­ema’ ex­pe­ri­ence is gen­er­ally lim­ited to pre shot or cap­tured vi­su­als which are processed or remixed. As yet few have at­tempted to in­cor­po­rate ‘live’ vi­sual ef­fects as part of this cin­e­matic ex­pe­ri­ence. This paper in­ves­ti­gates po­ten­tial meth­ods for in­cor­po­rat­ing vi­sual ef­fects into ‘live cin­ema’ ex­pe­ri­ences.

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  • Vjacket: A Wearable Controller for Live Video Performance
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  • Andreas Zingerle and Tyler Freeman
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
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  • This paper proposes an experimental wearable controller for live video performances called the VJacket. The VJacket can be worn by the performer or visual artist (VJ) to control video effects and transitions, trigger clips or scratch frames with the output of the integrated sensor system. The sensors detect body movements like bending, touching or hitting, and can send OpenSoundControl or MIDI messages wirelesssly to the VJ program of your choice. The VJacket brings the rhythmic movement of dance to computer interaction, so the VJ won’t have to fumble for knobs and buttons or look at the screen to be sure he’s clicking on the right thing – he will be free to control the video using his body movements alone.

    Since it is wireless, the VJ will be free to interact with the audience and musicians – on stage or even walking through the crowd – something which most hermit-like VJs do not usually experience, since they are often delegated to the back corner of the club behind the video inputs and lighting controls. With a wireless system, a VJ becomes not just an engineer behind the curtain, but an actual live performer – one whose movements are directly connected to the video projections. The audience will be able to see the VJ’s gestures in connection with the video, and become more interested in the performance itself.

    This paper will introduce the technology and interaction techniques of the VJacket and explain future scenarios (and social roles of VJing culture) within the performance community.

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  • Voicebox: Interactive Sound and Video Installation
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  • Sarah Drury
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  • ISEA2002: 11th International Symposium on Electronic Art
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  • Poster
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  • Project Description

    Voicebox provides an intimate voice interactionwithin an enclosed “box” and an exterior amplification of that interaction outside the box. Inside Voicebox, the participant has the privacy to utter a peep, a word, a scream or a song into a microphone. These vocalizations are sensed and matched in pitch by audio voice fragments, output on interaction as bits and pieces of a lyrical, multivocal song-narrative. Simultaneously on voice interaction, a video switches between several parallel video sequences, which display on both a large-screen video projection outside the box for viewers and on a small monitor inside the box for the participant. On sustained notes, the participant’s live silhouette is keyed in as a third video channel. In this way, the participant “plays” the Voicebox, evoking hidden layers of sound and image.
    Outside the Voicebox , the participant appears to viewers only as a small shadow image, juxtaposed to the large screen projection of the video narrative. Like early silent film accompanists, the participant generates the live musical accompaniment to the moving image. The participant’s voice is heard only intermittently, mingled with the amplified audio that it triggers. The narrative takes shape in successive iterations, in the unique vocal patterns and verbal elaborations of each participant. In this human-computer duet, a story gets told, but just who is it who is telling the story?

     

    Based on a Chinese myth, this is a story about a woman who becomes two people and is later reintegrated. In this contradictory paradigm, the reality of fragmentation, loss, alienation and the joy of integration run parallel, neither more true than the other. Voicebox invites participants to place themselves in a paradoxical intersection of several story lines and numerous vocal presences, including their own live voice.

     

    Full text (PDF) p. 195

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  • Voyeuris­tic Spaces: Ma­te­ri­al­is­ing the De­sire of the Gaze
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  • Petra Gemeinboeck
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Panel
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  • Sabanci Center
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  • Panel: Surveillant Spaces: From Autonomous Surveillance to Machine Voyeurism

    Sur­veil­lance and its ubiq­ui­tous tech­no­log­i­cal lens is often thought of as a de­tached gaze, an ab­stract, re­mote and im­per­sonal form of watch­ing. It sep­a­rates watch­ing from wit­ness­ing, and, in­creas­ingly, even the watch­ing, analysing and in­ter­pret­ing is au­to­mated. Yet even though de­tached, the sur­veil­lant gaze is by no means pas­sive and with­out agency; it is al­ways di­rected and mo­ti­vated by human de­sires. Tate Mod­ern’s re­cent ex­hi­bi­tion Ex­posed: Voyeurism, Sur­veil­lance and the Cam­era has put the al­liance be­tween sur­veil­lance and voyeurism on dis­play. The cu­ra­tor, San­dra Philips, ar­gues that “sur­veil­lance pic­tures are voyeuris­tic in an­tic­i­pa­tion, seek­ing de­viance from what is there: … ev­i­dence of in­crim­i­nat­ing be­hav­iour, such as spy­ing, cross­ing bor­ders il­le­gally, or ac­cept­ing bribes” (2010). Re­mote and ap­par­ently dis­em­bod­ied, the gaze as so­cial force also has a hap­tic pres­ence, “the ges­ture that seizes” (Brighenti 2010), reach­ing to­wards the gazed upon.

    The ro­botic in­stal­la­tion Zwis­chenräume (In­ter­sti­tial Spaces) phys­i­cally man­i­fests the force of the gaze to pro­duce an in­ves­tiga­tive lens into the pol­i­tics of sur­veil­lance. The work, a col­lab­o­ra­tion with Rob Saun­ders, em­beds a group of au­tonomous ro­bots into the ar­chi­tec­tural fab­ric of a gallery; they punch holes through the walls to in­spect what’s out­side, sig­nal each other, and con­spire. The ma­chine aug­mented en­vi­ron­ment ex­am­ines the stealthy in­va­sion of dig­i­tal sur­veil­lance through the phys­i­cal lens of urban com­bat tac­tics. In con­trast to the dis­em­bod­ied, dis­guised gaze of our every­day sur­veil­lant spaces, here the agency of the ma­chinic gaze ma­te­ri­al­izes and marks and wounds our en­vi­ron­ment.  Zwis­chenräume’s gaz­ing ro­botic agents are self-mo­ti­vated, cu­ri­ous to study their en­vi­ron­ment and its in­hab­i­tants. Rather than serv­ing as the eye for a human agent, they are voyeurs, only watch­ing for their own ‘plea­sure’. In­ter­est­ingly, it is the ma­chines’ de­sire to de­tect de­viance from the ‘norm’ that in­ti­mately links sur­veil­lance (the norm) to voyeurism (the de­viant). Zwis­chenräume, whose way of see­ing is mo­ti­vated by what it sees, ex­pects, and doesn’t see, does not only per­form but be­comes an au­di­ence to the au­di­ence’s per­for­mance.

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  • VR as a Preservation and Simulation Tool for Media Art Installations
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  • Adam Lockhart
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  • ISEA2020: 26th International Symposium on Electronic Art
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  • Paper
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  • David Hall (1937-2014) was one of the pioneers of video art in the UK, beginning with TV Interruptions that he made for STV in 1971 as part of the Edinburgh Art Festival. He continued to make single screen video works, but his main focus was the creation of video sculptures. Most of these sculptures used old cathode ray tube monitors. Although these are still available and working at the moment, over time it will become more and more difficult to find any working examples. Due to these problems with technological obsolescence, many of Hall’s and numerous other artists works may not be so easily replicated in the future. With this in mind, other ways to present these works need to be considered to allow them to be appreciated by future audiences. One way to do this is by using virtual reality. This paper summarises the recreation of two David Hall video installations in VR. Viewers experienced the work by being immersed in a 3D virtual gallery. This gave the viewer an idea what the work would be like in real life. The process of creation, maintaining the integrity of the work, authenticity and the user experience will be examined.

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  • VR as Poesis
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  • Char Davies
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  • ISEA97: Eighth International Symposium on Electronic Art
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  • Paper
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  • Char Davies approaches the medium of immersive virtual space as a philosophical arena for constructing architectures of enveloping immaterial form. Davies will show documentation of her well-known work Osmose with its dozen worlds of forest, earth, pond, abyss, code, text, and so on, while discussing various paradoxes inherent to the medium such as embodiment/ disembodiment, and 3D form/immateriality. Whereas conventional VR design reflects a cultural world-view in which empty space is filled with hard-edged objects etc., Davies’ approach embraces the medium’s paradoxes by working with transparency, luminosity, spatial ambiguity, and temporality. She has pioneered a body-centered user interface of breath and balance with the intent of affirming the role of the subjectively-felt physical body in virtual space. While”virtual reality” is often interpreted as a technology offering escape from earthly and bodily concerns, Davies believes that it can also be used to facilitate intensified awareness of one’s own embodied yet ephemeral being in the sensuous flowing world. Future implications of the medium are double-edged, for while such virtual environments may offer temporary refuge from urban stress, these new sites may also signal the receding of traditional contemplative rituals and non-human others from our lives.

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  • VR as RV: an exploration of mind/environment
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  • Peter d’Agostino
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  • ISEA94: Fifth International Symposium on Electronic Art
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  • Artist Talk
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  • Artist Statement

    With the content and contextualization of new technologies shaping ever evolving perspectives of cyberspace philosophical questions continue to emerge as to what is real and what is not, from Plato’s Cave to this oxymoron called virtual reality. When foraging along the highways of electronic digital information, it becomes necessary to reframe and reconsider the inherent meanings and current uses of terms like virtuality, reality and actuality.

    VR as RV is a new “critical virtual reality” (CVR) project intended to function as a metaphorical equivalent of CPR (cardiopulminary resuscitation) -a form of first aid for a dying body. In the context of a post-Cold War era, this work is an attempt to resuscitate a technological system that is still tied to outdated modes of an industrially based militarism. The theoretical framework for VR as RV incorporates Gregory Bateson’s concepts of “an ecology of mind,” and “mind/environment” with references to a superstring theory which postulates a ten dimensional universe with two parallel realities of four and six dimensions. The critique inherent in this work is that recent hybrids of VR and online systems are creating hyper-theaters of the absurd, high- tech forums that are, ironically, analogous to the function and practicality of the “self contained comforts” of an RV (a motor home or caravan) :”Your recreational vehicle has been designed and engineered to provide you with many self-contained comforts of home without having to be connected to outside sources…. if operated within recommended  procedures, [it] should provide you with many miles of virtually trouble free travel”. Charting this inversion of map and territory, VR as RV also addresses the erosion and possible reclamation of oral traditions that are firmly rooted in a past and still clearly manifested in the present. Alternative structures suggested by the multi-dimensional aspects of superstrings can also create links to indigenous cultures that may yield something beyond the sterility and predicability of a pervasive globally based high-tech culture.

    VR as RV incorporates an immersive virtual reality installation that will be premiered at the Banff Centre for the Arts in August. An on-line component is planned for access on the World Wide Web during the ISEA94 Symposium in Helsinki.

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  • VR Content ‘Four Seasons’ for Alzheimer
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  • Bo-Yeon Kim, Joo-Chan Kim, Sunny Thapa Magar, Min-Hye Pak, and Hae-Jung Suk
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  • ISEA2019: 25th International Symposium on Electronic Art
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  • Poster
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  • 2019 Overview: Posters
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  • Asia Culture Center (ACC)
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  • ‘Four Seasons’ is a Virtual Reality (VR) interactive content specially designed for the dementia patients, allowing them to enjoy the scenery of the four seasons of Korea and to interact with the 3D models representing the phenomena of nature based on Gesture-based user interface. It proceeds using the user’s hands movements and following the voice narration of a character (NPC) in the background of illustrated art. When the user interacts with the 3d models, it can help dementia patients engage and enhance their intuitiveness. This project shows that using Human-computer Interaction of VR and bio-sensors could help not only the patient’s cognition but also support the emotional state.

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  • VR Panoramic Photography and Hypermedia: Drawing from the Panorama’s Past
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  • Seth Thompson
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  • ISEA2015: 21st International Symposium on Electronic Art
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  • Paper
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  • (Long paper)

    Keywords: VR Panoramic Photography, Hypermedia, Narrative, Painted Panorama, Immersive Image Spaces.

    Since the 1787 patent of the immersive 360-degree painted panorama by Robert Barker, the panorama has been used as a narrative storytelling tool. With VR (virtual reality) panoramic photography in tandem with the notion of hypermedia, the VR panorama can further advance the idea of storytelling as both an object and an interface. Using the principles of Robert Barker’s patent of the panorama as a point of departure to explore the conceptual relationship between painted and screen-based panoramas, this paper will explore: how the potential for a hypermedia system can be found in the painted panorama; the unique qualities of the computer-based panorama; and discuss related hardware advances for the digital panorama, which appear to bring us closer to Robert Barker’s original intent as an immersive image space for the masses.

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  • VR Webcams: Time Artifacts as Positive Feature
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  • Michael Naimark
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  • ISEA2002: 11th International Symposium on Electronic Art
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  • Paper
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  • “Virtual Reality” and “webcams” are currently incompatible suppositions, placing sensory richness in opposition to liveness. Large immersive images, sent through a “narrow pipe” such as today’s Internet, must “accumulate” over time. Time artifacts result, since not everything can be transmitted at the same time.

     

    Such time artifacts were explored using visual material from a previous art installation, filmed with a custom-built camera system, where such factors as frame rate, lens angles, and panning speed were known. Though the footage was prerecorded, it approximated what a live “VR webcam” could be.

     

    Scenes of the same places at different times of day were combined in various ways to simulate “narrow pipe” time artifacts. Studies produced from this footage suggest that time artifacts, while reducing the verisimilitude of the imagery, can increase its density or activity. In such “hyper-real” images, “more” can “happen.” A “VR Webcam” is proposed.

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  • VULTUR GRYPHUS
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  • El Giro Colectivo Artístico
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 2017 Overview: Artist Talks
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  • University of Caldas
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  • The guardian of the Andean Mountains flaps his wings between frailejones, chusquea, cortadeira, and it greets its siblings: Tapir, spectacled bear and puma. One day is like a lifetime, since its birth in the egg until death in the top of the snowy mountains. The cold atmosphere of the moor is the home of this feathered giant: The Condor, nowadays, the Condors are in danger of extinction, due to the decrease of their habit. The Moors, the Condor’s house, are considered the vital place for the environment. They are like a reserves and water filters, and they work a sponges that retain CO2, take care of global warming. Vultur Gryphus is a proposal of dramatic multimedia dance by El Giro Artistic Collective; this work is a soundscape of “El Páramo de Letras” in Colombia with the performance about the life of Andean Condor. The landscape of the moor is created through electronic music and mobile image; the typical sounds of the Quena, Charango and Tambora are mixed with the electronic music; the video and live image mix (VJ) create the visual environment where the Condor life.The guardian of the Andean Mountains flaps his wings between frailejones, chusquea, cortadeira, and it greets its siblings: Tapir, spectacled bear and puma.

    One day is like a lifetime, since its birth in the egg until death in the top of the snowy mountains. The cold atmosphere of the moor is the home of this feathered giant: The Condor, nowadays, the Condors are in danger of extinction, due to the decrease of their habit. The Moors, the Condor’s house, are considered the vital place for the environment. They are like a reserves and water filters, and they work a sponges that retain CO2, take care of global warming. Vultur Gryphus is a proposal of dramatic multimedia dance by El Giro Artistic Collective; this work is a soundscape of “El Páramo de Letras” in Colombia with the performance about the life of Andean Condor. The landscape of the moor is created through electronic music and mobile image; the typical sounds of the Quena, Charango and Tambora are mixed with the electronic music; the video and live image mix (VJ) create the visual environment where the Condor lives.

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  • VVV: Volumetric Video in Videogames
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  • ISEA2020: 26th International Symposium on Electronic Art
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  • Poster
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  • 2020 Overview: Posters
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  • VVV: Volumetric Video in Videogames is a research-creation project aiming to advance experimental development using volumetric video (a computational fusion between captured depth data and video images) in expressive videogames by drawing upon successful patterns from early game design practices foregrounding captured media. Such exploration is essential given the complexity of hybrid capture images. This ongoing project presents new ways of understanding captured media within highly interactive postmedia forms.

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  • V_Tape: How New Technologies Can Influence Education Within Media Arts
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  • Lisa Steele
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  • ISEA95: Sixth International Symposium on Electronic Art
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  • Paper
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  • 1995 Overview: Paper Presentations
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  • Given that specialized archive sites, such as video tape which acts as a repository for information about video art (tapes, printed material, archives), are only accessible to users/ members of the general public who are in the geographical location of the site, could new technologies be employed to assist in making such specialized locations into “decentred” centres, capable of serving the research and pedagogical needs of students, researchers, curators and other interested individuals and publics?

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  • Wai: Understanding Maori and Indigenous Concepts of Water
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  • Ian M. Clothier
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  • ISEA2012: 18th International Symposium on Electronic Art
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  • Artist Talk
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  • 2012 Overview: Artist Talks
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  • OFFCenter
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  • Humanity and Earth are at an important juncture: the intersection of past unsustainable approaches to environment and the potential for a sustainable future. An important factor in these issues is listening to the voice of indigenous people on the subject of environment. It is quite clear that the West will not by its own means resolve climate change issues. Dr Te Huirangi Waikerepuru, a highly respected Maori Kaumatua (elder) from Aotearoa New Zealand will lead a session based around indigenous concepts of Wai – water or flow. This is central to the installation exhibited at 516Arts.

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  • Wai: Understanding Maori and Navajo Understanding Water
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  • Ian M. Clothier
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  • ISEA2012: 18th International Symposium on Electronic Art
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  • Artist Talk
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  • 2012 Overview: Artist Talks
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  • 516 ARTS Gallery
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  • Humanity and Earth are at an important juncture: the intersection of past unsustainable approaches to environment and the potential for a sustainable future. An important factor in these issues is listening to the voice of indigenous people on the subject of environment. It is quite clear that the West will not by its own means resolve climate change issues. Dr Te Huirangi Waikerepuru, a highly respected Maori Kaumatua (elder) from Aotearoa New Zealand will lead a session based around indigenous concepts of Wai – water or flow. This is central to the installation exhibited at 516Arts.

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  • Wake Vortex: Orthogonal Scanning of Digital Artefacts
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  • Dejan Grba
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 2017 Overview: Artist Talks
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  • University of Caldas
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  • ISEA 2017

    Wake Vortex is an ongoing series of generative videos and images built around the idea that digital raster image can be treated as a threedimensional object and viewed not just frontally but also from any other side. This process can be understood as line-scanning of digital imagery. Scanned orthogonally from the side, the image is perceived as a sequence of one-pixel wide lines, while orthogonal scanning of a stacked set of video frames creates a new sequence of images which can be animated, and certain combinations of source materials and scanning sides/directions produce interesting results. Dimensional collapse in orthogonal scanning reveals new formal values and facilitates layered observation.

    While visually estranged, the generated imagery retains the suggestiveness of the original so the viewer intuitively regards it analytically. Wake Vortex employs (re)creativity in taking as source material the artworks and cultural artefacts which were themselves developed through various modes of innovative combinatorics. In aviation and seamanship, wake vortex is an unpredictable, often dangerous turbulent trail generated by the craft’s motion. In this project, it points to the complexity of the imperceptible or unregistered default values of an artwork or cultural artefact, to their unforeseen expressive, cognitive, ethical, relational and political consequences.

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  • Walking A Cappella
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  • Jessica Arseneau
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  • ISEA2015: 21st International Symposium on Electronic Art
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  • Artist Talk
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  • 2015 Overview: Artist Talks
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  • Walking with projectors
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  • Rocio von Jungenfeld
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  • ISEA2014: 20th International Symposium on Electronic Art
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  • Paper
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  • Zayed University - Dubai
    •

  • In this short paper I discuss how portable projectors can be used in public space, in particular in parks, to open up social and creative spaces. Portable digital technology such as smart phones and digital tablets are slowly incorporating more and more capabilities. Users are putting to good use established functionalities such as collecting data from immediate environments (images, sounds and geographical location) and retrieving and sending such information to repositories and digital accounts. They are versed in keeping their digital selves up to date. The incorporation of new features into these devices will have an impact on the way they are used. The current design affords for a ‘tuning’ of personalised digital devices (Coyne 2010) as the person can move in the environment of her choice ‘tuned’ to her data, sounds, and friends.

    She is save in her bubble of ‘tuned’ personalised space. She is freed, for instance from interacting with others while she walks in the park on her way home. With the incorporation of digital projection capabilities these ‘tuned’ personalised digital devices could turn inside out and transform personal space into public space. Some smart phones in the market have already incorporated portable projectors, but this feature is still rare. To explore how portable projections could be used to render everyday spaces an new and become a meeting space where people could share their experience of moving, walking and interacting with each other in public space I have developed a series of audiovisual walks. In this audiovisual walks, people are invited to move in space and project images and sounds onto the environment, and in this way contributing with their presence to the unfolding of the audiovisual work while sharing the experience with others in public space.

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  • Was I supposed to feel like I was a part of that? Strategies towards engaged, embodied audiences in participatory electronic artworks
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  • Helena Schniewind
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  • ISEA2009: 15th International Symposium on Electronic Art
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  • Round Table
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  • Waterfront Hall
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  • Roundtable Statement

    A diverse range of artists and performers are harnessing electronic media and experimenting with what happens when recorded and live presence are placed side by side in a performance. When successful, electronic media performances of this type can activate an embodied exchange between audience members and the work, and develop the capacity of audience members to derive our own meaning instead of waiting for the artist’s intended message to be communicated to us through

    a screen. Once the exchange gets transposed into a setting where there are not only images to communicate meaning, but also live bodies and a rich sonic landscape, the question arises of what exactly the ‘screen’ is, and what part of the body is involved in ‘gazing’ at the work? Or, from an even more embodied position: what part of the body isn’t involved in ‘gazing’? Whose body are we talking about anyway?

    Helena Schniewind will facilitate a round table discussion to consider how we, as electronic artists, have an opportunity to redefine our relationship with our audiences and open up what it means to be a participant in a work which involves electronic media. We will use our own practices as a launch point to deeply question whether contemporary ‘participatory’ works are actually open to a participatory audience and what shape that exchange might take. Who, or what, has been affected by the exchange? Was there really any exchange at all? Has the audience’s participation impacted the outcome of the piece in any way?

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  • Wasting Time: The Thinking Behind ‘Knowmore (House of Commons)’
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  • Keith Armstrong
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
    •

  • The future is travelling towards us shaped by all that which we have historically thrown into it.  Much of what we have designed for our world embodies an unacknowledged time debt – that inadvertently continues to redesign our present and future.  This dangerous omission manifests in climatic instability and a growing range of social and environmental dysfunctions. We are a predominantly ‘chronophophic’ peoples – in that we do not effectively ‘think in time’ and so as a result we design for ourselves this serious legacy: The future of many of the myriad species and things that form today’s ‘naturalised artificial’ are therefore under serious threat. Their/our time is running out. What may once have seemed infinite is now revealed as finite. Time has become finitude.

    Slowing this king tide is an extraordinarily complex, shifting problem that challenges us to our ontological core. Science and technology are arguably less than half of any possible solution. Beginning to solve a problem this vast  – a ‘problem of us’ – pre-supposes a profound cultural shift.

    Beginning with a core understanding that ‘everything has its time’ is an unexpectedly powerful thought in that it allows us to frame our journey towards action as ontological. Set within this thinking, the paper examines the motivations behind a recent major media artwork Knowmore House of Commons, (premiered at the Mediations Biennale in Poland in 2010) – a large scale interactive installation that engages with these cultural dimensions of sustainability. A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants’ presence around the table and how they touch it is registered, allowing up to five people to collaboratively ‘play’ this deeply immersive audiovisual work. The work subtly asks what kind of resources and knowledge might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change, whilst hinting at other deeply relational ways of understanding and knowing the world.

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  • Water Bodies: Reflections on Network Ecologies
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  • Victoria Vesna
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  • ISEA2008: 14th International Symposium on Electronic Art
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  • Artist Talk
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  • Singapore Management University, Seminar Room
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  • Water is the oil of the next century.

    Thirst and the lack of water are the most devastating things that can happen to a human being. Humans can live for several weeks without food, but only about three days without water. The lack of water and its poor quality together have been directly responsible this year for 10 times more deaths than all the wars waged on planet together. Available fresh water amounts to less than half of 1% of all the water on Earth — the rest is seawater or polar ice. Fresh water is renewable only by rainfall.

    The Waterbowls installation is a reflection on different aspects of water related to the collective, global human condition. Some of the most common metaphorical associations of water — such as the reflection of the moon, a drop of water, the sound of water, and oil and water — are revisited through the use of some of the latest scientific observations. Moon and Sound are locally interactive and Drop and Oil are interactive both locally and remotely, emphasizing the global connectivity of water / human systems, beyond borders.

    Two main conceptual challenges are discussed – how to create an interactive work that is at once aesthetically compelling and poetic while raising awareness about water pollution and how to design an online component that is at once independent and connected to the physical project.  victoriavesna.com/index.php?p=projects&item=7

    		•
  • Waterlight Color
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  • Antonin Fourneau
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  • ISEA2016: 22nd International Symposium on Electronic Art
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  • Artist Talk
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  • Run Run Shaw Creative Media Centre
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  • WaterWays Visualization Computational Reflexivity for Sustainability Action
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  • Aleksandra Dulic and Miles Thorogood
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  • ISEA2020: 26th International Symposium on Electronic Art
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  • Paper
    •

  • We discuss Water Ways project that uses a research creation approach to bridge scientific, Indigenous, artistic, and humanistic perspectives within media rich datadriven visualizations.
    The Water Ways demonstrates how the research-creation method enables articulation and exploration of the nature of humanwater relationships in the Okanagan Valley, British Columbia. The resulting visualizations employ use of interactive media technologies and software design to form a platform for dialogue across communitybased, poetic and scientific water knowledges. The project synthesizes important water knowledge and research in order to catalyze greater ecological awareness and promote more sustainable water use practices among Okanagan residents.

    The work explores the multiple meanings that water holds for the many communities, and interest groups in the valley, including Indigenous Okanagan (Syilx) communities, environmentalists, artists, agriculturalists, foresters and tourists. By weaving together multiple community stories, diverse water knowledge, and artistic expressions, the visualizations provide a setting for our complex local understanding of water. Acknowledging the sustainable practices of the Okanagan people on this land, we engage in a design methodology for creating an experiential learning environment that aligns with the holistic approach evident in Indigenous ways of regenerating and developing important communal practices. This methodology tightly integrates many ways of knowing through story, song and creative expression.

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  • Wave voxel: A multimodal volumetric representation of three dimensional lookup tables for sound synthesis
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  • Anis Haron and George Legrady
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  • ISEA2015: 21st International Symposium on Electronic Art
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  • Poster
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  • 2015 Overview: Posters
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  • Keywords: 3D lookup tables, wave voxels, three-variable functions

    Our research presents an extension to current implementations of table lookup techniques for sound synthesis. In this paper, we present methods for generating volumetric representations of data as three dimensional lookup tables for sound synthesis.

    Intro                                                                                                                                                            Table lookup techniques are widely used in many sound synthesis applications today as an efficient technique for signal generators.  In this paper, we propose methods to generate volumetric representations of data as three dimensional lookup tables for sound synthesis, based on previous research and experiments in sound synthesis by means of two-variable functions. We introduce the term wave voxels to denote three dimensional lookup tables for sound synthesis.

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  • Waves of Technology: The Hidden Ideologies of Cognitive Neuroscience and the future production of the Iconic
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  • Terry Flaxton, Charlotte Humpston, and Leon Gurevitch
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  • ISEA2015: 21st International Symposium on Electronic Art
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  • Panel
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  • 2015 Overview: Panels
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  • Way to Go: The Impact of Process on Artists’ Residencies in Science and Research Settings
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  • Vicki Sowry, Oron Catts, Roger F. Malina, Denisa Kera, Arantxa Mendiharat, Irène Hediger, Lonce Wyse, Marta de Menezes, and Anne Kienhuis
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  • ISEA2008: 14th International Symposium on Electronic Art
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  • Panel
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  • Ways of Knowing: Creative Pedagogies for Digital Literacy
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  • Catalina Alzate
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 2017 Overview: Artist Talks
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  • University of Caldas
    •

  • This design case includes two examples of design projects that look at digital literacy as a political act with the potential to empower people. The basic premise is that digital literacy is not an isolated educational and technical component for communities, but in order to be meaningful, it must derive from current social and cultural practices, and find scenarios where technology adds value. Therefore, digital literacy is an experience, and not an end-product.

    The two projects were carried out in rural areas of the state of Karnataka, India, with two communities of women, who engaged in a pedagogical process using digital tools. During participatory sessions, we constantly relooked at how technology can be part of social arrangements where people have more control over their own lives individually.

    This approach to digital literacy is informed by the principles of empowerment, citizenship and individual rights. It gives priority to cultural meanings, and poses digital devices as artifacts that are embodied by people and can extend their capacity of communication and transformation. The methodologies of ‘Ways of Knowing’ include participatory processes, the use of digital devices and experiential learning.

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  • Ways of Seeing
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  • Ian Willcock
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  • ISEA2016: 22nd International Symposium on Electronic Art
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  • Artist Talk
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  • The Hong Kong Polytechnic University
    •

  • Ways of Seeing is a dynamic installation driven by a real-time webcam feed combined with visual materials gathered using algorithmic data-mining techniques from publicly available web sites. The work seeks to make the viewer aware of the (normally transparent) ideological ‘lenses’ through which media present conflict.

    Ways of Seeing, deliberately named in reference to John Berger’s important contribution to our understanding of how visual information is given cultural meaning, is an installation designed to make viewers aware of two contrasting aspects of digital (re)mediation. On the one hand, the ideological gaze, the filtered narratives of power, causation and interpretation that underlie the construction of meaning and on the other, the opportunities for provocation and dissent provided by the affordances of modern digital networked information systems.

    The work is a part of a longstanding project using metadata and dynamically sourced image materials to produce a dynamic library of contextualising tools for use in digital artworks. In the current installation, image materials are collected from four contrasting groups of news sources, selected for different perspectives on the status and future of an area of protracted and intense conflict. In current case, the artist has chosen Al Quds (Jerusalem), but the specific location is used as an exemplar of a locus of conflict rather than the focus for an exercise in political intervention (although this would be a perfectly proper artistic intention). The image collections are deliberately focused on news and campaigning organisations from a range of positions, images are grouped by the collection system based on their context which includes the organisation they are sourced from.

    These four image libraries then form the basis of a set of four ideological ‘lenses’; visual materials selected in their original publication with an explicit bias which are then cut up and used in fragmentary form to ‘paint’ four copies of a live webcam stream of the conflict zone itself, individual pixels from the webcam are replaced with an image fragment with the same average colour value. This substitution (degradation) prevents the webcam feed form being ‘read’ as reportage by continually drawing attention to the means of presentation; as Jay David Bolter would put it, the real-time view is remediated rather than being presented transparently.

    The four ‘alternative remediations’ of the same live webcam stream are presented next to each other on monitors, each employing materials drawn from a different bias-selection criterion. From a distance, the four views look largely similar (Fig. 1, 2), but close up, the differences in detail can be clearly seen (Fig. 3). The viewer, acknowledging the ostensible content (the area in view) is thus encouraged to examine the specific detail in each re-visioning; to look closely at the fragments of ideologically charged material in which the different versions of the overall image are expressed. The piece is thus a metaphor for the ways a given situation can be observed from different ideological viewpoints. At a higher level, the piece also exemplifies the opportunities contemporary digital technology provides for those interested in making socially related digital art.

    Those same tools of network traversal, data mining and digital appropriation which permit the monitoring and identification of activists and the blunting of progressive communication also can be shown to provide artists with access to the raw materials and trails of influence which enable them to expose and subvert mechanisms of control and reaction. The same commercial demands which demand programmers and system architects facilitate the closed-system applications central to corporate social media business models also lead to the production of software tools which can be used to evade the controls on content and access imposed in previous iterations of network regulation.

    Ways of Seeing was first exhibited on 1st September 2015 at the DRHA2015 conference in Dublin, Eire.

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  • We are the Medium-the-Con­text-the-Source of Net­worked Cre­ativ­ity
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  • Ruth Catlow
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Panel
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  • Sabanci Center
    •

  • Panel: Creativity as a Social Ontology

    We are con­stantly faced in our net­worked cul­ture with cre­ative ten­sion be­tween in­di­vid­ual and col­lec­tive ac­tiv­i­ties.  The net­work-aware artist nec­es­sar­ily acts as both orig­i­na­tor and par­tic­i­pant in this new con­text. The medium is the peo­ple, the en­vi­ron­ment, the com­plex phys­i­cal and tech­ni­cal net­works that we all en­gage and the in­ter­faces that me­di­ate our in­ter­ac­tions. Imag­i­na­tive and crit­i­cal ap­proaches in­formed by a grass roots per­spec­tive are nei­ther tech­no­log­i­cally de­ter­mined nor do they serve in­sti­tu­tional, the­o­ret­i­cal and art his­tor­i­cal val­ues (al­though these things play an im­por­tant part). In­stead, peo­ple (artists) chal­lenge, hack and reimag­ine or re­shape given in­ter­faces to cre­ate their own imag­i­na­tive con­texts on their own terms. We claim the medium, we are the medium as in­di­vid­u­als, groups, col­lec­tives.  I will pre­sent two im­ages as the basis for my con­tri­bu­tion to the panel dis­cus­sion.

    The first, the fa­mil­iar image by Paul Baran il­lus­trat­ing three dif­fer­ent com­mu­ni­ca­tion net­work topolo­gies from “On Dis­trib­uted Com­mu­ni­ca­tions: 1. In­tro­duc­tion to Dis­trib­uted Com­mu­ni­ca­tions Net­work”. In­ter­net and world wide web topol­ogy can be un­der­stood as com­bin­ing the de­cen­tralised and dis­trib­uted net­works in which all nodes have the po­ten­tial to both trans­mit and re­ceive. All nodes are ac­ces­si­ble by all nodes and new nodes (peo­ple, ma­chines, pro­grammes, con­tent) can al­ways be added. This is an open, scale-free net­work which main­tains con­nec­tiv­ity re­gard­less of the num­ber of nodes added.  Sec­ondly, the graphic in­vi­ta­tion to join in with the first DIWO (Do It With Oth­ers) E-Mail Art ex­hi­bi­tion. It rep­re­sents a cat­e­gory-jump­ing net­work of ac­tors: groups, a philoso­pher, an emoti­con, a cou­ple, de­vices, con­nect­ing ma­te­ri­als, vi­sual analo­gies (the tuft of grass- for grass­roots) the speak­ing dildo (to ac­knowl­edge the ma­te­r­ial ef­fect of sex­u­al­ity on the life of the In­ter­net) etc.

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  • We-The Common Body, 2016-2017 (triptych): A). “This view has Potential”, B). “Vanitasity”, C). “Virtual Phenotype”
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  • Elvin Flamingo
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 2017 Overview: Artist Talks
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  • University of Caldas
    •

  • We—The Common Body project is created as a collective of Elvin Flamingo + Infer. The project is comprised of three parts: A.) “This view has potential”, B.) “Vanitasity” and C.) “Virtual Phenotype”. Object A.) is an incubator inhabited by thousands of earthworms – the oldest group of invertebrates on Earth (Aristotle and later Darwin recognized them as the bowels of the Earth.

    Darwin devoted nearly 30 years of his life to studying them). Vermicompost which is produced by the earthworms moves to the respectively arranged sensors and the signals captured are transferred to other objects.

    Object B.) is an attempt to describe the hypothetical habitat without identifying its future colonizer. Object C.) is a fully generative VR-world created in visual software. The virtual world is armed with specially designed digital sound synthesizers, generating sonic space based on signals from the Object A’s sensors.

    The combination of audio and generative visual is closely related to both the objects A.) and B.) and all three parts form together a model of the Common Body.

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  • Weaponizing Play
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  • Hugh Davies
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
    •

  • Recent disclosures of the CIA Funding Abstract Expressionism as part of a cultural battle during the Cold War have understandably changed popular perspectives on the art of that era. But such revelations also raise contemporary questions. With a similar ideological battle being fought today, and with arts funding ever shrinking while military budgets increase: in what ways might the creative industries be enlisted and even secretly militarised?

    One certain approach that is being taken is through popular computer games.

    Today, the U.S. Military is openly using the game “Americas Army” to recruit young soldiers. Although computer games are regularly demonised as being influences of school shootings in the US, in that same country, the military s employment of games for training seems hidden in plain view. The U.S Army itself readily admits that the game Americas Army is a propaganda device and is gladly considers it to be a cost-effective recruitment tool. It aims for the game to be to become part of popular youth culture.

    This paper discusses the ethics and implications of militarising todays most popular entertainment format.

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  • Wearable absence
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  • Barbara Layne and Janis Jefferies
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  • ISEA2009: 15th International Symposium on Electronic Art
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  • Paper
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  • Waterfront Hall
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  • Wearable Computing as a Framework for Reflectionist Intervention
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  • Steve Mann
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  • ISEA2002: 11th International Symposium on Electronic Art
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  • Panel
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  • Reflectionism is a memesis/nemesis that holds a mirror up to society through the creation of a symmetry built from poetic justice. From the cyborg manifestations that mirror nature’s own “human elements” to the conspicuously concealed wearable security cameras worn by customers shopping in large department store complexes, Reflectionist art(ifacts), performances, and street theatre  will be presented in the context of post-anthrax societal values.

     

    wearcam.org/adwear

     

    Full text (PDF) p. 149

    		•
  • Wearable materialities
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  • Camille Carol Baker, Tara Baoth Mooney, Elena Corchero, Ebru Kurbak, Mahir M. Yavuz, Amanda Parkes, and Hannah Perner-Wilson
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  • ISEA2009: 15th International Symposium on Electronic Art
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  • Panel
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  • Waterfront Hall
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  • Panel Statement

    It is a panel grouping together individuals working in the field of wearables invested in exploring new material practices This panel investigates emerging material research in the field of wearables being explored by designers today. Exploring how ‘smart’ textiles converge with the disciplines of science, biology, fashion, engineering, architecture and data visualisation, the panel investigates the resonant potential for materialities to articulate new processes, interactions and iterations in the area of wearables design. As this hybridised area of creation calls upon the collaboration, inspiration and contribution from associated scientific and artistic disciplines the practice of wearable technologies is increasingly shaped and informed by these consonant fields of research. In the area of materiality, the uses of non-conventional materials, the role of sustainable energy practices, the design of responsive interfaces, as well as the engineering (or hacking) of technologies with the aims of creating new and innovative works will be investigated. The individuals invited to present on this panel will speak specifically to the topic of wearable materialities and their personal experience in designing hard/software applications and sensors/actuators for the articulation of new forms of textiles and fashion. Each of them is involved in innovative materials and platform development to create wearables.

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  • Web3D Dance Composer: A Web-based Ballet Performance Simulation System
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  • Asako Soga
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  • ISEA2002: 11th International Symposium on Electronic Art
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  • Paper
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  • This research approach focuses on sharing 3D animation data over the Web and creating a system capable of animating virtual ballet performances. Sharing motion data on the Internet allows anyone to access various artistic dances all over the world. In addition to this, these motion data can be applied in online systems for educational and artistic purposes. I present Web3D Dance Composer, which enables the creation and editing of classical ballet animation based on VRML. This system allows anyone to easily create and simulate artistic ballet performances as well as realistic stage effects. Since it is important for classical ballet to provide an artistic harmony from both dance choreography and stage&scenario effects, this system can be useful for teachers and choreographers to simulate their performance in advance. This system also allows artists opportunities and possibilities to express their feelings.

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  • Webbed Spaces: Between Exhibition and Network
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  • Ken Feingold, Lorne Falk, Laura Trippi, Stelarc, Perry Hoberman, and Victoria Vesna
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  • ISEA96: Seventh International Symposium on Electronic Art
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  • Panel
    •

  • Panel Statement

    For artists exploring networked environments and diaphanous architectural and acoustic domains, traditional ways of functioning within the established art world are being fundamentally altered. Artists, curators and art critics are well aware that the World Wide Web is a non-linear and chaotic space that doesn’t fit neatly into the existing structures of existing institutions, such as galleries and museums. This shifts not only the relationship and the dynamic of the existing power structures, but is redefining the field of art itself. Long standing relationships between the artist and their audience, the curatorial process, and entrenched cultural institutions, neither apply to, nor nurture the development of contemporary art making as it increasingly occurs in this radically reconfigured terrain. Depending on the particular interest of an artist, a variety of disciplines may become his/her resource while developing the work, thus creating a model that might be closer to scientific research than work which is solely based on practice. This is amplified by the fact that artists who work with computers have to master skills which are anything but intuitive. Artists who have successfully made the leap from the traditional exhibition spaces are creating a bridge between different worlds and defining an evolving field of artmaking located between networks and physical installations. Both artists and the institutions that they have traditionally affiliated themselves with are struggling to locate this new dynamic of creative activity. For this panel, we will be staying within the confines of the art world; from this vantage point we will attempt to define this newly emerging world. A wide range of topics will be addressed – from problems of hardware dependency and sponsorship to theoretical issues such as identity and the author/audience relationship. We will discuss the importance of visual and interface aesthetics as a determining factor of how media works are classified as art, and the question of who in fact is qualified to make such a judgement at this stage. By using “surfing the net” as a model, we plan to touch on a variety of subjects and issues that are having an effect on this emerging field. On the one hand, how does an audience influence work that is open to their contributions? And on the other hand, what strategies can the artist use to maintain the aesthetic and conceptual coherence of their work? The web allows participants to wander in and out of any space they visit. What ramifications does this have for the experience of artworks? If the artist or institution controls this access, do they negate the very nature of the web? What is the relationship of the audience and the artist? How does this relationship shift from networked space to physical public space? How can museums and art collectors deal with works that have no closure? Finally, what is the conceptual problematic of defining and separating the off and on-line spaces? The panelists will present examples and proposals of projects which are designed to blur these rigid separations.

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  • Weblogmusic: A Performance Platform for Individually Time-Shifted Improvisers
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  • Jeffrey M. Morris
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  • ISEA2015: 21st International Symposium on Electronic Art
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  • Paper
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  • (Short paper)

    Keywords: Aesthetics, glitch, improvisation, interdisciplinary, mediation, music, telepresence, web.

    Weblogmusic is a web-based venue for time-shifted improvising ensembles. By embracing the asynchronously created, glitch-prone nature of internet fora, the project allows each performance to be unique in the viewer’s browser, with unpredictable network latency disrupting cause and effect in ensemble interactions. The project brings focus to extramusical elements including presence, authenticity, and causality as well as the non-transparent effects of mediatization, allowing the audience to reflect on the unique properties of live performance and the unique properties that emerge from mediated performance.

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  • Wegzeit: The Geometry of Relative Distance
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  • Dietmar Offenhuber
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  • ISEA2002: 11th International Symposium on Electronic Art
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  • Poster
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  • This web3d project explores how the concept of non-linear space – that is space structured by relative units – can be used in VR and architecture. It offers a dynamic view on Los Angeles’ structure, radically different from usual architectural representations.

     

    Full text (PDF) p. 178

    		•
  • WEI OR DIE
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  • Sara Brucker
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 2017 Overview: Artist Talks
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  • University of Caldas
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  • They had two days to get integrated. Two days out of sight. Everything should have remained secret. But a body was found. WEI OR DIE is a new kind of fiction, immersive and interactive, placing the web surfer at the heart of a hazing weekend that turns into a nightmare. Seazed by the police, every live image recorded by the students during the weekend is re-synchronized and arranged on a timeline. As the story unfolds, users are free to choose which footage they want to watch and to switch from one camera to another.

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  • Welcome to Artout: The First Artist Escort Service in the History of Art!
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  • I-Wei Li and Anton Koslov Mayr
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
    •

  • ”No Soul For Sale” was printed on Tate Modern’s invitation for its 10th anniversary. Perhaps we are not selling our ‘immaterial labour’ (Maurizio Lazzarato) so easily yet we often treat our life as creative projects (Luc Boltanski). Chris Dercon, director of Tate Modern, describes creative practitioners today as zombies and vampires due to the precarious working conditions we face and endless free services we are willing to offer.

    When self-exploitation seems to be the norm as a survival strategy, how is it possible for cultural workers to say ‘no’?

    Without existential security, what about our ability to challenge?

    The law of the capitalist market with its emphasis on the ever-narrowing specialization of labor and maximization of profits invites artists to reinvent themselves over and over in order to escape  the market-imposed limits to their identity. This limited identity confines artists to seek satisfying the ruling class demand for the special commodity fetish known as Art and reproduce institutionally-defined ideology of culture. In both cases the producer and the consumer of Art are limited in their freedom by the traditional modes of material exchange.

    We, at ARTOUT, believe that art is an open concept and artistic praxis is the process of becoming that corresponds to the totality of individual temporality. Artistic creativity results from the dialectical relation between the acceptance of the market as the underlying principle of social reality, and the need to escape its imperatives of obedience and consensus; its locus is the individuality of the artist. The artist plays the messenger and the message, the self-medium that finds its legitimacy through the charismatic negation of conventionality.

    We believe that the individuality of the artist is far more significant than the material end-product of the artist’s labor. We are extending the limits of the traditional market-model to recognize the artist as the self-defined commodity whose value resides in the immateriality of artist’s creative becoming.  Spending time in the company of the artist is a new “creative” commodity exchange; it reveals power relations within the existing artist-patron paradigm and leads to the mutual liberation of both artists and art patrons from the condition of simple material production and accumulation to the next level of the direct creative exchange within the dominant capitalist art market paradigm.

    •
  • Western Front
    •
  • Db Boyko and Allison Collins
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 2015 Overview: Institutional Presentations
    •
  • Wet Paint
    •
  • Vicky Isley and Paul Smith
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
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  • Sabanci Center
    •

  • Panel: Data Disinformation

    Bore­dom­re­search ex­plore the nat­ural pro­gres­sion from sta­tic im­agery al­lowed by re­cur­sive tech­nolo­gies which en­able data to re­main liq­uid. The artists Vicky Isley and Paul Smith often think of them­selves as em­ploy­ing com­puter gam­ing tech­nol­ogy to cre­ate land­scape paint­ings and life stud­ies that move. These art­works un­fold in real time en­abling view­ers to be con­tin­u­ally sur­prised by every chang­ing forms and sounds. Using com­pu­ta­tional tech­nol­ogy to ex­plore di­ver­sity bore­dom­re­search often use tech­niques sim­i­lar to those used by sci­en­tists. By sim­u­lat­ing nat­ural pat­terns and be­hav­iours bore­dom­re­search cre­ate new in­tri­cate forms and com­po­si­tions of in­trigue and beauty. In this paper the artists will dis­cuss their com­pu­ta­tional sys­tems which ma­nip­u­late data chunks to pro­duce a di­ver­sity of mov­ing im­ages.

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  • Wetware Hackers Discussed
    •
  • Paul Vanouse, Natalie Jeremijenko, Beatriz da Costa, and Oron Catts
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  • ISEA2006: 13th International Symposium on Electronic Art
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  • Panel
    •

  • Wetware Hackers Discussed is a responsive/reflective discussion of Hands-On How-To Workshops on Biotech Art and Wet Lab Procedures. In addition to the issues of using biotech within an art practice, teaching biotech procedures presents additional issues that differ from teaching within an electronic/computational paradigm. The panel will generate, problemmatize, discuss and record observations of informal biotech instruction, specifically responding to the “Wetware Hackers” ISEA2006 workshop conducted by the panelists.

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  • What Actually Is Interaction? When Does it Start and Where Does It End?
    •
  • Kirsty Boyle
    •
  • ISEA2014: 20th International Symposium on Electronic Art
    •
  • Round Table
    •
  • Zayed University - Dubai
    •

  • Was it interaction? What is the difference between interaction and engagement? What is required to call a process that is happening, at least in a physiological or psychological way, interaction? Is this a way to understand Itsuo Sakane asserting that ‘all arts can becalled interactive in a deep sense, if one considers viewing and interpreting a work of art as a kind of participation’ (cited in Velonaki and Rye 2010). Interaction is being explored from a range of different perspectives, including a renewed interest in embodiedcognition (e.g., van Dijk & Frens at Creativity &Cognition 2011) which emphasizes the fundamental role of the body in enabling cognition. The body also has some sort of in between role mediating between cognition and the environment which means there are cognitive and embodied aspects to any kind of interaction. Depending on the disciplinary background, interaction may mean very different things to different people (Haque et al 2009). Interaction with a painting or a photograph appears to be different from interaction with an audience. Does the Mona Lisa look at you? Does Marcel Duchamp’s declaration, “The spectator makes the picture” (Rokeby 1995) help us  with evaluation in human computer interaction (HCI)? Höök et al 2003 discuss some of the difficulties of relating ‘traditional’ HCI evaluation methods esp. usability testing to digital art. Interaction design (eg Preece2011) helps build ‘applied’ bridges between different disciplines by offering evaluation methods that go beyond technical contexts but do not actually answer the question as to what constitutes interaction eg when does it make sense to speak of ‘interaction’? We are interested in sharing conceptualisations of interaction and learning from each other and hope to identify key issues and provide a roadmap for future research whichcrosses disciplinary boundaries.

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  • What Digital Technologies Brought to Simulation Art
    •
  • Machiko Kusahara
    •
  • ISEA94: Fifth International Symposium on Electronic Art
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  • Paper
    •

  • Abstract

    What have Digital Technologies Brought to Simulation Art? An artwork can refer to other work(s) of other artist(s) by citing certain ph rase(s), showing recognizable image(s), suggesting known theme(s), etc. By doing this the artist can construct different layers of meanings in one piece of art without making it too complicated by itself, besides allowing the audience to enjoy the secret garden of context according to their degree of knowledge and understanding of classics. On the other hand it is natural for artists who, after all, are influenced by their predecessors’ works more or less, to use those images from well known pieces. It is a technique for an artist who wants to span a multilayered textile in his/her work, to give a deeper color to it, as well as offering an intellectual game between the artist and the audience. This was typical among Japanese poetry in the tenth century. To appreciate short poems which were even used as personal messages, one had to have a full knowledge on Japanese and Chinese literature.

    Reference to other works or symbols, or well-known cultural topics or models, can be seen everywhere in different genres of art in diverse ways of application. Collage, parody and simulation are examples of the ways artists treat other artists’ works. Digital technology brought a change into the field. Before, copying someone’s work meant painting exactly similar images by hand except for the case of collage, where artists use prints which come out as multiple copies from the beginning. Making an exact copy was already a skill. But with a scanner and a personal computer, one can digitally copy, cut and paste. Once an image is digitized, all of its copies are the same. The artist can make as many versions as possible, or make as many trials as possible before reaching the what he/she likes. Image processing and paint softwares help the artist to manipulate the digitized images. What is the meaning of these changes to the artists? Technical ease and wider possibilities? Yes, like sampling technique in music, elaborate digital collage is already an established technique for some artists. But not only that. Digital technology made possible to make the trace of the effort taken by the artist more transparent, by applying no physical material or brush while copying. This allows the final artwork to be more free from the original. In Yasumasa Morimura’s works, the artist himself plays the role of the figures in well-known occidental paintings, news photographies, and recently more cliché images such as rock star portraits as well as cartoons, the works show how digital technology helped the artist to evolve his style.

    Tadanori Yokoo started using Macintosh as he thought it would help him working on collage kind of oil painting. The first pieces with the personal computer look interestingly similar to his works in oil. But then he found that he could do more with this new medium, not only dividing the 2D space on the canvas as he used to do, but making layers in the 3D space behind the screen, and he even invented a technique to bring in a sense of time by introducing simple kinetic systems (they are analog) behind the prints. He has been a well known illustrator and then a painter, but he has created completely new style through the use of digital technology. There are other interesting Japanese artists who use digital technology to make the reference to other artists’ works or other already existing images to provoke multi-layered meanings from them. Toshihiro Anzai and Rieko Nakamura use telecommunication to exchange image files as they collaborate on what they call “RENGA” (linked image) project. The idea itself refers to the linked verse in Japanese history of poetry, while the nature of digital data adds a completely different meaning to the action of passing one’s work to the next artist. Takayuki Terakado uses image processing and computer painting to derive or extract the images he knows that should exist behind the screen. Nobuhiro Shibayama wants to revive Muybridge’s photographies using multimedia technology. Hideki Nakazawa has been making a series of parodies of well-known paintings with his unique understanding of the pieces. I don’t think this is a field which has been fully studied. Japan and the West have a historically different attitude toward citing or copyright. I don’t know if this fact is related to the way of using digital technology in such a way in Japan. It will be interesting if there are any chances to discuss about it with curators and artists from other countries.

    •
  • What If I'm Not Real
    •
  • Kooj (Kuljit) Chuhan
    •
  • ISEA2006: 13th International Symposium on Electronic Art
    •
  • Poster
    •
  • 2006 Overview: Posters
    •

  • What If I’m Not Real is a multi-screen installation work in which the broad ranges of cultural backgrounds and disciplines of artists were able to engage with their shared global contexts for migrations and deportations without the assumption of consensus of perspective.The resulting visual and physical narrative is able to allow different musical performance artists to each reframe the way the work is perceived, so cutting across cultural divides re-locating the same visuals within different geographies and perspectives. The work questions techno-insularity and proposes greater roles for continuing live evolution of electronic screen-based arts, and for the confounding of the real-symbolic between visuals and music.

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  • What If? Another History of Digital Media for Designers and Artists
    •
  • Michael Punt
    •
  • ISEA97: Eighth International Symposium on Electronic Art
    •
  • Paper
    •

  • What if computer technology had not become the PC but remained a machine for corporate users? What if there had not been surplus capacity in the tube industry and computers did not have screens? What if we took the wrong turning when we thought that the PC meant associative databases and multimedia? What if the PC is just another accidental machine? What if the creative irrationality of the artist has succumbed to the apparent rationality of technology? Probableist histories of technology are yielding fascinating insights into older technologies. For example some people are suggesting that Thomas Edison was interested in the equivalent of the domestic VCR when he invented the Kinetoscope. Entrepreneurs picked up this invention and used it to give us the cinema. If this was the case then the movies are just a massive wrong turning in Edison’s project to help us all to be programme makers and film editors, and the cultural power and economic strength of the film industry has merely delayed technological advance. This paper argues that rather than try to overcome technological barriers which the economic dynamics of the PC industry constantly insist upon, the artist and designer could be thinking about probableist histories of the computer by reinterpreting the technology and exploring its creative potential with irrationality. It suggests that to do anything else is simply to reiterate or, at best, amplify the suppliers software manual. Artists should not be passively asking”How can I do this?” but setting the interpretive agenda by insisting “What if I did this?”

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  • What is the Human? Imagining the Self as Post-Human
    •
  • Anatol Bologan and Jinsil Hwaryoung Seo
    •
  • ISEA2017: 23rd International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2017 Overview: Artist Talks
    •
  • University of Caldas
    •

  • This project consists of a series of three primary media sculptures that progressively remove the human form and replace it with technology. The organic human forms have no active functionality and are juxtaposed with manufactured technological components that provide the interactive aspect of the artwork. The facial molds resemble “death masks” that can be found in art museums and anthropological collections, but are made ‘alive’ with recycled technology. The intention of the artist here is to evoke exploration, captivation and fantasy from the viewer as  he or she explores these interactive sculptures. The artwork questions as well as highlights the importance of technology as part of our contemporary culture and consciousness and intends to engage in the discourse of human versus cyborg, technicism versus humanism. At the conference attendees will be able to assemble their own cyborg heads based on their  narratives using electronic parts and take photos with them. Additional “cyborg components” will be provided by the artists as the parts of Post-Human Prototype 04 and present a variety of technical and visual options to be explored by the participants.

    •
  • What is YLEM
    •
  • Beverly Reiser
    •
  • TISEA: Third International Symposium on Electronic Art
    •
  • Panel
    •
  • 1992 Overview: Institutional Presentations
    •
  • What We Learned: The Changing Landscape of Curatorial Practices
    •
  • Irene Hofmann, Nancy Marie Mithlo, and Dannys Montes de Oca Moreda
    •
  • ISEA2012: 18th International Symposium on Electronic Art
    •
  • Keynote and Panel
    •
  • Albuquerque Museum of Art & History
    •

  • As the role of the artist in society changes in response to global trends, communications and markets, how has the curatorial process altered? Have biennials, premised on the mobility of people, goods and ideas as an inherent good, served their purpose? Panelists take on the culture industry, audiences and the market in a discussion of the problematics of contemporary curation. Excessive demands of the global marketplace and nostalgic ideas of “art for the people” test both artist and audience. “What We Learned” charts how these tensions emerge and what critical players are doing in response.

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  • What Would We Mean By Realism?
    •
  • Amanda Beech
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • Both Lenin’s and Althusser’s materialist anti-humanism attempts to think through a politics of society with a strong comprehension of an inorganic world as prescient to this politics. More recently this legacy has been worked through the philosophy of Alain Badiou, Quentin Meillassoux and Ray Brassier, where in particular, the idea that the world is ‘for us’ is understood as the tired fantasy of an anthropocentric humanism, that fails to move beyond the status quo of neo-Kantian philosophy, and fixes itself within the problematic mythology that self-understanding produces emancipation. This paper also takes this anti-humanism as its ground to ask how speculative realisms may be in fact proposed by the image and explores what conception of the social this operation of the image produces now. If the causal ties between artwork and world are no longer connected or guaranteed, then what conception of the artwork and the social is now drawn? If a technology of the image as some manifest fiction of our lives is not the focus of our fascination then what is this world of images without us? Working across Meillassoux and Davidson this paper explores the conditions of the relation or non-relation between image and its referents as well as what might be our expectations for art’s effective and affective potential.

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  • What ‘s in A Name: Effects of Naming in Gaming Narratives Generated by Recombining Databases
    •
  • Bernardo Queiroz
    •
  • ISEA2016: 22nd International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • Whatever Happens Next Is Progress
    •
  • Michael Hill
    •
  • ISEA95: Sixth International Symposium on Electronic Art
    •
  • Panel
    •
  • Hôtel Le Méridien
    •

  • A new form of storytelling which combines the visceral elements of gameplay with the emotional values of narrative is now beginning to emerge. Avant-garde cinema has prepared us for this kind of story in which associations are oblique and poetic and narrative drive gives way to user control. The difference between the old story and the new, the difference between cinema and the interactive, is the difference between the dream and the lucid dream.

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  • When Ideas Migrate: A Postcolonial Perspective on Biomodd [LBA2]
    •
  • Diego S. Maranan and Angelo C.J. Vermeulen
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Long paper)

    Keywords: Postcolonial computing, installation art, collaboration, ICT4D, HCI4D, digital games, e-waste, recycling, gaming, ecology, biological art.

    Biomodd is a global series of art installations in which computer technology and ecology converge. Computer networks built from upcycled computer components are provided with living internal ecosystems. In a symbiotic exchange, plants and algae live alongside electronics and use the latter’s waste heat to thrive. Sensors and robotics provide additional interaction possibilities with the organisms. The first version of the project was completed in the US, while the second version was built in the Philippines. Using a postcolonial stance, we reflect on the challenges involved in translating the project from one context to another. We focus on issues related to heat recycling in the tropics; authenticity and hybridity; obsolescence and the convertibility of capital; cultural sampling, remixing, and appropriation; and structures for social organization. We advance Biomodd as a significant contribution to art-science collaborative initiatives in the global South.

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  • When We Touch
    •
  • Kristine Diekman
    •
  • ISEA2020: 26th International Symposium on Electronic Art
    •
  • Poster
    •
  • 2020 Overview: Posters
    •

  • When We Touch is a workshop designed to explore the several social and cultural meanings and effects of touch by creating interactive, tactile interfaces and audio stories that utilize various forms of touch. In this workshop diverse community participants in Pachuca, Mexico explored first-voice storytelling, physical computing with microprocessors and basic programming while crafting interfaces that utilized interpersonal touch and tactile listening. Kristine Diekman, the workshop designer and facilitator, collaborated with Sexto de Bordado, a local embroidery collective, to teach the participants to how to create embroidered sensors using conductive thread and how to combine these with microprocessors and basic programming. The city of Pachuca is in the state of Hidalgo, Mexico, well-known for its tenango embroidery practices by the Otomi people. The workshop brings together traditional and contemporary craft, storytelling, and embodied experience. The workshop was organized by Fronda Simbiosis, a local organization dedicated to showcasing international artists within com-munity settings.

    •
  • Where Are We Going? Trends, Power, Sex, and the Future of 3D Computer Graphics
    •
  • Miho Aoki
    •
  • ISEA2002: 11th International Symposium on Electronic Art
    •
  • Round Table
    •
  • 2002 Overview: Round Table Discussions
    •

  • Three dimensional computer graphics technology provides unique tools for creating imagery to artists. However, artists often face issues that are unique to the field, such as learning complex software or gender imbalance. This round table meeting will discuss how artists are dealing with these issues and the future direction of the field.

     

    Full text (PDF) p. 157

    		•
  • Where does Intellectual Discourse Reside in New Media Art?
    •
  • George Legrady
    •
  • ISEA97: Eighth International Symposium on Electronic Art
    •
  • Paper
    •

  • This lecture will focus on the artist’s use of cultural narratives in non-linear media and the positioning and monitoring of the viewer as an active component/extension of the artwork. Artworks to be shown will consist of two recent interactive installations that integrate complex programming to keep track of the viewer’s choice history and moves as a decisive element in the narrative process.

     

    Recent projects include an interactive installation about Stalinist newsreels in conjunction with the Hungarian Film Institute, Budapest, Hungary; and Tracing, an interactive installation that keeps track of the audience’s movements to determine audio and visual content in the exhibition space.

    •
  • Whispers of Harmony
    •
  • Joanna Hoffmann-Dietrich
    •
  • ISEA2008: 14th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2008 Overview: Artist Talks
    •

  • The origin of the Greek word techne – to weave, suggests that our realm is woven by technologies. Such notions like mixed reality, expanded reality or virtual reality do not only prove the impact of technology on our lives but also bring to the fore the old philosophical dispute on the reality itself. Most of representatives of cognitive sciences claim that we have no direct knowledge about the world; our knowledge refers only to the model of the world conditioned by our nerve system – mainly brain. Pythagorean idea of the World’s Harmony, expressed in consonant relations between its macro and micro components has been recognized the most influential concept born by human mind in order to connect the man with the rest of the Universe.

    Is the Pythagorean notion of harmony still relevant in our times? Is the quest for harmony still intellectually and emotionally challenging? Is it stimulating or limiting our cognition?

    I will base my talk on my own investigations as an artists and theoretician as well as on reflections by scientists from different disciplines and cultures, with whom I was collaborating on artistic projects.

    As my own work is concerned I would like to focus on multimedia installations strongly related to interconnections between micro and macro, inner and outer, virtual and real:
    – “Tones and Whispers” (realized with the support of Institute of Cognitive Neuroscience, London and awarded by the first prize in Europlanet contest by Space Research Center Polish Academy of Science 2007) referring directly to Pythagorean Harmonia Mundi, in which cosmic and everyday landscapes merge with ultra sonography and fMRI scanning, Johannes Kepler’s “Music of Spheres” with sounds of cosmic radiation and micro sounds of human body.
    – “Life Matters” inspired by the contemporary definition of life associating it with DNA replications. Initiated at the International Centre for Genetic Engineering and Biotechnology in New Delhi, India, the project uses research materials on diseases in which transmission of genetic code plays essential role. It joins virtual computer simulations, life cells images, everyday environment and global statistics with the search for life in cosmic space, challenging our rational and emotional perception.

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  • White New Media Mythologies On Interacivity and Orientalism
    •
  • Tapio Mäkelä
    •
  • ISEA2002: 11th International Symposium on Electronic Art
    •
  • Paper
    •
  • White Night
    •
  • Kendyl Rossi
    •
  • ISEA2018: 24th International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 2018 Overview: Institutional Presentations
    •
  • White Night Melbourne in 2013 and 2014: Disruption or Contribution Toward the Socially Engaged Public (Art)?
    •
  • Yun Tae Nam
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Short paper)

    Keywords: Public Space, Public Art, White Night Melbourne, New Media Art, Social Objects, Audience Interaction, Participation, Cooperation, Co-creativity, Socially Engaged Art

    The purpose of this case study is to analyze the White Night arts festival as a form of public art using the frameworks of art as experience, art practice as cooperation and social objects. In 2013, Melbourne hosted more than 300,000 participants at its first White Night and in 2014 the number increased to 550,000. [1] The White Night started in Paris, 2002 influenced by the origin of Nuit Blanche, and is now held in more than 23 cities globally. [2] The various White Night events share a common objective, which is to celebrate and transform the city, as art and entertainment [3], into a free cultural event. The White Night festival features traditional and new media art in public spaces that promote social interaction and participation amongst large public groups. Three artworks are discussed as case studies using the conceptual frameworks to highlight the potential of the festival to build socially engaging and interactive public artworks. The case studies also reveal areas of focus that are unique to the festival, which could be leveraged to greater effect.

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  • Who is chatting with you? All Ways-O’s Chatroom
    •
  • Yu-Chuan Tseng and Chia-Hsiang Lee
    •
  • ISEA2008: 14th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2008 Overview: Artist Talks
    •
  • Singapore Management University, Seminar Room
    •

  • How we know each other when we chat on line in virtual community?

    In the ‘All ways-O’s Chatroom’, there are 9 chat rooms. O, the host of the chat room, is always on line to chat with the participants. However, O is not a real person or artificial intelligence, but rather a program with two databases of phrases -one in each language- collected from the participants of the chatrooms. O randomly selects its vocabulary from the pool of entries created by its participants. More participants, more vocabularies created. The virtual host’s “personality” becomes more varied and colorful.

    In the chatting process, some of participants are willing to believe that they are speaking with a real person. While others are fully aware that it is only a computer program, purposely injecting their own sensibilities into O in an attempt to make a conversation reasonably. And there are some of participants actually mistakenly come to believe that they are chatting with a real person.

    The virtual ways of living has been affected the knowing of the people’s experience in different ways. People change identity, play in different roles and simulate a virtual life via internet. We have grown accustomed to and accept that the text which appears in our chat window is generated by an actual person. The identity of human is flowing with multiple faces. Life becomes a dramatic shift in our notion of self, machine and world. People is happy in the interactive process, they make friends and chat with stranger. Once the process of virtual living is accomplished, they log out, and the self play out all the fantasies.

    ‘All ways-O’s Chatroom’ has been online since 2003. It has been accumulating 2423 records of chatting.

    •
  • Who is Speaking? Artscience Stagings of Nonhuman Sentience
    •
  • Edwige Armand, Sofian Audry, Frédérick Garcia, and Maurizio Martinucci
    •
  • ISEA2020: 26th International Symposium on Electronic Art
    •
  • Panel
    •
  • 2020 Overview: Panels
    •

  • This panel presents three experiments that stage nonhuman sentience within substrates where they are not usually expected, such as microalgaes, plants, artificial neural networks, and electrochemical reactions. We use these hybrid assemblages to challenge commonly accepted notions of sentience, perception, and cognition, in particular by highlighting the active and creative role of sensing. Finally, we self-reflect upon the implications of these works on modes of understanding through art and science entanglements.

    •
  • Who Owns Our (Software) Culture?
    •
  • Casey Reas, Juha Huuskonen, and Miller Puckette
    •
  • ISEA2004: 12th International Symposium on Electronic Art
    •
  • Panel
    •
  • 2004 Overview: Panels
    •
  • Who tells history?
    •
  • Ricardo Dal Farra
    •
  • ISEA2013: 19th International Symposium on Electronic Art
    •
  • Panel
    •
  • The University of Sydney
    •

  • Panel: Latin American Forum #1: Alternative History of Computer Music

    Who tells history: Who knows about it or who has the opportunity to do it? We can find several versions on the development of electronic musical instruments during the past century but it is unusual to find a reference to devices coming from non first-world countries. Why is this happening?
    Juan Blanco registered the description and design of a new musical instrument at the Patent and Trademark Office of Cuba in 1942. He called his creation the “Multiórgano” (Multiorgan). The Multiorgan concept predated the Mellotron by several years. Raúl Pavón, a Mexican engineer interested both in electronics and music, developed in 1960 a small electronic musical instrument that featured an oscillator with multiple waveform outputs, a variety of filters, an envelope generator, a white noise generator and a keyboard, among other materials. Pavón named the instrument the “Omnifón”. It was among the firsts voltage-controlled electronic sound synthesizers built. In Argentina, Fernando von Reichenbach invented the Analog Graphic Converter (a.k.a. Catalina) in the 60s. It was used to transform graphic scores -from drawings done on a paper roll- into electronic control signals adapted to work with analog equipment in producing electroacoustic music. If you know about the history of the electronic arts -in general- or the history of electroacoustic music and its associated technologies -in particular- but never heard about these persons, it is clear that something has not been said. It has been lost (in translation?) or for some reason didn’t show up in the official history (story?). If history is written by the winners: Are those persons some of the losers of the electronic-arts history? And why is that still happening?

    •
  • Whorl: An lmmersive Dive into a World of Flowers, Color, and Play
    •
  • Eitan Mendelowitz, Damon Seeley, and David Glicksman
    •
  • ISEA2016: 22nd International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • Run Run Shaw Creative Media Centre
    •
  • Whose past is it anyway: the use of digital databases in exploring personal and collective memory
    •
  • Una Walker
    •
  • ISEA2009: 15th International Symposium on Electronic Art
    •
  • Paper
    •
  • Waterfront Hall
    •

  • Abstract

    This paper explores a number of concepts and questions in relation to an unfinished data-based art project with which I have been engaged since 2004. These are concerned with the agency of the individual in the construction of the history of the recent past, and the tension between lived experience and the official record. This tension may encompass differing versions of the same event, but may also reflect differing ideas on which events deserve focus. In addition there may be conflict within the individual about the ownership of the recent past; if events – which form part of your autobiographical narrative have been incorporated into the official record, then who owns the memories? The paper also explores the idea of the ‘narrative unconscious’, which may operate at both the personal autobiographical level, and the authorised accounts of the recent past.

    •
  • Why Bring the Virtual World onto a Classic Stage?
    •
  • Mark Joseph Sigaud
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •

  • Speaking about ‘Theatre and New Mediums’ means having a reflexion about what we are waiting from: new, and agree with what is the state of theatre art. We speak a lot about interactivity, Let’s build first the same dictionary, and then we could discuss. New is in opposition with not new, new is equivalent of fear something like UVO… From the antique era we know what interactivity means. But now there is a double language which is accentuated by another topic coming from the new technologies. How could we read speculations in publications and specialised press. And it is amplified when these new technologies meet the arts of the stage. To introduce arts of virtual images on stage you must first have experienced this great and unique world of the stage. Yes we agree it is a sacred place, but we had to try to reposition the scenic arts from their origins. Should the ‘theatre’ environment change? Should you and us (stage’s artists) change greatly and explore totally new REFERENCES, to approach the NEW? Making Virtual scenarios for stage is totally different than making scenarios for Audiovisuals. Virtual on stage is to be considered as a new actor (colours, movements, materials, transformations, representations… are components of what the author calls an actor), and challenges about real time or not is not the essential. Real time must be other than just being a technical boring ‘in time’ transmitter. And about let us work, we don’t need critics still organised for individual speculations. Nothing exists, we are too young… let us preserve this fabulous freedom which is maybe the last existing in the artistic field. Arts could have a great place in the social disturbed environments coming.

    •
  • Why Should I Get a New One If the Old One Ain’t Broken? Aesthetics, Pragmatics and Social Tactics Of Low-Tech
    •
  • Nell Tenhaaf, Paul Vanouse, Hélène Doyon, Jean-Pierre Demers, Haruki Nishijima, and Alexei Shulgin
    •
  • ISEA2002: 11th International Symposium on Electronic Art
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  • Panel
    •

  • While the title of this panel is reminiscent of American country music vernacular, it is in fact more contemporary genres of popular music that could be seen as forerunners of this topic. For instance, hip-hop music has kept the analog turntable as its primary tool while using digital technology more sparingly. It is the intent of this panel to present several projects by “high-tech” artists that incorporate older technologies often deemed obsolete. Each of these projects are embedded within contemporary electronic art practice and offer deep investigations, both conceptually and technically, into areas including: mobile computing and interactivity; scientific, physically- based visualization; computer as entertainer; networked telematic art; and artificial-life. The artists on this panel attempt fluency between analog and digital electronics; old surplus and new technologies; wave forms and data-packets.

     

    For example, Alexei Shulgin has turned his 386 into a singing, pop-rock/cyber-punk virtuoso named DX386. Similarly, Nell Tenhaaf uses low-tech in the sense of low-res, with the intention of investigating the thresholds between media . She is building LED matrices that display both very low-resolution video and swarm algorithms.

     

    Full text (PDF) p. 131

    		•
  • Why should we care about space art?
    •
  • Kerrie Dougherty
    •
  • ISEA2013: 19th International Symposium on Electronic Art
    •
  • Panel
    •
  • The University of Sydney
    •

  • Panel: Art(ist)s in Space

    • Kerrie Dougherty is Curator of Space Technology at the Powerhouse Museum, Sydney and is also a member of the Faculty of the International Space University, based in Strasbourg, France. She combines a background in cultural heritage management with a lifelong passion for space exploration, science fiction and popular culture. Kerrie has worked in the space heritage and space education field since 1984 and is a specialist in the history of Australian space activities, co-authoring Space Australia, the first popular history of Australian space activities. In addition to developing Australia’s first major space exhibition at the Powerhouse Museum, Kerrie has consulted on the development of space exhibits for other institutions in Australia and internationally. She has also curated several major popular culture exhibitions and advised on the creation of space-themed stamps and other collectables. Kerrie has authored or contributed to a number of scholarly and popular books, conference papers, articles and blog posts on space history, space education and space and society. She has also contributed to guidebooks on Star Wars and Doctor Who. A recipient of the Australian Space Pioneer Award from the National Space Society of Australia, Kerrie is an elected Member of the International Academy of Astronautics and serves on the Board of the World Space Week Association. Since 2001, she has lectured in space and society studies for the International Space University, covering aspects of space history and the human cultural response to space.
    •
  • Why We Love Aliens
    •
  • Willem Velthoven
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
    •
  • Sabanci Center
    •

  • Panel: East & West 

    Me­dia­matic’s core focus is on art and new tech­nolo­gies. Yet a re­cur­ring theme in our pro­gram­ming is non-dutch / non-west­ern ex­changes. Velthoven will demon­strate how this is a log­i­cal com­bi­na­tion.

    •
  • Wider Contexts: Electronic Media as Sites for Public Art
    •
  • Annie Knepler and Ellen Grimes
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •
  • Paper
    •

  • A presentation of the work of Journal of Ordinary Thought, Chicago. Journal of Ordinary Thought publishes reflections people make on their personal histories and everyday experiences. It is founded on the propositions that every person is a philosopher, expressing one’s thoughts fosters creativity and change, and taking “control of life requires people to think about the world and communicate the thoughts to others. JOT strives to be a vehicle for reflection, communication and change.

    •
  • Wildlife: Near and Far
    •
  • Peggy Keilman
    •
  • ISEA2012: 18th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2012 Overview: Artist Talks
    •
  • Hotel Albuquerque
    •

  • This floated maze is a psychological description of a life in the mega city Seoul. It is empty, lost but has to be continued.

    •
  • WILL
    •
  • Linda Wallace
    •
  • TISEA: Third International Symposium on Electronic Art
    •
  • Panel
    •

  • The aim of WILL is to examine the likely future impacts on Australian technology-based art and artists of 1) New technologies, and 2) Australia’s re-orientation from that of a colonial European culture, to becoming part of a new geo-politic reality — ‘Asia’. This ‘future’ speculation will be grounded in an analysis of the current situation.

    WILL speculate on the role Australian artists and designers can play in an Asia of rapid economic growth, particularly in regards the current trend of a shift in state support from heavy industry to a high-tech ‘clean’ industries by those Asian countries with a growing ‘envi-ronmentally-aware’ middle class. WILL posit the appearance of an Asian junk-tech culture, and what this might look like. WILL consider future notions of nationalism, with particular reference to the impact of new communications technologies e.g. fibre-optics, and satellite technology on national boundaries” Wila operate on a number of different levels and will move between a rigorous, analytic. mode, to something more in the realm of the imaginary a poetics.

    •
  • Wilurarra Creative, Art and Technology
    •
  • Ben Fox
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • Ben Fox (trained engineer and artist) and Kate Fielding (Writer and designer) present on how art and technology are working in one of Australia’s most remote desert communities to enable Indigenous cultural maintenance and diverse literacies.

    Wilurarra Creative is a one-of-a-kind program. It facilitates a diverse range of creative programs and provides space for self directed learning for Ngaanyatjarra people 17-30.

    Part arts space, part library, part internet café, part hair salon, part music studio: part workshop; all creativity, all community. Wilurarra Creative is bursting at the seams; full of people, ideas and action.

    Wilurarra Creative is a community hub and incubator. It provides activities for the large demand from post school age adults in remote communities. Wilurarra Creative is excelling where many projects struggle; consistently engaging people in meaningful projects and providing real pathways to new opportunities through community building, learning, mentoring and employment.

    Wilurarra Creative:
    Works with adults
    Achieves a high level of engagement from this demographic who are notoriously hard to engage
    Involves supervision of self directed training
    Trains participants to run the equipment (reducing bottlenecking and reliance on particular staffers)
    Shares models with other Ng communities, providing employment to young people trained through the program to train others
    Fosters intergenerational support
    Models best practice community development

    Wilurarra Creative’s home is Warburton Community, W.A, on the Ngaanyatjarra Lands.

    •
  • With De­sign in Mind?: “Moral Econ­omy” and Con­tem­po­rary Dig­i­tal Cul­ture
    •
  • Dr. Gordon Hush
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
    •
  • Sabanci Center
    •

  • Panel: Without Sin: Taboo and Freedom within Digital Media

    Tech­no­log­i­cal in­no­va­tion is often char­ac­terised as pro­duc­ing a pop­u­la­tion com­posed of “tempted” bod­ies, cor­rupted de­sires or utopian po­ten­tial dis­torted by un­lim­ited pos­si­bil­ity, and jux­ta­posed to a now-fore­gone sim­pler era and ex­is­tence. Such a moral econ­omy of human ac­tiv­ity is re­flected in the “moral pan­ics” con­jured around dig­i­tal tech­nolo­gies and the dele­te­ri­ous ef­fects upon users at­trib­uted to them. This paper seeks to ex­plore the re­la­tion be­tween sub­jec­tive ex­pe­ri­ence (con­scious­ness) and the con­tem­po­rary en­vi­ron­ment, in par­tic­u­lar, the dis­sem­i­na­tion of dig­i­tal tech­nol­ogy within mo­bile de­vices, such as lap­tops, tablets and “smart­phones”. Re­cent the­o­ret­i­cal po­si­tions, such as “neu­roan­thro­pol­ogy,” de­lin­eat­ing the “en­cul­tured brain”, ap­pear suited to en­gag­ing dig­i­tal tech­nolo­gies and their pu­ta­tive con­se­quences: how­ever, the so­ci­o­log­i­cal study of tech­nol­ogy and “tools” also pro­vides a plat­form for such an analy­sis.

    This paper at­tempts to iden­tify the affini­ties and op­po­si­tions be­tween these two dis­courses and their re­spec­tive ex­am­i­na­tions of mo­bile dig­i­tal de­vices through an analy­sis of the “ex­ten­sion” of ex­pe­ri­ence (McLuhan) and the mod­i­fi­ca­tion of our un­der­stand­ing of its neu­ro­log­i­cal un­der­pin­ning. It does so by propos­ing that ex­pe­ri­ence be grasped as a se­ries of in­ter­ac­tions best judged as af­fec­tive phe­nom­ena, rather than events with moral con­se­quences. “Con­scious­ness” is de­scribed as a phe­nom­e­non that is en­acted or in­hab­ited through a di­a­logue with the wider en­vi­ron­ment and, as such, is mod­i­fied through the in­creas­ing pre­pon­der­ance of mo­bile dig­i­tal tech­nol­ogy and the trans­for­ma­tion of tem­po­ral, spa­tial and in­ter-sub­jec­tive re­la­tions that this af­fords. Con­se­quently the moral econ­omy en­com­pass­ing right/wrong, truth/fal­sity, sa­cred/pro­fane is viewed as an­ti­quated and in­ap­pro­pri­ate in a world where tech­no­log­i­cal free­doms have trans­formed the pos­si­bil­i­ties of sub­jec­tive ex­pe­ri­ence and its rep­re­sen­ta­tion as iden­tity or iden­ti­ties through web-based media or so­cial media.

    •
  • Without Speakers: Recent Digital Sound Installations
    •
  • Shawn L. Decker
    •
  • ISEA2000: 10th International Symposium on Electronic Art
    •
  • Poster
    •

  • Poster Statement

    While the digital media, with other progress in the field of recording, have made CD products produced by artists and musicians seem banal, other discoveries in the digital field have allowed artists to use new working methods, going beyond the limits of sound recording. One example would be in the field of sound installation where a piece of music can be created or monitored by a continuous process or an algorithm made by the artist, as well as the use of recorded sounds. Even more significant, the use of loudspeakers can be totally avoided. In this presentation, the author will explain his own work and take a quick look at similar work by other contemporary artists as well as historical examples existing in electronic music and sound art.

    •
  • Witness to the Future
    •
  • Branda S. Millar
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •
  • Paper
    •

  • Witness to the Future is a model for media art and activism with interactive technologies, incorporating CD-ROM, experimental videoart documentary with reference to full transcripts, over 500 updateable Internet links, user friendly multimedia notepad, curriculum resources, and the first electronic publication of Rachel Carson’s environmental classic “Silent Spring”. An extraordinary portrayal of the transformation of “ordinary” citizens into activists, Witness to the Future focuses on three U.S. environmental catastrophes: Hanford Nuclear Reservation, San Joaquin Valley, and “Cancer Alley”. Representing diverse unrepresented voices including workers, mothers, whistleblowers, farmworkers, African, Native and Mexican Americans, Witness to the Future portrays the struggles of individuals who discover the power of collective action. The presentation will demonstrate electronic artwork designed as truly interactive space: empowering users to make change in their bodies, communities and world. Critiquing the “Information Revolution’s” myth that rapidly expanding amounts of information delivered through interactive technologies promise more informed audiences and empowered users, Witness to the Future contrasts application of new media technologies for military, industrial, and entertainment sectors. Shifting the discourse to voices not ordinarily heard, such as political and cultural activists from communities and the streets, users are transformed into revolutionary communicators and technological producers. Witness to the Future provides an electronic arts tools for new generations of community activists such as Wilfred Green from “Cancer Alley” to unite worldwide in revolutionary action. He states, “I’ll give up when I’m dead. Then I can’t fight any more. But hopefully, I will have put something in my children, who will carry on what I believe.”

    A Call for Environmental Action
    Voyager’s release links CD-ROM content to hundreds of Web sites, creating a powerful hybrid multimedia. An extraordinary portrayal of the transformation of..ordinary citizens into activists, an innovative teaching tool, and an inspiring call to action, Witness to the Future is based on Branda Miller’s powerful video documentary about environmental catastrophes in three communities: Hanford, Washington; the San Joaquin Valley in California; and Cancer Alley, Louisiana. This CD-ROM investigates the roots of the environmental movement, beginning with Rachel Carson’s motivational call to action in 1962 with the publication of Silent Spring. Witness to the Future is a powerful teaching tool. In order to relate environmental history to the current events that will most interest students, this CD-ROM weds Web links directly to the disc’s content, and makes it possible to add new links and even remove outdated links through a designated Web site. Another technical innovation “a multimedia notebook” encourages students and activists to take written notes about the information they find, and to link their notes to visuals, audio, and text on the CD-ROM. Additionally, curricula are included to help teachers and community leaders easily integrate Witness to the Future into their classes and workshops. Currently, the curricula are being used at Rensselaer Polytechnic Institute as part of the course “Introduction to Science, Technology, and Society”. The Witness to the Future video documentary by Branda Miller portrays the struggles of citizen activists against radioactive waste contamination, pesticides, and toxic chemicals. In order to protect their families and homes, citizens were forced to become experts and discovered that by working with their neighbours in a unified effort they could better address the threat to their communities. This CD-ROM provides tools for a new generation of experts to learn about their communities and to unite with their neighbours worldwide in continuing to protect themselves by defending the environment.

    Features:
    Updatable links to more than five hundred related Web sites The complete fifty-minute video documentary Witness to the Future The complete text of Rachel Carson’s Silent Spring, the book that launched the environmental movement A unique multimedia notepad that allows users to create true multimedia presentations, personal guided tours, or ON to use visual, audio, and text references to track extensive research on the CD-ROM Background on each community and transcripts of all the interviews in the video A section on youth activism created by young people Supporting curricula for teachers and community leaders
    The multimedia notepad and updatable Web links were programmed by Joe Annino, a junior double-major in Electronic Media Art and Communication (EMAC) and Computer Science at Rensselaer.

    •
  • WM_EX10 WM_A28 TCM_200DV BK26
    •
  • Stefan Tiefengraber
    •
  • ISEA2016: 22nd International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • Run Run Shaw Creative Media Centre
    •

  • Abstract
    ‘WM_EX10 WM_A28 TCM_200DV BK26’ is a real-time audio/video noise performance where sound and video is generated through short circuits the artist produces with his wet fingers on opened devices. The skin’s resistance and the conductance of the human body combined with the components of the circuits are modifying the sound. The audio signal that is audible through the speakers is sent to tube monitors and a projection which are visualizing the signal in flickering and abstract shapes and lines in black and white. The used devices, such as ‘Walkmans’ and ‘Bontempi’ keyboards, are still useful in their original function. The title of the performance is the type designation of the devices and changes with the objects used.

    Project description
    ‘WM_EX10 WM_A28 TCM_200DV BK26’ is a real-time audio/video noise performance. Sound is generated through short circuits the artist produces with his wet fingers on opened devices. The skin’s resistance and the conductance of the human body combined with the components of the circuits modify the sound. This generated malfunctions are used to let the played devices influence each other, as circuits are getting closed and current flows through the performer’s body from one device to the other. The audio signal which is audible through the speakers is sent to CRT (cathode ray tube) monitors visualizing the signal in flickering and abstract shapes and lines in black and white. On the one hand there are the obsolete analogue devices such as ‘Walkmans’ and ‘Bontempi’ keyboards, to produce the short circuits – the sounds – and on the other there are the CRT monitors. These as well are rather ancient devices, nowadays only found abandoned in basements, trash places and recycling centers.

    This performance shows the advantage of the analog and outdate seaming devices and signals very clearly. The speakers and monitors react organically and show the signals as they are. In contrast to digital devices, which will only display a picture or play-back sound if the signal is stable and remains this way for a certain time, so the device decides if the signal is suitable for the user. At this performance unexpected and uncontrollable analogue signals are altered and bent by the artist to an audio/video noisescape. The interaction with the devices is not based on scores or presets and therefore improvised, the performer generates and alters the sound and thus the video by touching the circuits. There is no prior modification of the used devices, no additional computer or extensive audio program is needed to create the distortions.

    The title of the performance refers to the type designation of the sound-producing devices and changes with the objects used.

    •
  • Wo.Defy: designing wearable technology in the context of historical cultural resistance practices
    •
  • Wynnie Wing Yi Chung, Emily Ip, and Thecla Schiphorst
    •
  • ISEA2013: 19th International Symposium on Electronic Art
    •
  • Paper
    •
  • The University of Sydney
    •

  • WO. DEFY: DESIGNING WEARABLE TECHNOLOGY IN THE CONTEXT OF HISTORICAL CULTURAL RESISTANCE PRACTICES

    •
  • Women & Interactivity: Exploring Art, Science & Technology
    •
  • Dot Tuer and Caroline Seck Langill
    •
  • ISEA2014: 20th International Symposium on Electronic Art
    •
  • Round Table
    •
  • Zayed University - Dubai
    •
  • Women Remapping Technospace
    •
  • Zoe Soufoulis and Virginia Barratt
    •
  • ISEA94: Fifth International Symposium on Electronic Art
    •
  • Paper
    •

  • Abstract

    Although it is frequently assumed that successful engagement with new electronic media requires an unambivalent, uncritical and enthusiastic attitude towards the equipment, interviews with Australian women electronic artists and studies of their work reveal a diversity of attitudes and styles of relating to technology. Many women artists express critical concern for the contents and contexts of electronic artworks and aim at ‘putting some guts into the machine’, using new media to explore embodiment, rather than abandoning the body for a virtual world. Cyberspace, and the real-world institutional spaces in which it is embedded and accessed are contested zones: they do not guarantee places for women, and those aberrant females who enter do so not as colonizers imposing a pre-set plan for ‘the’ future, but as viral guerillas in a liberating struggle to subvert the political and aesthetic logics governing the field.

    •
  • Women, Gender and Technology, Leisure, Pleasure or Penury?
    •
  • Jackie Hatfield
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •
  • Paper
    •

  • Jackie Hatfield will look at the status of women’s imaging professions in Medieval Europe and the gender division of labour then in relation to current theories around gender and technological work. She will consider whether the computer revolution has had a democratising effect on gender imbalances in the workplace prevalent in pi, the previous industrial revolution – Who are the revolutionaries? Looking at women and their involvement with computing technology as both as imagiers and programmers she investigates the nature and status of the work in both public and private spaces, and considers this in relation to historical revolutionary technological developments, and their impact on the construction of gender.

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  • Wonderland in Pocket
    •
  • Glorianna Davenport and Pengkai Pan
    •
  • ISEA2002: 11th International Symposium on Electronic Art
    •
  • Paper
    •

  • M-Views is an experimental video story-making and sharing system designed for distribution to mobile hand-held video-capable devices. Video stories are constructed using the M-Views authoring tool, which allows makers to preview how segments will be sequenced based on any possible navigation path of the viewer. Inspired by environmental artworks and multiple perspective films, narratives designed for the MViews system tend to incorporate the opportunity for the story to merge with the architectural surroundings and, in the future, with the activity of the participant. As we explore the mobile story form of the future, the following questions guide our inquiry: What story structures/gaming strategies most actively engage the audience as a participant in location based video drama? Given a few prototypes and a network, will a community of makers emerge who want to develop this genre of video art? What special tools does the mobile story-maker/artist need to create engaging location-based cinema? In this paper, we describe the MViews platform and our experience in two experimental story productions.

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  • Wooden Worlds: Aesthetical and Technical Aspects of a Multimedia Performance Using Real-Time Interaction
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  • Javier Alejandro Garavaglia and Claudia Robles-Angel
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • Wooden Worlds is an audiovisual, interactive performance by Claudia Robles Angel and Javier Alejandro Garavaglia. The piece, of variable length (conceived however to be about an hour long), is a complex multimedia performance, in which viola, video, photography, soundscapes, live electronics and live processing of pre-recorded sounds interact with each other in real time, all of which intersect in art, science and technology. The paper describes the technical aspects of the work as much as its aesthetical approach and intention. The concept of haptic images, as described by Deleuze [1] and their usage in the artwork is also introduced and explained.

    [1] Deleuze, G., Guattari, F. and Massumi, B. 2004. A thousand plateaus: capitalism and schizophrenia. Continuum International Publishing Group, NYC, p. 545.

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  • Word Magic
    •
  • Nina Wenhart
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci University
    •

  • Aaa, sdafsda, sxjhk hfjk asfjkl. What reminds of onomatopoeia or a poem by Ernst Jandl, are actually tags that can be found as descriptive metadata in archives of Media Art. They describe and depict the contents of these archives. I call these words magical because they conjure up works and knowledge from the depths of the archive. Magical also, because who but a magician would know about the “spell” sxjhk hfjk asfjkl? What and if we actually find something in an archive significantly depends on the quality and accessibility of the descriptive metadata assigned to the artworks.

    “Word magic” provides insights into hystorical and current attempts to capture ephemeral Media Art via descriptive metadata and thus create a system of order. Methods and contraptions for the linguistic extraction of essential qualities are discussed; and prospective cures and damages of different terminology models examined (the “majikal rites” of experts culture vs the “digital punk approach” of open public tagging). What is lost and what is gained with different documenting strategies is core to this investigation.

    In analyzing existing archives and their strategies, I contrast open and closed approaches to documenting Media Art and the effects on knowledge creation. Throughout my research, I identify the closure of archival database systems as a main problem. The question of opening up these processes to or closing them from the public is at core a political issue. It exceeds the limits of Media Art and sheds a light on the value of openness in society at large and on how accessibility of knowledge shaped and shapes specific societies. In addition to a critique of and an alternative to current approaches, I suggest models of openness, such as Wittgenstein’s Sprachspiel (language-game) as more functionally fitting the task of describing evolving knowledge and culture.

    •
  • Word-Dialogue-Light-Revolution-Action: Breaking the Glass
    •
  • John Hopkins
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •
  • Panel
    •

  • This presentation circulates through Dialogue as a revolutionary tactic and its relationship with technology – both the mediating effects and the successes of extending the voice and the self. The personal occupation of technologically mediated space can be a powerful energy source and inspiration to (r)evolution. The history of mediation is also the history of humans seeking to lessen the impact of raw nature and human aggression on their physical being. Language may be thought of as a primal mediating technology, and in that sense, the further mediatións imposed on communications between humans – those mediations that are more commonly refered to as technology, are merely additional obstructions to understanding that overlie language.

    Nonetheless, in this moment, it is still possible to speak, and to listen, and to understand. In the very same moment that mediation stresses our attempts of attentive presence with the other, it becomes more imperative to engage in Dialogue and in the creation of spaces in which Dialogue might flourish. Dialogue stimulates genesis, transformation, and revelation in life – it is a revolutionary art itself when in critical juxtaposition to silence. Dialogue, as pure expression of heart and soul, is the core of all meaningful activism.

    •
  • Words for Water and Finding Ghosts: Disrupting ideas of place
    •
  • Tracey Meziane Benson
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2015 Overview: Artist Talks
    •

  • Disruption as artistic intention can take many forms. The mere act of reinventing a landscape is a disruption of sorts, an attempt at mimicry but ultimately an abstraction from the subject. In this talk, I intend to present two recent projects that speak of this disruption

    A performance work in the mid 1990s was the starting point for an ongoing exploration of the landscape, place and ideas of embodiment and identity. Since then, I have created many works that have critically and playfully looked at both the culture and science that is invested in how we identify and articulate stories about the landscape, our connection to it and our need to adapt to a changing climate.
    By weaving together Augmented Reality (AR) technology with aerial mapping imagery with video and soundscapes, I recently expanded on my creative interest in place through a number of projects “Words for Water” and “Finding Ghosts”. These two projects are ongoing and explore the natural, urban and estuarine environments with a purpose of revealing the layers of history, multiple stories and connections to place. They are also projects which ‘disrupt’ the audiences assumptions about a place as the interactive nature of the AR component presents an alternative view to the observer, one which offers layers of time and narrative.
    For the ISEA2015 artist talks, I present the latest version of Words for Water, which is an expanding work that has so far been presented in Adelaide, Canberra, New Zealand, India and will be shown in Arizona in March as part of Balance Unbalance. Each edition of the work has explored a body of water close to the location, taking into account the impact of humans on the hydrology. The talk is intended as a media rich articulation of the two projects, which will also focus on the collaborative natures of these works and how they have evolved because of the disruptions made by other ‘actors’ in the development of the artworks.
    The benefit of showing in both contexts is that the video is a meditative work comprising of a soundscape as well as the visual imagery of maps and water. It is a looping video which is around 10 minutes in total and I will show a three minute clip. The W4W and Finding Ghosts AR work will be demonstrated through documentation.
    My work references climate change issues and the anthropocene through the life giving element of water. It is a critical element that sustains all live on our planet and an element that is increasingly being used to further corporate interests, especially in Australia. My approach is one of subtlety: to create awareness in the audience by providing an opportunity to meditate, to think and consider our most precious of resources and its importance to life, culture and the health of the planet.

    •
  • Work in Progress: The Department of Arts and Humanities at Universidad Autónoma Metropolitana, Lerma, Mexico.
    •
  • Luz Maria Sanchez Cardona
    •
  • ISEA2017: 23rd International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 2017 Overview: Institutional Presentations
    •
  • University of Caldas
    •

  • The Universidad Autónoma Metropolitana [UAM] is a public university with 47 years of history, serving the urban area of Mexico City. With five campuses placed in Xochimilco, Azcapotzalco, Cuajimalpa, Iztapalapa and the younger one, Lerma, UAM is challenging how public education is implemented in Mexico. The Department of Arts and Humanities at UAM Lerma has only 4 years of creation, with barely 4 generations of students still on the classrooms, it offers the bachelors program Digital arts and Communications. We would like to introduce our department, our two groups of research, check for collaboration and exchange opportunities, within the digital + art academic ISEA community.

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  • Work in Progress: The Sinuous Index
    •
  • Colin Ives
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2015 Overview: Artist Talks
    •
  • Work of Sue Machert
    •
  • Sue Machert
    •
  • ISEA96: Seventh International Symposium on Electronic Art
    •
  • Poster
    •
  • 1996 Overview: Posters
    •
  • Work-in-Progress: Interactive Art/ Science Planetarium Event on Cell Biology
    •
  • Rob Fisher
    •
  • ISEA95: Sixth International Symposium on Electronic Art
    •
  • Paper
    •
  • 1995 Overview: Paper Presentations
    •

  • The Cell Project is a National Science Foundation interdisciplinary project. The event focuses on the structure, functions and communication systems of the living cell. A “Renaissance team” of artists, computer scientists, biologists and multimedia experts from Carnegie Mellon University are in the process of transforming Pittsburgh’s Buhl Planetarium into a group immersive visualization environment. The event will place the audience inside a microscope where they will interact with startling new images of the cell.

    •
  • Workers of the Future at the Frontier of a : Innovation at work
    •
  • Marie-Michèle Cron
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • Behind the issues the complexity of their practice raises, the artists approached for this inquiry, unravel this Ariadne’s thread woven out of inventiveness (technology), sociability (networking) and otherness (integration, simulation, immersion). In the digital arts, work is carried out in a rhizomatic, intersectorial and intergenerational manner: it is a winning combination that heightens the innovation potential of the discipline and of the artists who are the node connecting heterogeneous activity zones between each other. A “laboratory artist”(JP Fourmentraux)  or worker of the future, a researcher-expert in his chosen field, the digital artist is changing the face of art by overcoming the physical obstacles which may arise when art meets technologies based on constantly renewed and fluctuating data. The digital artist possesses mixed and non-conventional skills in combination with a very open mind and professional flexibility: he is versatile and knows how to renew himself. By way of science, technology and art as generators of new expressive forms, he can thus exert an influence on the world of affects and the sensible, and but also on the dissemination of new theories and new concepts. In the digital arts, innovation is exercised in the invention of dissemination platforms and interactive extension prostheses; the spatio-temporal involvement of the other in the new discursive and textual spaces; architectural reconfigurations by way of light and sound;  reactive textiles; new scenographies which fuse real and virtual beings; synesthetic audiovisual projections and performances; the détournement of the functionality of everyday objects; novel and poetic combinations between high and low tech. If innovation is generally associated with the world of industrial research and the emergence of new products and methods revolving around competition and profit seeking, paradoxically, this notion is less present in the art world: yet, aren’t values such as self-reliance, freewill, originality and risk-taking not also its raison d’être? How do the digital arts metabolize the innovation that influences both the creative classes and the companies linked to the new economy?

    •
  • Working in the Experimental Forest: The Intimacy of Language
    •
  • Alison Hawthorne Deming
    •
  • ISEA2012: 18th International Symposium on Electronic Art
    •
  • Panel
    •
  • New Mexico Museum for Natural History and Science
    •

  • Panel: Synaptic Scenarios for Ecological Environments

    The miss-presentation and bullying of science by climate skeptics has led many researchers to understand that climate change is not only a scientific and technological challenge, but also a challenge of ethics, aesthetics and communication. Working with researchers at the H.J. Andrews Experimental Forest in Oregon, poets, essayists, and philosophers have for several years explored new strategies for Long Term Ecological Reflection that enhance intimacy with place, nature and the desire for a sustainable and meaningful future. This presentation will focus on my work in the experimental forest and advocate for place-based trans-disciplinary practices in science, arts and the humanities.

    •
  • Working Towards A Virtual Art Centre?
    •
  • Anne-Marie Morice and Bruno Guiganti
    •
  • ISEA2000: 10th International Symposium on Electronic Art
    •
  • Round Table
    •

  • Round table Statement

    CENTRE D’ART D’IVRY (CREDAC)

    Proposed by Synesthesie (with the support of DRAC Ile-de-France)

    Taking into account the desires of several artists to access the net or to simply be part of it, and the necessity of producing, documenting and ensuring the mediation of contemporary creation, Synesthesie is considering the importance of the creation of a virtual art centre.
    Can Internet be thought of as a favorable place (public or private) for showing contemporary art? What are the new working conditions for producing works of art? How should they be shown? How can one critically evaluate the pertinence of a work of art? What public are we trying to reach? What would motivate artists to use these new exhibitions centres? What can one consider the status of the artistic features of the net as well as the sites which show them? What legitimacy and what value can we award to the artistic approach of the net as a medium for this purpose? How can we make virtual space more attractive for artists?

    Created in 1995, the digital magazine, Synesthesie takes advantage of the particularity of Internet to be able to allow critical content and artistic creation to coexist. The site shows and develops an original analysis of contemporary creation, with its aesthetic and social issues, putting them into the perspective of the development of digital networking. To better take into account the creative dimension of the internet medium, a virtual Centre of Contemporary Art (the CAC-V) will be set up at the site as of January 2001. synesthesie.com

    		•
  • Working with Poetics in an Interactive Environment: Mouthplace
    •
  • Richard Povall
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •
  • Paper
    •

  • Richard Povall and Jools Gilson-Ellis began work on a collaborative project in late 1995 knowing only that they wished to use text, music or sound environments, and interactivity. They had never worked together before. This presentation discusses the development of “Mouthplace”, an artists’ CD-Rom which takes the female mouth as its poetic focus, examining through>visual, written and uttered texts the ways in which the female mouth is a site of contested and contestable meanings. The result of a 15-month collaboration between writer Jools Gilson-Ellis and composer and media artist Richard Povall, Mouthplace rejects the aesthetic of computer-generated slickness and artificial worlds, and instead conjures up traceries of the feminine body and works with painted text, hand-drawn animation, hand-writing, laughter, poetic text, the speaking and singing voice, and rich sonic environments.

    Mouthplace offers the user a virtual stage within which to explore the archaeology of this oral cave. Using a simple format of juxtaposed still image sequences, video and animations, original text, and drawings, the user is able to interact with the world in their mouth. The presentation outlines the working process of the artists, the emerging themes of their work, and its ultimate expression in the published CD-Rom and installation. The presentation partners the actual installation, also proposed for ISEA98.

    •
  • World Heritage Beer Garden Picnic
    •
  • Sarah Lewison and Duskin Drum
    •
  • ISEA2008: 14th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2008 Overview: Artist Talks
    •
  • Singapore Management University, Seminar Room
    •

  • K10 is a collective project engaging in social and material research that blurs lines between aesthetics, functionality, and activism. We mediate intra-species ecologies. K10 proposes to present ongoing interdisciplinary work conducted on trans-species relationships and synechdotal dependencies: scaled down DIY versions replicating co-evolutionary schema, oriented toward increasing the representational legibility of energy transfers, and toward urgencies for ecological sustainability. Through practical demonstration, workshops and digital visualization, Katalog10 builds on a conceptual model of Jianghu mycelia; brainlike structures that co-evolve in landscape.

    K10 will be in residence in a rural/agricultural area in Yunnan conducting material and social research. In a project that combines Chinese agro-ecological agriculture, utopian landscape architecture, and a current imperative for value-added products induced by an influx of tourism in the region, K10 will build a material systems project demonstrating strategic carbon recycling within an environment, while providing delicious human edibles. This involves a western-style beer of local ingredients, brewing wastes are deployed to feed pigs and cultivate fungi, and Fungi used to build berms and to abate soil erosion on hillsides.

    The project highlights competitive allocations of resources between agricultural, subsistence and tourism economies. Beer originally made through the capture of wild yeasts, was selected for its long association with human societies, an excellent example of human co-evolution with other organisms for mutual survival. Remediation activities underline the process by which energy- in the form of materials- changes its state, from the waste of production into food for another organism. Introducing fungi cultivation into this energy loop strategically frames cycles of decay and reuse for public contemplation.

    Additional ongoing/proposed projects:

    1. Future Travel: Trash Dirigibles
    2. Changing Standards
    3. What is Clean: A Reintroduction of Bacteria for the North
    4. Open Source Soap and Happy Dirt
    5. The International Pooper that Pays
    6. The Air-Conditioning Festival
    •
  • World Premiere of “Frozen Palaces”
    •
  • Tim Etchells and Hugo Glendinning
    •
  • ISEA98: Ninth International Symposium on Electronic Art
    •
  • Keynote
    •
  • 1998 Overview: Keynotes
    •

  • Tim Etchells artistic director of the renowned UK performance group Forced Entertainment and photographer Hugo Glendinning will present work from their CD-Rom projects Frozen Palaces and Nightwalks. They will discuss the projects in relation to their experience as artists whose work spans a range of media from theatre and gallery-based performances, site-specfic interventions, photography, installation and video. “Our work concerns the relationship(s) between spaces, performance actions, and photography in stills, film or video. Projects have repeatedly explored the construction and deconstruction of narrative from visual and textual fragments and the role of the viewer in navigating space and visual material. Extending these concerns at the heart of our most recent work in digital media is the development of a new language in which narrative can be both made and deconstructed. Utilising and reinventing the possibilities of interactive media our two recent projects Frozen Palaces and Nightwalks have created series of linked navigable 360 panoramas – landscapes of frozen narrative and displaced figures through which the user may move and explore on a computer screen. Indeed, for us the use of Apple’s QTVR as we are employing it in these projects, lies somewhere between installation, cinema and photography itself, allowing a unique opportunity to interrogate the nature of photographic representation and to expand the potential of the medium as it meets digital technology.

    From installation it takes the active, seeking and mobile gaze of the viewer in 3-dimensional (albeit virtual) space, from cinema it can reference the conventions of moving camera and point-of-view and from photography it can allow us to render the>world as a still moment, a place in which time has been halted…”. In the vast house of “Frozen Palaces” time itself has stopped still. In each room, a series of events – from love affairs through murders, ghostly levitations, parties and even drunken hallucinations – is halted at some banal or significant moment. In this house of interlocking dreams the people or actors themselves have the status of objects -clues to be found and connected. The viewer alone is free to move, explore, and investigate a series of inter-linked scenes of a world full of people and crammed with stories but a world that has stopped completely still. Using Apple’s QuickTime VR (QTVR), “Frozen Palaces” is a ground-breaking collaboration between Britain’s Sheffield-based artists Forced Entertainment and leading arts photographer Hugo Glendinning.

    •
  • World-Wide-Walks / between earth, sky & water / Ice-Deserts
    •
  • Peter d’Agostino
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2015 Overview: Artist Talks
    •
  • World-Wide-Walks: Glaciers in the age of global warming
    •
  • Peter d’Agostino and David Tafler
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Long paper)

    Keywords: World-Wide-Walks, art, walking, climate change, global warming, glaciers, ecology, Anthropocene 

    World-Wide-Walks have been performed by Peter d’Agostino on six continents over the past four decades to explore elements of natural, cultural & virtual identities: mixed realities of walking through physical environments and virtually surfing the web. Initiated as video “documentation/performances” in 1973, the Walk Series evolved into video/web projects during the 1990s, and mobile/locative media installations in the 2000s. During the past decade, the World-Wide-Walks / between earth & water projects have considered the dire crisis of climate change and its ominous threat to impact on human civilization by operating as part of a long tradition of walking practice as exploration, meditation, political activism, community engagement. This paper focuses on Walks that explore the immediate peril of global warming. Melting ice has the capacity to raise sea levels and change the configuration of civilization in heavily populated coastal regions. These Walks record the real time deterioration of glaciers, while noting their historic loss. Recent books by Elizabeth Kolbert and Naomi Klein contextualize the challenges of climate change. Kolbert talks about the precariousness of species, exacerbated by human environmental abuse. Klein discusses how wealth, worldwide economics, and the negotiation of geo-political differences challenge the mobilization to enact timely change. The arts have a role to play on the cutting edge of these issues through the production of works of significant cultural resonance and art the transmission of urgent concerns about a world at risk.

    •
  • Worlds Imagining Ecologies
    •
  • Mike Phillips, Jill Scott, Chris Speed, and Paul Thomas
    •
  • ISEA2012: 18th International Symposium on Electronic Art
    •
  • Panel
    •
  • Harwood Art Center
    •

  • The panel describes a range of transdisciplinary strategies and projects for the visualisation and sonification of complex ecologies through a variety of forms (such as mobile apps, FullDome environments or urban screens) to manifest information harvested from the environment – from bodies in landscapes to the body as landscape.

    •
  • World­mak­ing Be­tween Hu­man­ism and Ma­chin­ism
    •
  • Dr. Sana Murrani
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
    •
  • Sabanci Center
    •

  • Panel: The Volatility and Stability of WorldMaking as Techné

    In a hy­per-cul­ture of change in­flu­enced by phys­i­cal and cyber com­mu­ni­ties, worlds and net­works, fur­ther spec­u­la­tions for the fu­ture of the field of ar­chi­tec­ture will nec­es­sar­ily be di­rectly linked to this cul­tural and tech­no­log­i­cal change. This change starts with the mul­ti­ple iden­ti­ties of one’s rep­re­sen­ta­tion as seen in Face­book, Twit­ter, or­di­nary e-mail ac­counts and highly in­ter­ac­tive mo­bile phone and other dig­i­tal de­vices as well as avatars on Sec­ond Life, Cy­ber­Town and Ac­tive Worlds. The body is no longer seen as a phys­i­cal en­tity com­posed of mat­ter and en­ergy but rather a volatile ex­ten­sion of our con­scious­ness and ex­pe­ri­en­tial worlds of hy­brids of phys­i­cal, dig­i­tal and aug­mented re­al­i­ties and vir­tu­al­i­ties. Im­pli­ca­tions of such worlds are al­ready ev­i­dent in the par­tic­i­pa­tory art prac­tice, in­ter­ac­tive ar­chi­tec­ture, cy­ber­space, mul­ti­ple re­al­i­ties and neo­plas­matic de­signs; all have con­tributed a great deal to cre­at­ing par­al­lel selves and other ar­chi­tec­tures where tech­nol­ogy was and will al­ways be at the heart of their world­mak­ing. Two decades ago or so, with the start of the age of in­for­ma­tion tech­nol­ogy, ar­chi­tec­ture started al­low­ing for col­lab­o­ra­tions with other fields such as com­puter sci­ence and par­tic­i­pa­tory art prac­tice in­flu­enced by the cy­ber­netic method­ol­ogy. Such tech­no­log­i­cal ex­per­i­men­ta­tions cre­ate con­stant di­a­logues be­tween hu­man­ism (through par­tic­i­pa­tion and in­ter­ac­tiv­ity), ma­chin­ism (through ex­per­i­men­ta­tions and trans­dis­ci­pli­nar­ity) and tech­nol­ogy, to heighten the human ex­pe­ri­ence. The paper will ex­plore no­tions of techné and world­mak­ing as praxis for de­sign ex­pressed through a par­tic­i­pa­tory in­ter­ac­tive spa­tial in­stal­la­tion.

    •
  • Wrinkle skin
    •
  • Nadya Peek
    •
  • ISEA2009: 15th International Symposium on Electronic Art
    •
  • Paper
    •
  • Waterfront Hall
    •
  • Writing on the Walls of Cyberspace Abstract
    •
  • Colette Gaiter
    •
  • ISEA2002: 11th International Symposium on Electronic Art
    •
  • Paper
    •

  • This paper documents an experiment in visualizing virtual space using metaphoric and literal information. A web site combines “unofficial communication” – non-commercial messages and images in public spaces- with data-determined space. The visual form “maps” and juxtaposes physical and conceptual “locations” of individual works, their makers, and visitors to the site.

    •
  • Writing: Electronics And Music
    •
  • Bastien Gallet
    •
  • ISEA2000: 10th International Symposium on Electronic Art
    •
  • Paper
    •

  • Twentieth century music is the ramified expression of a split whose origins go back to the end of the nineteenth century: the split between the intimacy of the instrumental gesture on the one hand and its translation into sound on the other. The inventions of Edison (the cylinder phonograph) and Bell (the telephone), though not springing from musical motives, had two main esthetic consequences: the objectification of the sound wave and the abstraction of the instrumental gesture.
    Because sound was engraved in the groove of a record it became a plastic object (it is no coincidence that we talks about “engraving” a CD). The principle has not changed, the only thing that has changed is the nature of the medium and the scope of its potential manipulation, from DJs scratching vinyl records to electro-acousticians composing works on computers. The inscription of sounds (in analog or digital format) is very different from their graphic representation. A noted sign represents a sound to be produced or interpreted. The sign is not the interpretation. Electrical signals and digital codes are not mere signifying representations of sound. They do not deliver meaning, they make the sounds themselves available, which means they can be interpreted, or in other words, manipulated indefinitely. A digital code is not the sign of a sound but a sound that has become a sign. From scores to machines, there is a transition from the representation of the sound to be produced (a note signifies a certain interpretation gesture) to the simple presentation of the sound itself. Between the sign and the sound, the interpretation disappears.

    •
  • Xin­dan­wei: Work­space, Cre­ative Net­work and Com­mu­nity
    •
  • Liu Yan and Xu Wenkai
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
    •
  • Sabanci Center
    •

  • Panel:  @China, Virtually Speaking: A Virtual Roundtable Discussion on Emergent Practices in China

    Xin­dan­wei, which lit­er­ally means “New Work Unit,” is a so­cial en­ter­prise and grass­roots co-work­ing com­mu­nity in down­town Shang­hai that pro­motes and fa­cil­i­tates cre­ativ­ity, shar­ing, and col­lab­o­ra­tion. Xin­dan­wei com­bines the best el­e­ments of a work­space (pro­duc­tive, func­tional) with a so­cial media plat­form (hy­brid, real-time, ef­fi­cient) and a cre­ative hub (so­cial, en­er­getic, cre­ative). Work­ing across many dif­fer­ent dis­ci­plines, Xin­dan­wei con­nects more than 2000 peo­ple who do amaz­ing things, and has or­ga­nized more than 100 events to cre­ate op­por­tu­ni­ties for peo­ple who ex­pe­ri­ence, en­counter and ex­per­i­ment. Xin­dan­wei has been fea­tured in CNN, Urban China, Face, Shang­hai Weekly, DI Ar­chi­tect and De­sign and more. Some of their pro­grams in­clude “Magic So­ci­ety”, an in­no­v­a­tive plat­form that in­spires and ed­u­cates peo­ple about how things work, build­ing and re­build­ing stuff, re­cy­cling and re­source con­ser­va­tion; “New Shanzhai: In­no­va­tion in Chi­nese way?” ex­plor­ing the phe­nom­ena of Shanzhai, China’s knock-off cul­ture that ques­tions le­git­i­macy and au­then­tic­ity of de­sign and blurs the line be­tween cul­tural ap­pro­pri­a­tion and out­right theft; and “De­sign2Change”, ex­plor­ing the pos­i­tive im­pact of de­sign for so­cial change.

    •
  • Yamaguchi Center for Arts and Media (YCAM)
    •
  • Miki Fukuda and Takayuki Fujimoto
    •
  • ISEA2008: 14th International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 2008 Overview: Institutional Presentations
    •
  • The Salon
    •
  • YLEM: Artists Using Science & Technology
    •
  • Beverly Reiser and Fred Stitt
    •
  • SISEA: Second International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 1990 Overview: Institutional Presentations
    •
  • Cultural Center de Oosterpoort
    •

  • ABSTRACT

    Ylem has been active in the San Francisco Bay Area since 1982 and is now an international association with over 200 members. The organization sponsors numerous events and exhibits, publishes a monthly newsletter, and an annual membership Directory. Ylem members include artists who work with video, ionized gases, computers, lasers, holograms, robotics, and other non-traditional media. It also includes artists who use traditional media but who are inspired by the images, structures, and growth geometries of crystals, electromagnetic phenomena, biological self-replication, and fractals.

    Ylem’s feature annual publication is the ARTISTS USING SCIENCE AND TECHNOLOGY DIRECTORY. This is a directory of over two hundred creative artists who are working in diverse contemporary and electronic media, including video, neon, hi-tech sculpture, performance art, cosmic oriented painting, and computer graphics. The directory brings artists into direct contact with curators, art collectors, gallery owners, and educators.

    •
  • You are. I am. Everyone is: The Authorless as Producer
    •
  • Rene Abythe, Jon Cates, Paul Lloyd Sargent, and Marco Deseriis
    •
  • ISEA2012: 18th International Symposium on Electronic Art
    •
  • Panel
    •
  • Hotel Albuquerque
    •

  • This panel posits that tactics utilized by the hacker network(s) often identified as Anonymous are a response to the terrifying, creative and destructive processes of modernization. We will discuss Anonymous’ history of exploiting the idealized “democratizing” technologies of social networking sites, as well as their GIF, image-macro, and Internet-prank-art, especially in light of recent spillover IRL within the Occupy movement, as a practice of revolutionary cultural production.

    •
  • You Hold the Cam­era Now: An Ac­tion Re­search Case Study of Pre-Kinder­garten Trans­me­dia Nar­ra­tive De­sign
    •
  • Gabriel Peters Lazaro
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
    •
  • Sabanci Center
    •

  • Panel: The Madness of Methods: Emerging Arts Research Practices

    This paper pre­sents find­ings from a pilot re­search pro­ject called the Ju­nior Au­dio-Video Club.  Con­ducted at USC’s In­sti­tute for Mul­ti­me­dia Lit­er­acy,the pro­ject in­tro­duced media pro­duc­tion skills along with con­cepts of re­com­bi­nant and trans­me­dia sto­ry­telling to two groups of four- and five-year old preschool stu­dents over the course of a 16-week cur­ricu­lum.  Through an ac­count of our ex­per­i­men­tal ped­a­gog­i­cal ap­proaches, and through an ex­am­i­na­tion of stu­dent-pro­duced media ar­ti­facts, this paper aims to iden­tify key in­sights and chal­lenges to the pur­suit of early child­hood media arts ed­u­ca­tion, and to ex­plore ways in which art prac­tice as a re­search method­ol­ogy can in­form prac­ti­cal ap­proaches to col­lab­o­ra­tive cur­ricu­lum de­sign, fa­cil­i­ta­tion of pre-lin­ear cre­ative ex­pres­sion, and pro­mo­tion of media lit­er­acy skills as an in­te­grated com­po­nent of early child­hood lit­er­acy ed­u­ca­tion.

    •
  • Your Hearing Them
    •
  • Blake Johnston and Henry Dengate Thrush
    •
  • ISEA2016: 22nd International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • Run Run Shaw Creative Media Centre
    •

  • Your Hearing Them is a new artwork of wearable technology which allows audiences to translate their experience to others. Specifically, it focuses on the experience of hearing one’s own voice. The experience of hearing one’s own voice is unique to the speaker. When one speaks, they hear the sound as it reflects off the surfaces of the room, and then returns to their ears — as everyone else does. However, the skull of the speaker is resonated by the vibration of the vocal cords, creating a deeper, and more embodied experience of their own voice.

    This additional element causes the speaker to hear their voice differently than how others hear it, and creates the foreignness of hearing one’s voice recorded and played back. That lack of body and bass often provokes a reaction of ‘Is that really what I sound like? What this piece enables is for an audience to experience someone else’s voice — the way they do. This talk outlines the development, design, and production of Your Hearing Them, and will also discuss the wider context of this piece, and the main themes of the author’s PhD thesis.

    This piece is one in a series of works that develop a meta-perceptual approach, which focus on the experiential qualities of the audience as a tool for the analysis and creation of new sound works. Specifically, the metaperceptual approach redirects the audience’s attention back onto themselves through the materials of the work, making the audience aware of some element of their experience and perceptual apparatus.

    •
  • Y’arr, What be Yer Share of the Booty, Matey? De­viance as Strat­egy
    •
  • Anna Lena Seiser
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Panel
    •
  • Sabanci Center
    •

  • Panel: How dare you? Acts of Deviance and Strategies of Discreditation

    The term ‘Piracy’ has been used by copy­right hold­ers to de­clare dif­fer­ent forms of copy­right in­fringe­ment and sim­ple non­profit peer-to-peer file shar­ing tech­niques as crim­i­nal and de­struc­tive an­ti­so­cial acts. How­ever, the use of this de­val­u­at­ing de­nom­i­na­tion has de­vel­oped its own dy­nam­ics.  What was meant to dis­credit a set of cul­tural prac­tices has back­fired, as the so called pi­rates grad­u­ally co-opted the name by ac­ti­vat­ing the in­her­ent heroic and re­bel­lious con­no­ta­tions.  Piracy as a label has be­come a ubiq­ui­tous sym­bol in the on­line- and of­fline world. Sail­ing under the flag of piracy as a form of de­viance is now even un­der­stood as a rad­i­cally lib­eral po­lit­i­cal ac­tion.

    •
  • Zentrum für Kunst und Medientechnologie
    •
  • Unknown presenter - ISEA1995
    •
  • ISEA95: Sixth International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 1995 Overview: Institutional Presentations
    •

  • As a cultural institution, the Center for Art and Media (ZKM) in Karlsruhe holds a unique position in the world. It responds to the rapid developments in information technology and today’s changing social structures. Its work combines production and research, exhibitions and events, coordination and documentation. For the development of interdisciplinary projects and promotion of international collaborations, the Center for Art and Media has manifold resources at its disposal: the Museum for Contemporary Art, the Media Museum, the Institute for Visual Media, the Institute for Music and Acoustics and the new departments – the Institute for Media, Education, and Economics, and the Filminstitute. Under the direction of Prof. Peter Weibel since 1999, the Center for Art and Media probes new media in theory and practice, tests their potential with in-house developments, presents possible uses in exemplary form and promotes debate on the form our information society is taking. Working closely with the State Academy for Design in Karlsruhe and other institutes, the Center for Art and Media provides a forum for science, art, politics and finance. In a spacious ambiente, visitors can enjoy events and tours, view public exhibitions or visit the Mediathek. The Center is a platform for experimentation and discussion, with a mission to participate actively in working towards the future and engage in the ongoing debate about the sensible and meaningful use of technology.

    •
  • Zero1 American Arts Incubator
    •
  • Shamsher Virk
    •
  • ISEA2018: 24th International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 2018 Overview: Institutional Presentations
    •
  • Durbin City Hall/Durban Art Gallery
    •

  • Zero1 American Arts Incubator

    •
  • ZERO1 American Arts Incubator
    •
  • Shamsher Virk
    •
  • ISEA2018: 24th International Symposium on Electronic Art
    •
  • Institutional Presentation
    •
  • 2018 Overview: Institutional Presentations
    •
  • Durbin City Hall/Durban Art Gallery
    •

  • ZERO1 American Arts Incubator

    •
  • Zeuma
    •
  • Anna Hatziyiannaki
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • “Zeugma” is a New Media Art Project, inspired from the ancient twin city Zeugma, now covered by the river of Euphrates, because of the construction of a dam.

    In Greek, «Zeugma» means «link». so,  «Zeugma» may be called any place where foreign and strange between them elements meet, co-exist, are bridged over, harmonize.  Thus, six Greek New Media Artists, traveled to the closest to Zeugma twin city,  Istanbul, looking for the «Zeugma»  of Ancient and Modern times, the «Zeugma» of cultures through time, the intercultural node of east and west.

    The works of the six artists, permeates key-notions that transcribe to forms as: twin elements, vis-a-vis in a mutual axis, contra positions, nodal points, passages, joints, sacred and profane in a dialogue…

    They used contemporary techniques and media: installations and constructions out of metal, rope, electric light, plexiglass and readymade objects, video installations, interactive multimedia installation, and video performance.

    Their intention was to experience the meaning of «zeugma» and to implement it in contemporary art works. They investigated also a plastic glossary that may be a link among all kind of cultural diversities, without undermining the autonomy of each one, but conversely building a horizontal network, without any hierarchy, a kind of cultural rhizome. Perhaps this is the bet of the 21st century?

    Finally, we would say that the proposal of the six artists applies not only for the lost city Zeugma, and for modern Istanbul, but for the Mediterranean sea as well,  that liquid –zeugma among Asia, Africa and Europe.

    •
  • Zita2010’s Melancholy and the “Low-resolution” Artists
    •
  • Nicolas Thély
    •
  • ISEA2008: 14th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • Singapore Management University, Seminar Room
    •

  • Zita010 is 18 years old this year. Like all teenagers born during the 80’s, Zita blooms on the network through standardized formats (blogs, msn) and shows a detachement to physical supports. Yet she is sensitive to the loss of datas, even to the vanishing of her blog. Before going on Myspace, Zita2010 writes in her last note published on her Skyblog : « They remind me a lot skyblog 120 articles, yet i think i will never erase it, skyblog would like to do it on behalf of me, yet i would be keen on printing all of them, just to get some souvenirs. » What will remain in some years of all these exchanges on the network, of these datas widely spread on these servers, rather consulted or not, sometimes duplicated to infinty yet soon forgotten, abandoned ? Fanette Muxart, Clôde Coulpier, Camille Laurelli, David Lefebvre et Fabrice Croux are young contemporary artists who need the network in their productions, they express the fragitlity of things , the relative importance of datas produced in the digital culture. Conscious that Mp3, jpeg, Mpeg and Gif formats have definitely built our sensorial environment, these artists have realized some « weak forms », registered some videos on Youtube, made various apperances on Myspace with several pen names. But their also respond to the very mobile images and to the volatility of datas, re-playing all day long their wanderings on the web, using long time methods (drawing, painting, modelling) and where know-hows are uncrypted.

    •
  • Zleeches
    •
  • Vladimir Todorovic
    •
  • ISEA2009: 15th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • Waterfront Hall
    •
  • ZONE
    •
  • Alexander Glandien
    •
  • ISEA2012: 18th International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2012 Overview: Artist Talks
    •
  • National Hispanic Cultural Center
    •

  • The installation „ZONE“ focuses on the process of demarcation, on the definition of ban zones and on the exclusion linked with it. Starting point of this kinetic installation is an ordinary, adaptable street-barrier. This barrier was modificated and automated, so that it can constantly change expansion, position and the required space. The installation cuts and crosses the exhibition space at the same time. This installation creates some kind of prohibited area by their movement and thereby it makes strategies and forms of exclusion visible.

    •
  • [e]arts for humanitarian actions? the “art!⋈ climate” initiative
    •
  • Ricardo Dal Farra
    •
  • ISEA2013: 19th International Symposium on Electronic Art
    •
  • Paper
    •
  • The University of Sydney
    •

  • The ‘art!⋈climate’ initiative emerged from the idea to collaborate with the Red Cross/Red Crescent Climate Centre -and its worldwide network- with specific actions that could support their humanitarian actions

    The first step of this multiple-stage project is a call to create sound miniatures that the Climate Centre will use in its activities, such as: workshops, simulation/educational games, lectures and presentations around the world, and eventually in audio-visual material too. We mean by sound art miniatures: “creations of sound art/music made from the use of new technologies, whose products can fit into what is known as soundscapes, electroacoustic /acousmatic music, sonorizations and sonifications.” Several media art forms are currently being considered to be accepted in the following stages.

    The ‘art!⋈climate’ project became possible as a creation-knowledge-action proposal to reach those who are already affected or in imminent danger from the consequences of climate change, and also for those who are not directly touched by it yet. It can be seen as a tool but it is not less artistic for being that. On the contrary, the principal idea here grows from a cooperative effort having powerful means based on artistic creations -with a value independently from its potential functionality- and simultaneously, a tangible application in humanitarian actions.

    We propose a true collaboration that can have an effect on “real people” while preserving the significance and meaning of each contribution and action. Art can be created with or without a specific goal, and this appears like one of those cases where both situations harmonize.

    The ‘art!⋈climate’ project is part of the Balance-Unbalance initiative and has been developed by the Electronic Arts Experimentation and Research Centre (Centro de Experimentación e Investigación en Artes Electrónicas – CEIArtE) at National University of Tres de Febrero in Argentina and the Red Cross/Red Crescent Climate Centre.

    •
  • [HIVE] High-performance Interactive Visualization and Electroacoustics
    •
  • Frederick (Derick) Ostrenko
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2015 Overview: Artist Talks
    •
  • [i-metro] Universal Access to Information
    •
  • Therese Tierney and Vincent Velasco
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci University
    •

  • Navigating through an unfamiliar city presents numerous logistical challenges.  For persons without an automobile — for example new residents, job seekers, tourists, and students — this becomes an even more onerous task.   Although many urban dwellers own cellphones, the majority lack mobile internet access due to its expense, thus making their wayfinding efforts even more challenging.   Increasingly, as more location-based information and services transfer online, wireless modes are becoming the accepted norm for information access and assistance.  However, while new mobile communication devices [blackberries, i-phone or droids] can provide travelers with services, maps and/or directions, thereby solving many logistical dilemmas, the purchase price and monthly service fees nevertheless prohibit individualized ownership for the majority of urban dwellers, effectively creating zones of information privilege, and excluding those who use public transport most.

    This project takes the position that information, as both a resource and an integral component of the public sphere, should be equally available for all.  By addressing the problem of unequal information access, [i-metro] provides public locational information accessed through the Internet.   Location-based information, for example, Google Maps, Yelp, Foursquare or other such services, when added to a GPS-enabled smartphone, produce another city, a city of layered opportunities and data.   This particular type of information is often required “on the go” or in mobile environments — in situations where directional coordinates are difficult or impossible to obtain from print media.  As an interactive information portal [i-metro] contributes to new forms of public engagement by creating socially rich glocal nodes for the public benefit.  Glocal information connects the global with the local through direct-networked communication systems by linking the scale of the webpage to the city in real time.

    Information is mediated through technology available today, utilizing modern motion sensing technology similar to Microsoft’s Kinect. This off-the-shelf, inexpensive solution does not require tactile input in a germ rich environment and will provide an unobtrusive, intuitive experience for everyone.

    •
  • [Personal Nature]: An Artist’s Approach to Assistive Technology
    •
  • David Dowhaniuk
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Short paper)

    Keywords: Assistive, Communication, Sonification, Embodiment, Art, Design, Therapy, Music, Data, Generative

    [Personal Nature] is an artistic intervention rooted in assistive communication technology. By using physiological sensors on the body a sonification is created, this is to amplify the minute non-verbal communication cues found in our heart and breath rates, temperature, and in the amount of moisture found on our skin, all processed through time. The goal of this sonification is to replicate the sounds of a park through real world recordings including birdsong, children’s laughter, wind and water as to create a space conductive to communication. The intended user of this technological intervention is a person who is in a coma or is otherwise (seemingly) unresponsive and their loved ones. This article explores the artist’s process of using art, design and research methodologies. By looking at the disruption through the lens of different philosophies while considering the benefits of nature, music therapy and communal healing this paper attempts to fully explore aesthetics within the hospitals critical care unit

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  • «Super Will>Super Share»
    •
  • Yueh Hsiu Giffen Cheng
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • The concept of «Super Will>Super Share»is based on an idea of the ancient Chinese folk ritual called Villain Hitting, with a purpose of connecting both elements, the conflict and the opposing, the virtuality and the entity, the digital technology and the traditional cultural phenomenon. The hi-tech age has brought us a digital space where full of imagination and over the rule from the nature; it has enhanced artist’s creativity, especially for artist who uses computer as creative medium or platform. As for Villain Hitting, it is a kind of old ritual or behavior of the mankind since ancient time, and still existing and continuing at the present days in the modern society. Thus, the hi–tech and the tradition have formed a contradictive social phenomenon.

    «Super Will>Super Share» does not focus on the result from the traditional prediction, but the phenomenon of the combination of folk couture and digital culture, particularly how people’s behavior have changed throughout the hi-tech era. Hence, when people visit«Super Will>Super Share», they are experiencing a combinational culture between traditional and digital media, a contribution for collaborative creation. «Super Will>Super Share» presents a phenomenon of recombination and decentralization from Post- Deconstruction.

    On September 15, 2008, when the Lehman Brothers Holdings declared bankruptcy, the whole global stock market was affected by it and went down in the twinkling of an eye. Predictions from stock experts were malfunctioned, precise formulas for stock analysis had failed to operate. Thus, people started approaching a traditional way to comfort their souls, in an attempt to find a faith from the traditional folk culture which has disappeared in the hi-tech era. The idea of«Super Will>Super Share» is to convert the ritual of Villain hitting into a game-based artistic project, and transform the traditional culture into a digital technology platform. It shows the value of folk culture in the hi-tech age, and the social status between its close but estranged relationship.

    «Super Will>Super Share» is a collaborative creation project based on the ritual of Villain hitting, using Taiwan’s stock market index as its data, allowing investors to imitate the ritual of Villain hitting, in order to strengthen people‘s collective wills, and to make their favor shares increase. Therefore, the stock market index in the«Super Will>Super Share»presented a virtual data from its participants’ collective contributions. With more participants doing Villain hitting on the same share, the higher index the share will be. Consequently, when people are participating in the«Super Will>Super Share» project, they are also experiencing the collaborative creation at the same time. Hence, there is a metaphor to draw support from the combination of tradition digital hi-tech in a progressive tense of society.

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  • ‘Aitiai’ Concerning Genetic Art
    •
  • Andre Brodyk
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • This paper translates elements of an ancient theory of causation and explanation namely, Aristotle’s concept of ‘aitiai’ to illustrate a novel interpretation in new media Genetic art and theory. I argue that the causal properties underlying the concept of aitiai are characteristically pending action requisites and are therefore analogous to the causal properties of proto-animation. My underlying concept of proto-animation developed previously as a new ideology of Genetic art theory without this classic referent is explained in this new context.

    This particular form of biotech art and this ideology emanating from it involves an intersection of art, genetic science and technologies located specifically at the genetic level. The peculiar condition explicated by art modelled on genetics involves so-called ‘non-coding’ molecular material in a predicament, which I argue is essentially a proto-animated material-form-space within genomes.

    In his concept of aitiai, Aristotle advocated that there are four factors, which can be used to explain matter and form relationships more completely. He gave each a performative role by designating them specific causes. The composite condition of these four causes is collectively called aitiai. Aristotle’s account of matter and form interrelationships, which he referred to as ‘Hylomorphism’, is developed as part of this overarching context and this is also intrinsic to the nature of the proto-animate expressed here.

    Furthermore, Aristotle advocated that the aitiai causes apply to and operate between the components of all generated compounds, natural or artificial. It is as a consequence of this atomistic or molecular disposition that it is arguably an apt frame of reference for a molecular and genomic art context. That is one involving what are both natural and artifactual bio-molecular compounds considered in a contemporary genetic technology mediated environment.

    Conceptually the work draws upon an interpretation of the ancient philosopher’s cause theory to advocate a novel pending condition of matter/ form understanding. From this perspective, the aitiai is perceived in a pending, proto-animated causal state.

    This idea is translated across to the novel concept of a recondite proto-animate condition operating inside the genomic matter/form matrix of living organisms. It can be expressed tangibly as Genetic art materiality.

    •
  • ‘Here’s Peeping at You’: The Computer Screen, the Logic of the Gaze, and the Miniaturization of the Image Window
    •
  • ISEA2002: 11th International Symposium on Electronic Art
    •
  • Paper
    •

  • Much of our daily communication takes place through “image windows” that are constantly shrinking in size. The tiny cell phone screens are among the most important information surfaces today. We watch “micromovies” from dedicated windows opening up on our desktop. The videogame displays can consist of a screen divided still further into even smaller units. The purpose of this paper is to discuss this tendency towards miniaturized communication interfaces by relating it to larger media historical and theoretical issues. The shrinking of the visual interface goes back to the 19th century and can be detected from various fields from photography and mass produced images to optical toys and fantasies about personal “tele-communication” devices. This
    miniaturization is actually part of a cultural phenomenon I call the “gulliverization of reality”. It has to do with a constant dynamics between expanding and shrinking, exploding and imploding, the static and the mobile, a phenomenon progressively moulding the mediated environment and the role of the spectator within it. This paper tries to understand the logic of the gaze occupied by and involved in such a perceptual process. By looking at neglected media archaeological layers of historical data it aims at a better understanding of our contemporary interfaces and the “traffic” that goes through them.

     

    1. Introduction

    Considering the centrality of screens in contemporary media culture, there have been surprisingly few attempts to define their identity as cultural artifacts. In spite of their ubiquitous presence screens seem strangely evasive, constantly appearing in new places and new forms. We use them, but we rarely stop to think about them. They are treated as barely noticeable surfaces connecting us to streams of data or giving us access to virtual worlds. Screens, however, have not always had such a central role. There was a time when they did not even exist. They have evolved within cultural processes, as answers to deeply felt social, psychological, ideological and economic needs. They have, in other words, a history which can and should be uncovered. However, simply writing a chronicle of the succession of different kinds of screens would not make much sense. Screens should not be studied in isolation of the apparata they are part of.1 Such apparata provide conditions for the actual viewing experience, both enabling it and constraining it. The viewer is at the same time physically related to the screen in the viewing space, and mentally connected to the space on the screen. These aspects are always interconnected and affect the total experience. Viewing apparata change in time and are submitted to varying cultural readings depending on context.

    •
  • ‘I would wear it, because it is something different’
    •
  • Milena Reichel
    •
  • ISEA2009: 15th International Symposium on Electronic Art
    •
  • Paper
    •
  • Waterfront Hall
    •
  • ‘Kansei’ in Non-Linear Automated Music Composition: Semiotic Structure and Recombinicity
    •
  • Ian Whalley
    •
  • ISEA2002: 11th International Symposium on Electronic Art
    •
  • Paper
    •

  • This paper focuses on software based automated composition systems operated by a single user to create music for closed system dramatic narratives where the dramatic parameters are known but the dramatic shape and outcomes are not predetermined. The concern is with a system that will address Kansei (emotion based) approaches to narrative structure, musical generation, and performance. The model proposed allows for music creation from controlling a ‘flight simulator’ interface that represents emotional states rather than dealing directly with the composition process, allowing non-composers to recompose or explore a work in different ways. The system could be incorporated into non-linear interactive digital media, allowing different musical paths through a structure be taken.

    •
  • ‘LET’S TALK BUSINESS’: an Installation to explore online scam narratives
    •
  • Andreas Zingerle and Linda Kronman
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Poster
    •
  • 2015 Overview: Posters
    •

  • Keywords: phone scams, audio installation, interactive storytelling, reverse engineering, artivism

    16th century ‘face to face’ persuasion scams adopted to letters, telephone, fax and Internet with the development of new communication technologies. In many of today’s fraud schemes phone numbers play an important role. Various freeto-use on-line tools enable the scammers to hide their identities with fake names, bogus business websites, and VoIP services. These fake businesses or personas can appear more legitimate when connected to a phone number, enabling a faster, more personal contact to the victims. With the typology of a sample probe of 374 emails, commonly used in business proposal scams, the emails were categorized and tested to see how believable the proposals sound once the scammers were contacted by phone. The research can be explored in a 5- channel interactive audio installation called ‘Let’s talk business’ that uncovers which business proposals and scam schemes are commonly used, and how believable the proposals sound once the scammers are called.

    •
  • ‘Simulization’: New Paradigms for Networked Language Art
    •
  • Daniel C. Howe
    •
  • ISEA2014: 20th International Symposium on Electronic Art
    •
  • Paper
    •
  • Zayed University - Dubai
    •

  • While a number of scholars have acknowledged the vast changes that reading and writing have undergone in the wake of the wide spread adoption of networked and computational media, less has been said about the concrete technical architectures such works manifest. Discussions concerning the new technical forms made possible by recent developments of web infrastructure (server‑push, web‑rtc, socket‑io, browser‑scripting, etc.) are few and far between. In this paper, we present a novel implementation of an architecture belonging to a class we have called ‘Simulization’ , a hybrid term referencing the conjunction of simulation and visualization. To demonstrate the nature and potential of our approach, we present both the technical framework and several examples of computational literary artworks that utilize it, all of which would have been technically impossible on the web even 5 years ago. We conclude with a discussion of some of the political implications of these new technologies and their potential to address the disempowering dynamics of so‑called ‘big data’ and ‘cloud computing’ paradigms.

    •
  • ‘Splitting Centre’: directing attention in trans-media dance performance
    •
  • Jordan Beth Vincent, Professor Kim Vincs, and John McCormick
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Short paper)

    Keywords: Dance, trans-media performance, digital and virtual environments, mobile devices, interactive apps, tweet seats.

    In theatrical vernacular, the term ‘splitting centre’ refers to two performers staged at an equal distance from a centre point and sharing the focus of the audience. This term encapsulates the notion that two people (or, in the case of trans-media dance, two or more performance entities) are dividing the attention of the audience, operating as equal collaborators in a performance context. The augmentation of live performance with 3D projected scenography and mobile devices offers a starting point for discussions on the potential for dramaturgy, choreographic process, and changing expectations for audience behaviour in the theatre. In 2014, Deakin Motion.Lab premiered The Crack Up, a trans-media dance work that incorporated live performance, 3D digital scenography, and The Crack Up App, an app for mobile devices that audience members were invited to interact with during the performance. This investigation into the potential of trans-media dance performance, (defined here as a live performance in which both the digital and biological elements are choreographed as artistic equals within the theatrical context) with the addition of a mobile device raises questions about how the makers of trans-media dance might direct the attention of their audiences when the work is performed simultaneously across multiple platforms.

    •
  • ‘The Familiar’: Technology-being-with-us
    •
  • Indae Hwang, Mark Guglielmetti, and Vince Dziekan
    •
  • ISEA2016: 22nd International Symposium on Electronic Art
    •
  • Long Paper and Paper
    •
  • Run Run Shaw Creative Media Centre
    •

  • Abstract (long paper)

    Digital technologies pervade contemporary life, so much so that the boundary between the physical and virtual world has become increasingly blurred as digital technologies are embedded ‘seamlessly’ into our constructed environment. Consequentially, our awareness of the presence and tangible qualities of computational systems disappears as these technologies merge inseparably with physical reality. This phenomenon is a direct consequence of ubiquitous computing. In this paper we investigate how cultural perception influences the ways we understand and approach the application of ubiquitous computing and its related technologies – such as electronic sensors, camera vision and radio frequency identification (RFID) – in creative practice. Through attempting to articulate the conditions that give rise to a distinctively ‘Western’ apprehension of digital media, this investigation aims to establish a basis from which an alternative interpretation of computational systems might be explored; one that may defamiliarize digital technologies by adopting an ‘Eastern’ 1 perception of our digital nature as ‘technology-being-with-us’.

    •
  • ‘The Plucker’: A Case Study in Interface Specific Control Signal Processing
    •
  • Zlatko Baracskai
    •
  • ISEA2011: 17th International Symposium on Electronic Art
    •
  • Paper
    •
  • Sabanci Center
    •

  • In this paper the applications of musical control signal processing algorithms are discussed. A generic classification of these signals is used to provide a set of basic processing strategies. ‘The Plucker’ musical interface is discussed and used to present a variety of interaction models that can be conceived for specific purposes. Basic algorithms for a variety of aspects that can be analyzed from the interface data are presented. These include continuous aspects such as speed, energy, regularity and also time instances such as attack, direction change and activity thresholds among others. The specific controllers in focus are joysticks, potentiometers and buttons as can be found on ‘The Plucker’. These are analyzed in the light of physical convenience and virtuosity as well as available data streams, compatibility and calibration. The described processing algorithms are real-time implementations using max for live environment and thereby easily translatable to max/msp and pure data environments.

    Further control signal processing functionalities are presented that form the building blocks of more complex gesture following and interaction analysis implementations. Also, musical aspects of control rate signal processing are discussed in the light of the various musical parameters, the hierarchy of descriptive layers achievable and the mapping. A projection on the future of control signal processing is established as the commercial software increasingly supports these strategies. The paper presentation includes both technical and musical demonstration of the interface and the control signal processing described.

    •
  • ‘The Value of Art’: Transforming User Attention into Monetary Value in a Series of Interactive Artworks
    •
  • Christa Sommerer and Laurent Mignonneau
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Long paper)

    Keywords: value of art, art market, economy of attention, interactive art.

    Attention is becoming the new currency in our information and media society. The art market is using art as commodity that can be invested in, and on which one can make profit. That profit can be increased with the help of marketing and attention-accumulation strategies. We will present a series of our recent interactive artworks that deal with the economy of attention and the evaluation of art value on the basis of user attention.

    •
  • ‘Twitter’: Practice in Writing, A recipe for Creativity & Creative Interpretation
    •
  • Anastasios Maragiannis and Janis Jefferies
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Short paper)

    Keywords: Screen; Reading, Writing, Graphics, Twitter, Novels, Brains, Technology, Type

    This paper will explore how the way we read on the screen can create new forms of collaborative writing online. With reference to our ‘Twitter: Practice in Writing’ workshops in London 2014 and Vancouver 2015. As a younger generation move swiftly from print to pixel, reading no longer becomes deliberate and concentrated but rather a scan for information as our eyes follow an F-shaped pattern. Screen-reading encourages rapid patternmaking, provoking action, whereby words are merged with images. From scroll to moveable type, will twitter ‘novels’ give rise to twitter brains? How does it affect what we read and write? Has this change been recognized in the publishing industry?

    •
  • ‘xoxox.com’, ‘phonics abrogate’ and ‘rust chortle effete’
    •
  • Erik Zepka
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2015 Overview: Artist Talks
    •

  • Video, Web  2007 – 2015 (xoxox), 2013 (phonics abrogate), 2014 (rust chortle effete)

    x-o-x-o-x.com is an evolving work of process and performance where categories fail and are disrupted, and where technical boundaries between types of knowledge are probed and questioned. Each category is explored through glitch and reconfigured toward new paradigms in which narrative is not quite decipherable.

    •
  • “AS IF” You Are Suffering in Silence: An Interactive Installation as Empathy Tool for Chronic Pain
    •
  • Chris Shaw, Weina Jin, Servet Ulaş, Xin Tong, and Diane Gromala
    •
  • ISEA2016: 22nd International Symposium on Electronic Art
    •
  • Poster
    •
  • 2016 Overview: Posters
    •
  • Run Run Shaw Creative Media Centre
    •

  • Abstract (Poster)

    Abstract The unseen and incommunicable nature of Chronic Pain makes it difficult for the general public to believe, understand or empathize with patients. “AS IF” is an interactive art installation that aims at eliciting public’s empathy with Chronic Pain sufferers. By enabling able-bodied people to “map into” a virtual body that has limitations, participants may gain an “as if” sense that they are suffering from Chronic Pain.

    •
  • “Caminandar” Expanded book
    •
  • Christian Felipe Lizarralde, Maria Griselda Gomez Fries, Camila A. Campos Quintana, David Moreno Galeano, and Santiago Valencia
    •
  • ISEA2017: 23rd International Symposium on Electronic Art
    •
  • Artist Talk
    •
  • 2017 Overview: Artist Talks
    •
  • University of Caldas
    •

  • Creation Social Interface (ISC) is a doctoral research about the interactions between two knowledge interfaces: the community of the island of La Plata in Bahía Málaga, located in the Colombian Pacific of the Valle del Cauca, and the Hipermedia Laboratory (HiperLab) Of the Univeridad del Calle (Colombia), with the purpose of designing collaborative artistic practices as a device for the conservation of the ancestral knowledges of the South Pacifc of Colombia. The ISC are configured as an area for the encounter between different types of knowledge, recognizing the existence and the realization of the other. A scenario where it is possible to imagine, design and constantly recreate reality through the creation of responsible artistic practices with our natural, urban and telematic environment. The instrument and the axis that articulates all the investigative work has been called “Caminandar”, an exploratory field journal that gathers each of the encounters, inquiries and creative practices developed by the interface. “Caminandar” is first and foremost a travel journal, an expanded book that explores the possibilities offered by the hypermedia and transmedia narratives, using different means of plastic expression that go from drawing to virtual reality.

    •
  • “Chair de lumière” by Marjolaine Béland: How Disruptive Conditions and Mimicry Capture Attention and Favor Empathetic Resonances
    •
  • Louise Boisclair
    •
  • ISEA2015: 21st International Symposium on Electronic Art
    •
  • Paper
    •

  • (Short paper)

    Keywords: Apparition, double, light, mimicry, movement, empathy, mirrorneurons, performance, reflection, projection.

    This paper examines the experience of Chair de lumière, an artwork by media artist Marjolaine Béland, that aims to create conditions of the apparition of the double, our double of light. By analyzing the disruptive conditions of illusions and performances that the artist orchestrates, we come to understand how cumulative effects –the architectural components and accessories, the involved audio and video technologies, the infiltration of two performers in the space and the interplays with light, transparency and reflection– build an aesthetic event in five different Times. The key factors of the aesthetic event are the mimetic human or non-human performances. The resulting empathetic experience with projections/reflections/refractions and the performing bodies induces ambiguous and tense sensations. Then the phenomena of mirror neurons contribute to clarify these ambiguous feelings, by distinguishing the visuomotor and the visual aspects that are entangled. Finally, the miming gestures of the participant and one performer and vice versa are exemplary of an intense affective moment constructed by micro-disruptions and resonating in the suspended Time.

    •
  • “Convergence” at the Nexus of Technology, Digital Aesthetics, and Social Theory
    •
  • Patrick Lichty
    •
  • ISEA97: Eighth International Symposium on Electronic Art
    •
  • Paper
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  • The digital era has given rise to a panoply of media, bombarding society with a wider variety of information than humanity has experienced in recent times at an ever-increasing velocity.This effusion of data that invades everyday human existence has created a ‘multimediated’ society, in which the presenter posits that technological cultures no longer converse in text, or images alone, but in a series of parallel, or concurrent, media texts, speaking in terms of words, imagery, and sound.This agrees with the writings of Jean Baudrillard who, in his book The Transparency of Evil, described the concept of transparence, in which all facets of postmodern society (politics, aesthetics, sexuality) have become aspects of one another. Sports become politicized, sexuality becomes aestheticized, discourse becomes rock video, and so on.The transparency of all aspects of the postmodern demands the provision of a greater context within which we can construct discursive spaces to describe multimedia cultures. Since 1990, Patrick Lichty (Lichty Studios) and Jonathon Epstein (Sociology, Kent State University), have investigated contemporary trends in critical thought through the use of technology and media metaphor for exposition of their theoretical work.These works have incorporated computer graphic pieces though interpreta-tions of Baudrillard’s writings on the hyperreal image, motion and video through Virilio’s commentary on speed, and Web installations following from Deleuze/Guattari’s thoughts on nomadicity and rhizomatic spaces. In each case, the work is tailored to follow ‘media equivalence’, that is, to use the technologies and media specific to the part of society under critical scrutiny. Haymarket Riot’s (Epstein, Lichty, Seawell) MACHINE video performance project holds with this concept, and addresses identity, religion, and politics of televised culture through the use of rock video.Through the convergence of digital technologies, social theory, and aesthetic vision, projects such as MACHINE create discursive spaces where borders between media, disciplines, and cultural forms blur and recombine. Following from this, theoretical concepts relating to postmodern society are then given a broader, more visceral context in which the media-saturated viewer can then relate more directly to the topics being discussed. Running time for the video is 18 minutes.

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  • “I try to stay neutral”: Digital Assistants and their Stance towards Gender
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  • Pedro Costa and Luísa Ribas
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  • ISEA2020: 26th International Symposium on Electronic Art
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  • Paper
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  • This paper seeks to understand current trends of development of digital assistants and their stance towards gender, exploring the questions that emerge when the relationship between gender and AI is subject to inspection. It begins by addressing AI and its integration in our daily life, namely through the form of digital assistants. It then examines trends of development of current digital assistants such as Alexa, Cortana, Google Assistant and Siri, considering the features and functions that are being prioritized in AI evolution.

    This approach is complemented by an analysis that reveals how these assistants tend to be feminized through their anthropomorphization, the tasks they perform and their behavioural traits. Furthering this discussion, we focus on the main questions, justifications and concerns raised by researchers and academics when examining the feminization of AI, while also taking into account common discussions around this phenomenon in the context of online media coverage. In this manner, this study seeks to promote discussion and incite reflection on how current developments of this technology reveal a stance towards gender, questioning whether AI tends to reinforce traditional and normative conceptions of gender and femininity.

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  • “In the Beginning” or...: The Cosmic Stories We Tell and Their Implications
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  • Sheila Pinkel
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  • ISEA2012: 18th International Symposium on Electronic Art
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  • Artist Talk
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  • 2012 Overview: Artist Talks
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  • Hotel Andaluz
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  • What are the stories we tell today about the origin(s) and structure(s) of the cosmos? Is there a connection between cosmological stories and the socio-political landscape in which they emerge and continue to be told? Do these stories affect our relationship to this planet and one another and if so, how? Is it possible for seemingly incompatible narratives to productively co-exist suggesting a way to embrace complexity?

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  • “Los Venenos”: Theater as a Poly-Perceptive Experience
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  • Andrea Marín
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 2017 Overview: Artist Talks
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  • University of Caldas
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  • 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. A set of layers, characters and paces consistent with the surrealistic wave is proposed through the conception of a free version of the namesake tale “poisons” from Julio Cortázar, in which characters and narrative places find context in Colombia. This art-piece aims for a hybrid setting in which perception is achieved by multiple ways of communication, as appointed by Martina Leeker: in “espacio poli-perceptivo”. “LOS VENENOS”’ goal is the interaction with the viewers and their emotions. The stimuli that the stage offers form the visual, sound, expressive, narrative and scenic point of view, give a widen context which allows each individual to make particular readings of the piece according to his or her specific interest. This way new dynamics of communication, construction and perception are generated.

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  • “Mapping the Commons, Athens”: A Cartography of Alternate Economies and Practices in Times of Crisis
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  • Daphne Dragona
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci Center
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  • The proposed paper will be based on a presentation of the concept, the process and the results of the workshop “Mapping the Commons, Athens” led by the spanish collective Hackitectura which was organized by and hosted in the National Museum of Contemporary Art from the 1st until the 8th of December 2010 .

    Mapping the Commons, Athens is a collective study, a contemporary reading and an online open cartography of Athens and its special dynamic. It is the result of a workshop that took place in a period in which the particular contemporary metropolis seemed restless and vulnerable at the same time.

    The Hackitectura collective with myself, as the curator and coordinator of the initiative, collaborated with an interdisciplinary group of young researchers and students from Athens in order to seek for, examine and document the areas where new forms of common wealth could be located.

    Seeing beyond the “public” and the “private”, different types of commons were mapped which were based on collectivity, sociability, open and free access, gift economy or peer to peer practices.

    The cartography gave birth to a different image of the city full of promises, but yet fluid and unstable. During the workshop many contradictions and questions such as the following occurred that is worth analyzing on the opportunity of this paper:

    1. Can the commons be secured?
    2. How do they sometimes serve the interests of a gentrified “creative” city?
    3. What role do they really play in times of a global financial crisis?
    4. Can the citizens re-appropriate the commons, and form a new type of resistance?

    The online collaborative maps and the blog that were created will  be presented highlighting the importance of collaborative practices to timely examine crucial notions. The need for a re-invention of a new common experience and memory, can possibly be born through collaboration and sharing.

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  • “Non Stop Future”, New practices in Art and Media (Book Launch)
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  • Konrad Becker
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  • ISEA2008: 14th International Symposium on Electronic Art
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  • Institutional Presentation
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  • 2008 Overview: Institutional Presentations
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  • The Salon
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  • “objet petit a” Series
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  • Anat Pollack
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  • ISEA2012: 18th International Symposium on Electronic Art
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  • Artist Talk
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  • 2012 Overview: Artist Talks
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  • Hotel Albuquerque
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  • This work explores the allure of the unattainable. Generic television commercials set up unresolvable tensions between erotic desire and the banal. This series is meant to distill the desires being represented in advertising by co-opting co-opted imagery of the sublime. The images are meant to evoke a sense of hope even while the vaguely sinister is revealed as the excavatinggaze pieces together the commercialized foundation of the dream. Layering results in the denotative erasure of the advertised. Traces remain and it is that stubborn refusal to disappear that infuses this series with poetic melancholy as well as political critique.

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  • “Postcards from Beyond, from Elsewhere…” Series Of N Widgets
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  • Chiara Passa
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  • ISEA2016: 22nd International Symposium on Electronic Art
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  • Artist Talk
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  • Run Run Shaw Creative Media Centre
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  • “Rapchiy”: Enquiry Into Brain Readers’ Hidden Designs
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  • Bart Vandeput
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  • ISEA2017: 23rd International Symposium on Electronic Art
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  • Artist Talk
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  • 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.

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  • “Recombinant Fiction” Theoretical Paper and Manifesto
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  • Paolo Cirio
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Paper
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  • Sabanci University
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  • In previous ages, mediums for narrating fiction such as theatre, literature, cinema and television have defined languages, models and formats; each media development provided an expressive shift in forms of storytelling. Nowadays, media are multiplying, hybridizing, and mutating. The way they are used alters continually, creating potentially new ways of producing fiction and spectacle.

    Networked digital media merge as a productive vehicle to create new forms of fiction. In fact, the rise of forms of storytelling such as ‘Transmedia Storytelling’, ‘Alternative Reality Games’, ‘Transfiction’, ‘Dispersed Fiction’ and ‘Viral and Guerrilla Marketing’ is a clear sign of an important revolution in ways to tell stories.

    Recombinant Fiction emerges as a political and aesthetic fiction genre of this new immersive and participative form of art. By identifying valuable, distinctive characteristics and objectives, Recombinant Fiction defines a unique genre able to drive tactical activism and dramatic purposes.

    Our contemporary media environment era is characterized by the explosion of Personal Media (e.g. devices with platforms for email, instant messenger, blogs, photo and video sharing services, etc.) resulting in new modes of personal expression and interpersonal relations. Nonetheless, Mass Media continues to grow as well. Networked media generates new channels and interconnected devices for consuming entertainment and news (e.g. proprietary web platforms, digital TV, portable video/reader players, screen billboard, etc.). This results in the deregulation of advertising restrictions and privacy policies by the corporate media complex to boost the flux of information. Additionally, networked digital technologies accelerate and facilitate the production of offline and analogue spaces of information (e.g. print-on-demand, production of manufactures, organization of public assembly, mapping public spaces etc.). This results in a new mass of active prosumers, and a general increase of information in interior and urban landscapes.

    All of the above listed media are digital in origin, and therefore easily reproducible and transmissible through networks (e.g. Internet, GSM, Wi-Fi, etc.). Networked digital media generate an intensification of flux, interactions and processes of communication. The informative environment created by all those media that broadcast messages, is defined as Infosphere. This conceptual sphere is the space in which modern society is immersed, where people express themselves, build their own realities and manage societal organization.

    In this context, a modern form of fiction should be narrated by networked media and staged in the Infosphere, which can be used as the medium to dramatize reality and find a way to change it by a dramatic representation, as humanity has always done.

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  • “REDI” On-line Educational Resources for the Development of Professional Multimedia Skills
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  • Ricardo Dal Farra
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  • ISEA2000: 10th International Symposium on Electronic Art
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  • Paper
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  • The dynamic growing of the multimedia professional field requires to be prepared to integrate art concepts, with specific contents and with fast changing technologies, so the development of good didactic resources is a requirement to help the process to improve education on this new areas.
    Around 1996 the National Ministry of Education in Argentina began to work on new educational profiles. One of the biggest differences between this and previous programs, was the work over the concept of competences based learning. A modular curriculum structure was developed: the Technical Vocational Pahthway in Multimedia Communication.

    The “redi” project (“redi”, for recursos didácticos, in Spanish = didactic resources in English) is focused on the development of educational materials for the competences based learning process of multimedia, and related monomedias. At present “redi” educational resources includes capabilities, problematic situations, activities, didactic strategies and contents related to the development of technical competences and artistic skills.

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  • “This is a techno-necklace from my great grandmother”: Animism-Inspired Design Guidelines for Digitally Ensouled Jewellery
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  • Doros Polydorou, Kening Zhu, Antje Illner, Alexis Karkotis, and Nicola De Main
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  • ISEA2016: 22nd International Symposium on Electronic Art
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  • Long Paper and Paper
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  • Run Run Shaw Creative Media Centre
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  • Abstract (long paper)

    Technology-enhanced jewelleries capable of collecting biodata are rapidly establishing a presence in the market. Yet there is limited focus on applying core values of traditional jewellery in the making process. In this research, we were inspired by the theory of animism, and investigated the concepts of technoanimism and digital ensoulment of jewellery. By going back to the roots of jewellery design, we investigate the cultural and social importance of the jewellery components and making techniques and propose a set of guidelines that consider data collection as a fundamental component of the creation process. Our findings are based on two research based jewellery-making workshops, along with a technology review and our guidelines aim to provide a set of accessible and actionable suggestions for the design of future technology-enhanced jewellery.

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  • “Πασαί Τέχναι βροτοίσιν εκ Προμηθέως”: Prometheus and Epimetheus: Fields of Fore­sight and Hind­sight in World­mak­ing
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  • Marcos Novak
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Panel
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  • Sabanci Center
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  • Panel: The Volatility and Stability of WorldMaking as Techné

    The con­cept of Techné has been in­ter­twined with world­mak­ing from an­tiq­uity to the pre­sent. The na­ture of this re­la­tion­ship has not been con­stant, how­ever. Run­ning through from Or­pheus, Hes­iod, Aeschy­lus, Aris­to­tle, and Zeno the Stoic, among oth­ers, these con­cepts were per­sis­tent el­e­ments of a com­plex but highly co­her­ent world­view. Within this out­look, techné sig­ni­fied not only the tech­niques of mak­ing, but, more im­por­tantly, the sig­nif­i­cance of mak­ing. This was un­der­stood as some­thing di­rected, as a vec­tor, not as just a point. More­over, this vec­tor of mak­ing was it­self em­bed­ded in a field of val­ues that con­sti­tuted the very mean­ing of “civ­i­liza­tion.” Con­tem­po­rary ap­proaches to techné, be they philo­soph­i­cal or prac­ti­cal, omit much of this di­rect­ed­ness and em­bed­ded­ness, too often re­sult­ing in tech­nique void of mean­ing, the cre­ation of works that are mu­tu­ally can­cel­ing, and a con­tri­bu­tion to the mak­ing of a world and worlds that are more bro­ken than whole. This paper will dis­cuss how the an­cient in­sights are rel­e­vant – and in­deed im­per­a­tive – to our predica­ment with re­spect to con­tem­po­rary world­mak­ing, both as art and as life.

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  • ”Objet Petit A”: The Changing Meaning of Abstraction and Representation in the Digital Age
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  • Anat Pollack
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  • ISEA2011: 17th International Symposium on Electronic Art
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  • Panel
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  • Sabanci Center
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  • Panel: The Big Bang of Electronic Art: Merging Abstraction and Representation in the Age of Digital Imaging

    In the so­ci­ety of the spec­ta­cle, the art of the mass media changes the mod­ern re­la­tion­ship be­tween art and its au­di­ence.   The art re­sides in the shap­ing of this un­seen, dif­fuse spec­ta­tor­ship where the medium is the masses. In mass media, con­text trans­mutes image from scopic to semi­otic. Ab­strac­tion and Rep­re­sen­ta­tion are fun­gi­ble within this con­text.  This paper brings at­ten­tion to the work of artists whose process em­ploys the ap­pro­pri­a­tion, com­pres­sion, and de­con­tex­tu­al­iza­tion of mass media im­agery.  Re­sult­ing works re­veal the flat­ten­ing of the human soul caused by mass media.  The on­slaught of me­dia-im­ages sub­li­mates the image to the mes­sage, and ren­ders it mean­ing­less. These artists re­turn the image back to a state of pu­rity: open, and alive. As in JMW Turner’s fa­mous paint­ing Snow Storm: Steam Boat off a Har­bour’s Mouth, 1844 (coll: Tate Mod­ern) where the only sign of Moder­nity is blurred and thus re­veals the lu­mi­nous bril­liance of Na­ture, con­tem­po­rary artists re­sist cul­tural am­ne­sia and ob­jec­ti­fi­ca­tion through de­lib­er­ate at­tempts to fight the in­ver­sion of the human spirit. This process is one of utopian re­me­di­a­tion to­wards mem­ory in­stead of cul­tural am­ne­sia and the ob­jec­ti­fi­ca­tion of the human to pres­ence within the flesh.  The space pro­vided by these con­tem­po­rary art­works re­deem the soul and offer a tran­scen­dent ex­pe­ri­ence of the sub­lime. All im­ages end at the flesh.

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