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The International Image Festival is an event of electronic arts and digital culture organized by the Visual Design Department at the Universidad de Caldas in Colombia since 1997. This year, the Festival will host ISEA2017, one of the most important symposiums on Electronic Art in the world, and for the first time will be held in a Latin American country.

At the same time, the Festival will be part of selected cultural events in the ’Crusade Season France-Colombia’ initiative, led by the French Institute and the Ministry of Culture.

In this space, you’ll find the reunited programming for the 16th International Image Festival and ISEA 2017. This app enables you to create your own schedule for attending certain events during the Festival.

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Sunday, June 11
 

TBA

Encontros

Two mobile phones exhibit videos filmed during a trip up the Amazon River composed of flows of water in two distinct tints: On the one side we have a predominance of black-colored water, on the other, brown-colored.

 The system searches for real-time information in such a way as to reflect changes in the tides and the phases of the moon, as opposed to the flow of accesses to the word “Meetings” in several languages.

 The spring, at the same time in which it extends, coils to mark the space and the course of the flow/movement. In the brief moments of near-touching, at the limit of the spring’s approximation and coiling, it is possible to notice a light combination of brown and black of the waters that mix and simultaneously, the impossibility of the encounter.



Sunday June 11, 2017 TBA
TBA

TBA

The future of cinema is today

The digital era has genuinely changed the way we make movies as well as the way we experience them. No need to quietly sit still in a theater chair anymore, we can now take an active part in where the story is going or what the camera is filming. In interactive fictions, you are clicks away from changing the course of the movie. In virtual reality, you are now immersed in a brand new 360° universe. Through a selection of some of the world’s finest works, discover the future of movies.

Welcome to THE FUTURE OF CINEMA IS TODAY.

 



Sunday June 11, 2017 TBA
TBA

TBA

TRANSICONMORPHOSIS

TRANSICONMORPHOSIS is an interactive artwork developed in collaboration with Fito Segrera that proposes an ambiguous and experimental communication system for the near future, the result of a theoretical reflection on the development of new forms of technological communication, their effects on human beings, as well as their political effects. In TRANSICONMORPHOSIS, a conventional chat service hosted on a computer is interfaced with a series of electrodes connected to the face of the artist; on the other side of the exhibition space another computer allows a member of the audience to chat with the artist. The system focuses on facial expressions, and translates the emoticon received through the chat into electrical impulses that force the artist’s facial features to mimic the expression of each emoticon. If in the future the possibility of face-to-face communication becomes less widely used and written communication becomes crystallized in a series of immutable forms, humans will lose the empathic abilities that today are, in part, reproduced by emoji and emoticons. If humanity fails to invent new metamorphoses, and new emoji, these devices will be diffused worldwide.



Sunday June 11, 2017 TBA
TBA

TBA

Turbidity Paintings

n the project titled "Turbidity Paintings", principal investigators Thomas Asmuth (UWF) and Sara Gevurtz (VCU) are artists who propose a methodology for visualization of water quality which integrates image capture and data metrics into one data-object (time specific images encoded with data metrics). The project leverages wide availability of free/libre open source software (FLOSS) and low costs of open source hardware (OSH) that has critically impacted and supported the citizen science movement. The combined data-objects will be used to construct a baseline data library from a variety of domestic and international locations.

“Turbidity Paintings” explores and challenges the divide between the arts and the sciences and directly questions the role of the artist when dealing with science and scientific data. The iterative process and procedure are nearly indistinguishable in art and science. The role of the artist and the art in this project is to create an experimental model which leads to new dialogues on water quality.



Sunday June 11, 2017 TBA
TBA

TBA

Your Hearing Them

What does your voice sound like? This question may seem simple, but surprisingly, it can be problematic. The reaction to hearing one’s voice played back through a recording is often of disgust or disownership; “that’s not how I sound”. However, this version of your voice is much closer to the way others hear it. This reveals the duplicitous nature of the voice - there is a conflict in your own perception of it and what others hear. The answer to the question: “what does your voice sound like?” depends on who is asked.
Your Hearing Them is a wearable technology artwork that presents the experience of someone else’s voice from their experience. The headset allows you to hear their voice as they do. The experience is deeply empathic, as two people can converse in a way in which their subjectivities are shared.

 


Speakers

Sunday June 11, 2017 TBA
TBA

09:00

Art + Digital Culture <-> Public Policy

"Art + Digital Culture <-> Public Policy" will join invited expert speakers and will be open for participation of the general public too, considering that many people attending ISEA are also experts coming from a variety of electronic arts fields.

 There will be test-cases and people presenting about their experience and perspective on public policies related to digital culture in general and electronic art/art & science in particular.

Among the organizers of this open discussion + workshop we have at this stage:

  • Dr. Felipe Londoño, president of the Universidad de Caldas in Manizales, Colombia.Prof.  
  • Diego Pimentel, general director of Centro Cultural San Martin in Buenos Aires, Argentina.
  • Dr. Ricardo Dal Farra, artist; Concordia University, Canada and CEIArtE-UNTREF, Argentina.

Other invited speakers, also with a well-known knowledge of electronic arts and digital culture policies will be joining the team, together with public policy makers.



Sunday June 11, 2017 09:00 - 12:00
Laboratorio didáctico "Ritual del Café" Recinto del pensamiento Kilometro 11 Vía al Magdalena

09:00

09:00

Guidelines and resources for designing interactive and transmedia documentaries through 10 examples
Over recent years, the way we produce, teach and research new media has dramatically changed. The interactive non-fiction narratives have transformed the processes of producing, distributing and showing documentaries, and especially the processes involved in how the viewer relates to the text. One of these new media forms of narrative expression is “interactive documentary”. As a new media object, interactive documentary challenges traditional methods of study and dissemination. An interactive documentary is a kind of documentary that empowers the viewers by allowing them to take decisions that affect the narrative. When there are different media formats and platforms involved, we are talking about a transmedia documentary. The design and production processes in the so called forms of new media documentary differ substantially from traditional audiovisual documentary production. This session will show a set of case studies in order to provide some guidelines that could be helpful for producers who want to design and implement an interactive or transmedia documentary. The second part of the workshop will focus on providing useful resources for producers in Colombia and abroad, such as production companies, multimedia studies, broadcasters and grants for new media production.

Speakers
avatar for Arnau Gifreu-Castells

Arnau Gifreu-Castells

Open Documentary Lab - MIT


Sunday June 11, 2017 09:00 - 12:00
Sala 1 Recinto del pensamiento Kilometro 11 Vía al Magdalena

09:00

HAPLAB: A Sci-Fi Workshop on Horror and Possibility

“A good science fiction story should be able to predict not the automobile but the traffic jam.” - Frederick Pohl

For decades, science fiction authors have explored both our wildest dreams and greatest fears for where technology might lead us. This workshop ties science fiction with speculative/critical design as a means to encourage the ethical and thoughtful design of new technologies.

 Reading science fiction is like ethics class for inventors, designers, and engineers. Science fiction looks at current technological and social trends and extrapolates them into the future. It speculates on the consequences of these trends, both good and bad, if they continue unchecked. During this workshop, participants will use J. G. Ballard's "Answers to a Questionnaire", a story made up of only answers and with the questions omitted, as a jumping-off point to write one-sentence science fiction stories. Avoiding both blind optimism for technology as well as its polar opposite of overly Luddite thinking and cynicism, this constrained exercise will encourage the formulation of imaginative and whimsical ideas for new technologies with an attitude of critical optimism...hopeful yet careful.

 

Speakers

Sunday June 11, 2017 09:00 - 12:00
Sala 6 Recinto del pensamiento Kilometro 11 Vía al Magdalena

09:00

Hyper-listening: praxis
Contemporary world is strained with intensified conflicts between nations, and within various sects and segments of peoples. The future human societies need to learn how to resolve conflict of interests, values and beliefs. Acceptance and tolerance are essential for the humanity to navigate the challenging times ahead, which is marked by scarcity of natural resources and an unprecedented human-made decay in the environments, leading to possible anthropocenic calamities. It is my assumption that the root of all conflicts is essentially embedded in a lack of ability to listen carefully to the other. As philosopher Gemma Corradi Fiumara suggests, a propensity to listen to the others, without making immediate judgments, may potentially lead to bridge the troubled water of difference. My proposal is to employ an inclusive, mindful and contemplative listening practice coined “hyper-listening” as a way to approach conflict resolution.


Sunday June 11, 2017 09:00 - 12:00
Sala 5 - Recinto del pensamiento Kilometro 11 Vía al Magdalena

09:00

The Game of Dobble Debate: Play, Difference, and Coexistence
The Game of Dobble Debate: Play, Difference, and Coexistence is a research-creation project that investigates learning through design iteration, humor and play in the form of a card game, in order to encourage discussions about difference. Differing abilities are traditionally designated as disabilities but they could also be extraordinary ability, such as synesthesia. In the last decade, the role of game as a catalyst became foregrounded in various fields particularly in education and healthcare. This workshop aims to elucidate the difference and difficulties that is elicited through using play and humor rather than traditional play strategies. The Dobble Debate concept and practice was developed at OCAD University in Toronto. In addition to practice tests and successful introductory local workshops it was also presented at Transitio_MX06, Mexico City, the 17th Annual Convention of the Media Ecology Association 2016, Bologna Italy, and Multimedia, Cognition, - Art Therapy 2016 in Guanajuato, Mexico. Our aim is to improve the literacy of our workshop participants through this active participation creating a broader awareness. This will eventually contribute to grassroots participation in policy making. The goal is to create a deeper and more informed understanding and concern for different abilities - hopefully effecting positive societal change.


Sunday June 11, 2017 09:00 - 12:00
Salón blanco - Neurocity - Recinto del pensamiento Kilometro 11 Vía al Magdalena

09:00

Domains, Publics and Access. WikiSprint for a Media Archaeology of the Present

Domains, publics and access is an ongoing research in media archaeology of the present. The core of the research is a wiki where everybody can collaborate with cataloguing, preserving and documenting projects that offer access for the general public to the domains of art, culture, science, economics, politics and technology. The collection brings together projects that have emerged in different countries from the second half of the 20th century to the present day related to open access, open content, open government, open science, open design, open education, open spectrum, citizen journalism, citizen science, collaborative economy, commons, co-ops, crowdfunding, crowdsourcing, cryptocurrencies, DIY, free software, free culture, community currencies, solidarity economy, grassroots media, p2p, piracy, tactical media, etc.

 

The main goal is to preserve the memory of projects that appear and disappear day by day in different countries using the online tools such as Wayback Machine and MediaWiki. The reason for this is that historically the limits of access have never been stable and will continue to change but we are losing the traces of the present for future generations without even noticing it.




Sunday June 11, 2017 09:00 - 16:00
Sala 3 - Recinto del pensamiento Kilometro 11 Vía al Magdalena

09:00

MetaMediaLab: Ontohacking & Metagaming in the Algoricene
Metamedialab is a citizen lab for exploring and elaborating minor perceptions, a laboratory of research into the ways in which media shape societies not so much at the level of content but of their very structures, particularly in terms of how they organise perception. This is what we will call metamedia: the thinking of the very frameworks and perceptual structures mobilised by media. Ontohacking implies a critical reinvention of such structures, which alters the way bodies move, relate and constitute social ecologies.

Artists

Sunday June 11, 2017 09:00 - 16:00
Sala 4 - Recinto del pensamiento Kilometro 11 Vía al Magdalena

13:00

Natural Resistance with the Guerrilla Grafters

The Guerrilla Grafters graft fruit bearing branches onto non-fruit bearing, ornamental fruit trees. Over time, delicious, nutritious fruit is made available to urban residents through these grafts. We aim to prove that a culture of care can be cultivated from the ground up. We aim to turn city streets into food forests, and unravel civilization one branch at a time.

For ISEA 2017, we demonstrate how to graft urban fruit trees in the Recinto district of Manizales. The Guerrilla Grafters teach participants how to use their internet tools and different kinds of tagging — from graffiti to electronics to attach to branches (disseminating information about the graft to humans and bees), and offer take-home grafting kits. We provoke a discussion on how specific cultivation practices can resist capitalist and colonial regimes of power. Here, conflicts between a variety of fruit eaters might be recast as something to be embraced, and not positioned as the opposite to peace.

 

We invite messy, rebellious solutions to the ways information can be shared for the purposes of expanding the urban commons in ways that simultaneously collapse binaries between public and private, nature and culture. 

 



Sunday June 11, 2017 13:00 - 16:00
Sala 6 Recinto del pensamiento Kilometro 11 Vía al Magdalena

13:00

Shoptalk: Field Tools for Critical Making

Shoptalk: Field Tools for Critical Making engages participants to practice methods of thinking and making to promote social resiliency, art for social change, and participatory action for peace. This half-day workshop will give participants the opportunity to collaborate and build their own submissions for the Field Tools for Peace ISEA exhibition and online gallery, and explore new approaches to making.

Workshop leaders will start with short presentations about their own community arts practices and case study overviews. Workshop participants will then have the opportunity to introduce themselves and brainstorm topics and mediums to create projects with. Methods for collaboration through rapid prototyping and problem solving will include creative acts of listening, and shared narratives and visions of possible futures in both digital and public art installation.



Sunday June 11, 2017 13:00 - 16:00
Sala 1 Recinto del pensamiento Kilometro 11 Vía al Magdalena

13:00

The Soundwalk as an Art Form: Building Bridges to Peace
The Soundwalk as an Art Form: Building Bridges to Peace presents an overview of the history of the participatory walk as an art form, including the soundwalk and its key concepts and development, while providing a theoretical tool box for creating ones own soundwalk as a transformative art experience. When leading a soundwalk we are combining the perceiver and the perceived, the participant and observer in an improvisatory way in the physical environment. Soundwalks guide us on a path primarily created by our ears. Sound artist, Andrea Williams, will lead a 45-minute soundwalk at Recinto del Pensamiento, located in Kilometro 11 Vía al Magdalena, an open space consisting of flower gardens, urban structures, and a small square for events. The park has been created to "eliminate segregation and contributing to healthy living". The soundwalk will focus on: How can we be in peace and harmony with our surroundings? What does peace sound like? How do we feel connected non-verbally to other beings? How can observing other species bring us a sense of peace that we can translate to being at peace with fellow human beings? Following the walk, there will be 45 minutes of break-out groups for discussion posted on the URL.

Speakers

Sunday June 11, 2017 13:00 - 16:00
Salón Naraja - Neurocity - Recinto del pensamiento Kilometro 11 Vía al Magdalena

14:00

DataBlocks – A Tangible Interface for Data Visualization
We present a prototype for a Tangible User Interface designed for interactive data visualization, which we believe will be useful for facilitating collaborative work in data analytics. Our hybrid system combines a tabletop graspable user interface with a two-dimensional screen display; the users interrogate the data by manipulating tokens on the tabletop and the screen displays the results of the user’s query.  We demonstrate our system with demographic data from the UN, but we have designed our system such that the user can enter their own data to visualize.


Sunday June 11, 2017 14:00 - 19:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

14:00

14:00

16:30

Leonardo 50 party
Speakers

Sunday June 11, 2017 16:30 - 17:00
Sala Múltiple- Recinto del pensamiento Kilometro 11 Vía al Magdalena

19:00

Croix

Croix is a new audio and visual performance by french sound explorer Franck Vigroux. Vigroux’s multifaceted and challenging body of work sits at the crossroads of electroacoustics, noise, and industrial music. With is analog and digital instruments, Vigroux's music is made of pure and distorted drones, polyphonic noises and harsh industrial rhythms.

 Croix's generative video has been created by artist Antoine Schmitt. The visuals of Croix are centered around the figure of the Kasimir Malevitch’s cross, symbol of the artistic consciousness.

The figure itself is constituted of thousands of individual pixels, which explode in space according to the levels of energy of the audio. In silence, they reform the cross. The generative system is connected to the live music during the performance. It provides a quasi-literal visualization of the dynamics of the music all the while being the fixed point around which it revolves. 


Artists

Sunday June 11, 2017 19:00 - 19:40
Recinto del pensamiento Kilometro 11 Vía al Magdalena
 
Monday, June 12
 

04:00

The Waiting Pool

Can media art, now deeply influenced by the diffusion and power of emerging technologies, help us feel again in a deep, spiritual way? Can emerging media arts help us rediscover a long lost sense of connection with nature? Could that be a key factor in the effort of re-balancing our sociopolitical global situation? In the face of planetary-scale computation and digital realities spinning out of control I look for a renewed sense of peace and harmony. People today are losing the ability to focus and contemplate, submerged by a constant flux of signals, images and sounds.

 

Will media art necessarily contribute to this trend or can it help us rediscover ourselves? I’ve always been looking for the extraordinary in the ordinary. I started my career as a fine art photographer, however, in the last five years, my work has been deeply influenced by both emerging technologies and by the new technical and conceptual possibilities offered by them. My latest works are suspended between Henri Cartier-Bresson’s idea that to photograph is to hold one’s breath with all faculties converged in an effort to capture fleeting reality, and the belief that flowing processes that transcend reality cannot be entirely captured by static images. My goal is to capture the natural world, illustrating my motivations and emotions, looking for the precise moment when mastering a composite moving image becomes a great physical and intellectual joy.


Speakers

Monday June 12, 2017 04:00 - 04:15
TBA

TBA

Bed of Oblivion

An extensive visual experimentation and new languages that relate to different technologies from basic informatics have marked XXI Century. This new media meets with multiple visual representations that generate effects and changes in the image’s symbolic construction so that education and communication models art transformed. Digital art as a new expression media, where digital image has turned, within these few decades, in the new iconographic form. It has allowed technical procedures such as Video Mapping exploration to boom and constantly evolve in diverse contexts both graphic and audiovisual, yielding relevant changes in space and image perception, technique and interactivity, therefore promoting a progressive digital culture.
Our core topic is established as Video Mapping approximation applied to Three-dimensional objects and its relation to contemporary artistic creation. The purpose for this investigation is to find out how Contemporary Visual Arts apply media and digital resources to create artistic experiences, referring to public art, ephemeral art, as categories to be analyze, as well as reflection on the space concept and the importance of the viewer as an active figure. Simultaneously, its questions on how these artistic experiences are created from Video Mapping as a technological resource and its application in the artistic scene.



Monday June 12, 2017 TBA
Pinacoteca Palacio de Bellas Artes

TBA

Data Mapping of 2016 U.S. Presidential Election Twitter Activity

The proposed installation transforms the 2016 United States Presidential Election data into a large-scale immersive environment to provoke thought as to how social media assumes form and dominates the shaping of the future of a nation. By mapping election data into flickering lights, ticking sounds, and the exchange of fluid between IV bags, the installation recounts Twitter activates on the topic from February 2016 to the election date of November 8, 2016. It exposes the inner mechanisms of a world where true human tweets and tweets generated by Twitter Bots mutually influence each other and propagate inseparably as a combined voice. The installation allows the examination of the machine world infiltration that shifted the generative entropic propagation of social media influence on this U.S. election, and provides a physical space for contemplating the significant challenges social media post in our understanding of the social fabric and the radical transformation of the ways in which we now relate to each other.

 



Monday June 12, 2017 TBA
Alianza Francesa Sala Boris Vian

TBA

Distiller of the Self

Distiller of the Self is an interactive installation made out of glass, which reads the pulse of a person through a mobile app and turns it into bits, waves, and particles to tell a short story about the science and the soul. The artwork, based on neuroscientific studies, represents the transition to a truly scientific thought, questions the relation between beliefs, discrimination and conflict, and proposes how to confront our human existence with its unavoidable lack of certainties.
Created at the Berlin University of the Arts in 2016.



Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

Electronic Peace Garden, Sonic Well
An important context for both Colombia and the world is that of Peace. Also of critical importance is the human relationship to the environment. This project draws both together and initiates a conversation between Colombia and Aotearoa New Zealand, using technology for Peace and data in support of the environment.

Speakers

TBA

Empathy Box and Empathy Amulet

"An empathy box is the most personal possession you have. It's an extension of your body; it's the way you touch other humans, it's the way you stop being alone" "I had hold of the handles of the box today and it overcame my depression a little—just a little...I felt everyone else, all over the world, all who had fused at the same time"

– Philip K. Dick, Do Androids Dream of Electric Sheep?

In Dick’s novel, thousands of anonymous people connect haptically and emotionally through their empathy boxes in a fragmented and isolated world. Inspired by the story, the Empathy Box and Empathy Amulet are two networked devices that connect many anonymous people through shared warmth.
Both devices use physical warmth to cultivate empathy and a novel sense of connection with anonymous others. The devices encourage their users to make a deliberate and generous choice to invest their time and energy in connection with strangers, and they incorporate reciprocity into their design, such that helping oneself means helping other people. The Empathy Box explores synchronous connection, while the Empathy Amulet uses asynchronous connection allowing the user to experience the shared warmth either consciously or unconsciously. 


Speakers

Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

Encontros

Two mobile phones exhibit videos filmed during a trip up the Amazon River composed of flows of water in two distinct tints: On the one side we have a predominance of black-colored water, on the other, brown-colored.

 The system searches for real-time information in such a way as to reflect changes in the tides and the phases of the moon, as opposed to the flow of accesses to the word “Meetings” in several languages.

 The spring, at the same time in which it extends, coils to mark the space and the course of the flow/movement. In the brief moments of near-touching, at the limit of the spring’s approximation and coiling, it is possible to notice a light combination of brown and black of the waters that mix and simultaneously, the impossibility of the encounter.



TBA

TBA

Googled Sculpture Series
The Googled Sculpture Series explores this concept of crowdsourced object presence by examining the three most popularly searched sculptures in western art history. Using only tourist photos culled from Google image search results for “Venus de Milo”, “Michelangelo David” and “Rodin Thinker”, flawed and incomplete likenesses are stitched together in photogrammetry software, rendered and 3D printed. The resulting jagged and mottled figure is a physical manifestation of web presence. Areas of high and low resolution speak to the focal points and perspectives frequently captured by visitors to icons of western sculpture.

Speakers

Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

Hivemind
Hive Mind connects an active beehive in the Santa Cruz mountains of coastal California with a gallery installation built of over 1750 individually programmable LEDs in a creative, abstract visualization. The beehive is tracked in real time with sensors monitoring the temperature, humidity, sound level, activity level, population, honey reserves, and, via cameras and computer vision algorithms, the arrival and departure of each bee as it forages. This information streams live from a small computer at the hive to another computer at the gallery which uses the data to control LEDs hanging from an aluminum frame in a 3D configuration. It is wall mounted with core dimensions of 193cm x 160cm x 61cm. The software guiding the visualization are custom written by the artist in the Processing and C++ languages. The viewer in the gallery sees all 1750 LEDs in the work, with a lower core representing the most profound rhythms with colors and volume responding to the slow changing data from inside the hive (temperature, population etc), this is overlaid with patterns responding to sound and activity levels and and above this sudden small flashes on the periphery of the piece that correspond to the transits of individual bees.

Speakers

Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

Hyper Gradient
Inspired by the theory of Hermeneutics, Hypergradient analyzes the different interpretations of an impartial consistent statement. The installation repeatedly changes between two states: the "statement" state and the "interpretation" state. The statement state displays a sequence of characters of a distinct semiotic system, which can be described as a deputy for all known semiotic systems. These abstract propositions don't follow human dwelled principles, they posses inherent logic. In this state, the space containing the installation and the installation itself islit up with fixed light sources. When the installation reaches the interpretation state, the whole space changes into darkness and the surface is illuminated by four light sources, which are arranged around the installation. Throughthe constant change of light, the physical deformation of the surface and the consequent modification of perception, the original statement now has to be interpreted by the observer.

Speakers

Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

TBA

TBA

Rainy Garden
Rainy Garden is an interactive installation that creates a moment of sensory awakening and playfulness through tangible and immersive interactions. It is comprised of seven umbrellas hung from the ceiling and an Arduino compatible circuitry embedded in each umbrella to create sensory immersion. Rainy Garden is inspired from our childhood memories about nature: jumping in the rain, gardening, fresh smell from a garden, etc. Nature is a refuge that provides shelter and comfort. Nature is a nostalgic inspiration and becomes one of core aesthetic components of our work. Rainy Garden becomes a refuge of nature, an idealized immersion, immersion without vulnerability. A touch to each umbrella handle creates a personal boundary with distinct sensory stimulations and a unique floral design print. In the gallery, umbrellas look like big flowers in the floating garden. UV LEDs attached to the outer surface of the umbrellas slowly animate creating raindrops effects. Once a visitor holds a handle of the umbrella and stay underneath of it, the space responds to the viewer and evokes narratives through visual, haptic and sound experiences. Depending on the quality of touch by a visitor, hidden visual patterns, vibrations, cricket-like sounds will appear and create a sensory-rich environment.



Monday June 12, 2017 TBA
Pinacoteca Palacio de Bellas Artes

TBA

The Digital Skin Series
The Digital Skin Series is composed of self-portraits in which I pose “under the digital skin” of strangers I’ve crossed paths with in the past. To create this series, I first used a 3D scanner to obtain an accurate tridimensional model of my face. Then I used a camera-prototype to acquire HD portraits of strangers. Finally, I applied their portraits to my digital skull as if they were simply an additional layer. The result is a series of photographs where bidimensionality and tridimensionality collide in an intimate and unpredictable way. In the past, myths about skin were common across cultures and related to radical biological metamorphoses. For example, in the Navajo tradition–which considered the skin a mask–if you were to lock your eyes with those of the skinwalkers, they could project themselves into your body and transform into you. In today’s network society, bodies have left that organic condition and are characterized by transient statuses: individuals have become di-viduals, data aggregates, samples, signals. The last boundary between us and the world, our skin, has become a transient membrane that changes along with the trans- and meta- human forms under it. The space that was occupied by the skinwalkers of the past has been taken over by infinite reconfigurations and mediations. What remains the same is that to be human still means to constantly shift through generative metamorphosis, corruptions, and de-generations that escape any clear categorization.

Speakers

Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

Wayfinding
In his seminal work The Image of the City, Kevin Lynch coined the term “wayfinding”, which describes the process of using spatial and environmental information to orient oneself and navigate to a destination. Lynch elaborated to define four unique stages in this process: orientation, route decision, route monitoring and destination recognition. Throughout history, many approaches have been used to accomplish the four stages of wayfinding, and one of the most powerful devices and symbols has been the compass. While we have all experienced wayfinding and its four stages in a spatial sense,how does this principle analogize to the path one chooses in life, and its potential ever-changing influences by society? Furthermore, how does the notion of wayfinding evolve and morph as our sense of destination is largely unknown and ultimately impacted by the people we meet and their subsequent aggregate of chosen paths? By abstractly paying homage to the design principle of wayfinding coupled with the theme of metamorphosis, this responsive installation serves as a metaphoric representation of an electro-mechanical compass that seeks to reflect on the paths one chooses in life, the individual and societal offshoots and the subsequent periods of chaos and harmony.

Speakers
avatar for Raphael Arar

Raphael Arar

Designer & Researcher, Media Art Educator, IBM Research, San Jose State University
Designer, researcher, educator and artist exploring aspects of the socio-technological forces driving interaction.


Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

WEB-MINDSCAPE

WEB-MINDSCAPE is an interactive installation joining diverse aspects, such as social network, sound, brainwaves and visual elements. It creates an immersive audiovisual environment, which is site-specific, where sound is diffused in surround, and the visual elements consist of light produced via electroluminescent wires (EL wires).

Visitors are invited to interact with the audiovisual environment (light and sound) by using an EEG interface, which reads their brain activity. Thereby, they are confronted to messages from a social network (in this case, Twitter). The tweet messages are turned into audible sound, and the computer measures thereafter the cerebral activity of the visitors, and analyses their emotional reactions to both the environment and the tweets, transforming this data into visual and audible signals, which reproduce how the inner of the subject is influenced by the outer environment and at the same time, having an impact on the installation’s audiovisual environment.


Speakers

Monday June 12, 2017 TBA
Expoferias Alberto Mendoza Km 2 Avenida

TBA

TBA

White Cart Loom

White Cart Loom has been produced in response to scientific research looking to interpret and understand data encoded in the biological process of shell formationin the now endangered freshwater pearl mussel.
The project connects biodiversity with human creativity and its first expression through programming, with textile designers use of the first programmable machine; the Jacquard loom. In Paisley Scotland, this process was used exploring the creative possibilities of the world renown paisley pattern. Rapid industrialisation of textile production contributed to habitat destruction and freshwater pearl mussels are now locally extinct.



Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

Your Hearing Them
Speakers

Monday June 12, 2017 TBA
Museo de Arte de Caldas - Sala Óscar Naranjo CCC Teatro Los Fundadores - Carrera 22 con calle 33

TBA

“GeoObs / Geometry of the Observation”

“GeoObs” is a mixed media installation which observe the relations of three layers, Device, Image and Data, to build a dialogue to define the blurred definition of the privacy in the actual system of the visual representation in the global net.
The installation explore the joints, cracks and displacements the contemporary context of the global net, confronting models a nd complex systems to build alliterations and iterations through visuals strategies like site specific action, social and geopolitical relations, as also territorial gestures to relieve the concepts of invisibility , transparency, tracking and trace.


Speakers

Monday June 12, 2017 TBA
Alianza Francesa Sala Boris Vian

04:30

The Sky, The Man and the Sea
This large scale work can be presented as a video projection or a multimedia installation composed of a photograph on a plexiglass superimposed onto a digital monitor displaying video with sound. The work incorporates unusual depth and monumental dimensions achieving a particularly emotional effect. “The word emotion comes from the latin emovere, which is historically connected with the idea of movement. An eternal movement that moves the viewer emotionally and conceptually, and that the artist observes and try to preserve with his creation. In the presence of the work, the viewer can connect with a larger emotional landscape that embraces all of us and lives without and within; because we are all part of a larger spectacle.”

Speakers

Monday June 12, 2017 04:30 - 04:45
TBA

09:00

09:00

09:00

Salón de Estudiantes y Egresados de Diseño Visual
Monday June 12, 2017 09:00 - 09:30
Centro Colombo Americano Carrera. 24B No. 61A - 50 Barrio la Estrella

09:00

09:00

Terra Nullius
Nobody never gets to heaven and nobody gets no land. Terra nullius is the “geological” activity of a software entity, in the disembodied and abstract nature of a computer system. This activity creates the variables of its orography, whose movement can be well-read in turn as sound variables. This micro/macro universe is observed/listened from the intimacy of an alien eye/ear that attends (without any intervention) to its natural evolution. Inside an infinite scale, a minimal, uninhabitable, and impossible landscape gets created and destroyed, thanks to the fragile balance between opposite forces.

Speakers

Monday June 12, 2017 09:00 - 09:30
TBA

09:00

Avatar life-review to support memory in older adults

This workshop will introduce an innovative therapy platform designed for older adults, with interactive avatars reflecting users’ speech, gestures, and emotional states in real time. This transdisciplinary project integrates electronic arts, gaming, computer science, gerontology, storytelling, and therapy rooted in Korean

shamanistic practice.

 

This system was designed to strive to enhance seniors’ quality of life, fostering communication among peers, caregivers, and family members, promoting intergenerational relationships by eliciting memories invested with emotion and buoyed by engaging play. Seniors act out reminiscences at various ages (child, teenager, adult, elder), embodying their life stories and those of significant others through configurable avatars. Avatars’ affective gestures and sound reflect results of sentiment analysis algorithms detecting the emotional contents of the user’s live speech.

 

This workshop will examine diverse aspects of the project: conceptual foundations, multimedia production, research findings based on formative testing with the senior target population, and avatar life-review system opening to public.



Monday June 12, 2017 09:00 - 12:00
C202 - Campus Central, Universidad de Caldas - Calle 65 # 26 - 10

09:00

Co-creating and critiquing training methods for transdisciplinary collaboration
Although transdisciplinary collaboration is associated with efficiency and efficacy to solve professional and academic challenges, untrained teams may underperform because of collective cognitive limitations such as less ideation power, planning fallacies, or overvalue of shared beliefs. Successful transdisciplinary collaborations require appropriate practices and didactics. In this workshop the organizers will present a draft of best practices and didactics for teamwork and will ask participants to contribute to critique, extend and recommend from this draft. The expected outcome is a refined draft document of best practices and didactics for teamwork. The organizers will develop further and publish this document along with an annotated bibliography in the topic. We will use co-design methods to design the workshop with the participants. Activities include teamwork in a challenge, socialization, and debate of best practices. This workshop is associated with the panel proposal submitted on the same problem; many interested colleagues could not be included in the panel and this workshop will include the panelists and other ISEA attendees.


Monday June 12, 2017 09:00 - 12:00
Universidad de Caldas, Edificio Orlando Sierra, Campus Central, C206 Calle 65 # 26 - 10

09:00

Embracing adversity: biofeedback devices for audio-visual therapeutic stimulation.

When life puts you in difficulty you can either run away from it, or embrace that obstacle and figure out how to take advantage by developing a creative method to benefit from it. Being born with a heart condition, I have always been exposed to biofeedback devices and it always intrigued me the sound and visuals that were created through these devices using my body as source for their input.

 

 

As part of my academic research, I started to incorporate my own physical condition into the creative process of art making. In that process I discovered techniques that allow us to control our vital signs, particularly meditation. Meditation is the practice of self-awareness and has effects in how we engage with our daily situations. Its practice can help people build strongest connections with their mind and body which can be used to create generative sound and visuals that is fed back into the person creating a feedback loop. This is particularly helpful for people with physical disabilities because they can use their vital signs to generate and control audio-visual content. This tutorial will teach attendees the technique of meditation, while wearing biofeedback devices to control an interactive audio-visual piece.

info


Speakers

Monday June 12, 2017 09:00 - 12:00
C208 - Edificio Orlando Sierra , Campus Central - Universidad de Caldas - Calle 65 # 26 - 10

09:00

Interactive Performances for Dance, Sound and Biosignals

This workshop will focus on understanding the meaning and possibilities of different physiological signals (biosignals) and the technologies available to measure them. We will demonstrate the use of different biosensors and discuss the creative methods used in our work at Emovere project, which focuses on developing interactive dance performances that utilize biosignals to amplify, understand and connect with the internal functions of the human body. We use physiological signals such as electromyography (EMG), electrocardiography (ECG) and electrodermal activity (EDA) as materials that access an intimate and – usually – inaccessible biological dimension that is in constant change, affected by external and internal stimuli.

 The workshop will explore the rationale behind interaction designs, compositional techniques and outcomes of different artistic pieces that utilize biosignals in performance scenarios. Participants will join in a co-creative experience using their heart rate and speech with the objective of creating a collaborative sound environment that builds on explorations around sound poetry and biofeedback.



Monday June 12, 2017 09:00 - 12:00
C203 - Edificio Orlando Sierra, Campus Central - Universidad de Caldas - Calle 65 # 26 - 10

09:00

Data [h]ac[k]tivism and visualization workshop

In this workshop we will approach critically towards data, considering it as a human political construct and learning to connect several representations of it: numerical, symbolic (code) and graphical (visualization) to speak and potenciate citizen voices, which is becoming more and more important in these times of data collection and releasing and in the particular context of post-conflict and the peace building efforts to come.

We will code and create data visualizations and use them to show twitter voices of several actors related with peace building in Colombia.



Monday June 12, 2017 09:00 - 16:00
Universidad de Caldas ,Campus Central, sala K Calle 65 # 26 - 10

09:00

Developing with the ESP8266: DIY processes for building interfaces

The ESP8266 is an Arduino-compatible microcontroller that integrates WiFi capabilities in a miniature footprint, making it an appealing tool for artists and designers who need to deploy projects requiring remote or networked interactions between different components in an installation.

The workshop introduces participants to the ESP8266 showcasing three fully-fledged projects that expose different sensors and actuators that capture input from the environment and control physical objects.

We’ll cover a design process for prototyping and developing custom devices based on the ESP8266 showing how to sketch a circuit in a protoboard, making bakelite boards by DIY methods, and finally using Open Source CAD software to model boards for industrial manufacturing. The process emphasizes on good documentation as pivotal in collaborative projects where members contribute work on different schedules and locations.

Participants will go thru the experience of building one of the exposed projects and integrate its components from kits provided. The three projects consist on: the “Biostation”, with sensors for measuring humidity and temperature on air and soil, as well as gases and dust density; the “Automaton showing how to control an electrical or mechanical object; and the “eMotion”, a wearable that uses an accelerometer/gyroscope sensor to detect motion accurately.



Monday June 12, 2017 09:00 - 16:00
Universidad de Caldas, Campus central, Edificio Orlando Sierra, Medialab Calle 65 # 26 - 10

09:00

Elastic Spaces - Projected Narratives of Being and Belonging
The workshop, Projected Simulations of Being and Belonging, invites interdisciplinary artists and researchers to collaborate on a series of video projections to be displayed on the windows and facades of a building in La Universidad de Caldas and/or the city of Manizales. During this workshop, experiments with digital media will explore experiences of dislocation. Participants will combine fictional and personal narratives of belonging or displacement in order to construct digital visions of peace. Stemming from an exploration of states of dislocation and technical video/graphic experimentation, this workshop will result in the creation of outdoor projections in a public space. This workshop is about generating social collaboration between participants in order to work towards conflict resolutions between heritage surfaces and subjective narratives, past histories and illusions of the future, and finally, effects of war and visions of peace. Participants will have the opportunity to experiment with video camera setups, multiple projections on buildings, video mapping and motion graphic tools. The use of digital media presents the potential to simulate a state of disembodiment (elasticity, alteration, translation) for viewers and participants. Framing a public context with video projections allows for the simultaneous activation and archival of a cultural site.


Monday June 12, 2017 09:00 - 16:00
Universidad de Caldas, Edificio Orlando Sierra, Campus Central , Vivelab Calle 65 # 26 - 10

09:00

Introduction to Gambiological Studies
Speakers
avatar for Fred Paulino

Fred Paulino

Gambiologia/CabraLab
Nació en Belo Horizonte, Brasil, donde vive y trabaja. Actúa desde la década de los 1990 como artista, diseñador, curador e investigador en arte y tecnología. Coordinó y actuó en proyectos relevantes en el área creativa brasileña, como el Estudio Mosquito, Osso Design y... Read More →


Monday June 12, 2017 09:00 - 16:00
Universidad de Caldas, Campus central, Edificio Orlando Sierra, C205 Calle 65 # 26 -10

09:00

Parametric Form Finding, Interaction and Sentience

We are interested in providing participants an introductory course in parametric and interactive design within an architectural environment. Computation has become ubiquitous, is embedded in virtually every facet of our lives and is currently showing real promise to augment of lives in the way that Engelbart, Sutherland, Beer, Ashby and Pask were dreaming of when they introduced us to cybernetics. Within the field of architecture, the contemporary digital discourse has gained a significant level of maturity over the past 30 years. Computers have been absorbed, adapted, modified and evolved into a robust infrastructure that is changing the landscape of design conception, development, simulation, engineering, management, communication, construction and of planning the life-cycle of a building. It is within this context that this workshop has been developed. The scope includes an introduction to; modeling with Grasshopper in Rhino, digital fabrication processes, and interaction with Arduino. The course is oriented for participants who are new to these technologies. This day long workshop should help each student obtain fundamentals in parametric modeling and interactivity.

 


Speakers

Monday June 12, 2017 09:00 - 16:00
C209 - Campus Central, Universidad de Caldas - Calle 65 # 26 - 10

09:00

Sound Dialogues - From acoustic to gestural

In this workshop we will approach critically towards data, considering it as a human political construct and learning to connect several representations of it: numerical, symbolic (code) and graphical (visualization) to speak and potenciate citizen voices, which is becoming more and more important in these times of data collection and releasing and in the particular context of post-conflict and the peace building efforts to come.

 We will code and create data visualizations and use them to show twitter voices of several actors related with peace building in Colombia.



Monday June 12, 2017 09:00 - 16:00
Universidad de Caldas, Campus central, Edificio Orlando Sierra, C210 Calle 65 # 26 - 10

09:00

Villages of the world workshop, an aesthetic technological mediation of identities and territories

The workshop "Villages of the world", a technological aesthetic mediation of identities and territories, consists of the creation of a video installation based on the collective construction of contents based on identity, memory and heritage.

The video installation seeks to generate new ways for the habitants of the San José sector of the city of Manizales, Caldas, Colombia (known for their problems of territorial organization) to relate to each other and to their territory through technological mediation, collective construction and participatory approach to community social empowerment.

 

 

"Las Aldeas del Mundo" consists of three moments (diagnosing and reflecting, questioning and doing, concluding, proposing and visualizing) characterized by experiential dialogues about identity, memories and heritage in relation to the territory, generating the video installation as a product.



Monday June 12, 2017 09:00 - 16:00
Fundación Comunativa, Huertas Urbanas Carrera 13 con calle 28, Barrio San José

12:00

Ecology and Eco-art: Seed Sculpture Lab

Abstract: The performative act of seed sculpting and seed balling is meant increase public awareness of politics and responsibilities surrounding anthropogenic effects on the environment. Through the creation of public installation of sculptures made of organic local edibles, exotics and import species, the computer-aided landscape design of urban architecture was disrupted by the lab’s participants. The pedagogical goals of the lab were to:

 

1. aid in public understanding of the relationship between ecoart and the environment

2. implicate participants in anthropogenic ecological effects

3. take an active and hands-on tactical stance on these issues and help in public analysis of eco-activist risks and benefits

4. get beyond the feeling of being merely living props or ornaments inside the design aesthetics of the urban outdoors

5. comprehend the politics, the ease and the responsibilities involved in the intentional release of exotic, non-local and mutant species into our living world



Monday June 12, 2017 12:00 - 16:00
Jardin Botanico - Campus Central, Universidad de Caldas - Calle 65 # 26 - 10

14:00

FLOW | Representing Nature through waves of real time data.

FLOW is an immersive interactive installation specially designed for the deep space 8k media display at ARS electronica http://export.aec.at/interplay/deep-space. Inspired by the natural phenomenon of the tides, the multimedia environment offers a sensory experience poetic, playful and aesthetic principles of the rise and fall of sea levels. It invites visitors to plunge into the fascinating world of science through interactive immersion. The multimedia space aims to create an intelligent data environment where various forms of information can be expressed in a dynamic representation and enhance the perception of the physical space.
Synchronised with the moon, the sea levels would change gradually and will create an environment that offers various degrees of immersion. The project will try to envelop the audience in a virtual universe abstract enough to allow daydreaming and free interpretation. All the content is designed and run at realtime. The installation is an "open form" that offers various combination options to the interpreter. The idea is to create a system with a random creation process, in a range of settings defined by nature. In this sense, every state, the time of installation is unique and inimitable.



Monday June 12, 2017 14:00 - 16:00
Centro de Museos Universidad de Caldas-Sala Temporal Campus Palogrande Carrera 23 # 58-65

14:00

Körper

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

 



Monday June 12, 2017 14:00 - 16:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

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

Artists

Monday June 12, 2017 14:00 - 16:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

@ISEA_bot_2017
Speakers

Monday June 12, 2017 14:00 - 18:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

COME/IN/DOC [Collaborative Meta Interactive Documentary]

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

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



Speakers
avatar for Arnau Gifreu-Castells

Arnau Gifreu-Castells

Open Documentary Lab - MIT


Monday June 12, 2017 14:00 - 18:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

Cotterrell

Monday June 12, 2017 14:00 - 18:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

Deeper than Digits: Tepid Night Erased

Monday June 12, 2017 14:00 - 18:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

Through the Aleph: A Glimpse of the World in Real Time
Speakers

Monday June 12, 2017 14:00 - 18:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

trans_communications

Monday June 12, 2017 14:00 - 18:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

As If I didn’t

As if I didn’t is a hyper-real soundscape of a dream. Composed of field recordings, it tells a story of an individual’s struggle with waking up, as she tries to find her way through a synthetic environment of abstract and real objects. The piece starts with a gloomy atmosphere that includes very few representational sounds. But as the piece moves forward, a balance between concrete and abstract sounds emerge to signal the individuals “ascent” to consciousness, This consciousness, however, swings back and forth between reality and a dream. The final gesture blows the whistle on the narrative of the piece.



Artists

Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

Dark Path #6
This piece is a part of the “Dark Path” series. This electroacoustic music focuses on sound marks of a sonic landscape. It embodies a sense of history beyond itself. Beyond the analysis of the used recordings, there is a history that is personal. The piece aims to examine and explore the transformative possibilities of the computer music.

Artists

Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

Harmonic Cicada, soundscape
The Harmonic Cicada is a soundscape that shows the transformation of the natural territory in the Cultural Coffee Area Landscape (some Risaralda and Quindío municipalities) from the sonorous intervention of the artist when simulating with his voice the sounds produced by the cicadas with their abdomen and wings (insects from the Cicadidae family). The interaction between the answer of the actual cicadaes and of the local fauna to the author’s sounds, appoints to the passage of the topographic territory to the symbolic one from the audible language, providing a new interpretation which ascribes inherent characteristics of the animal evolution to the mutual experience. Through the sound connotations of the death and life states associated to the different audible manifestations of the insect during its displacement, rooting, metamorphosis and habitat, the installation proposes to register the audience bodies with the characteristic realities of the landscape that are built through the sound language. From a poetic dimension the relationship between the fauna and the human being questions the reality of the physical territory creating a representative and immersing world with the use of language.

Artists

Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

Lioso landscape
The louder bridge was recorded on the center streets in. Manizales town,i t shows a reflection about the view of the city, It has been seen behind the particular places and spaces that work and establish feelings in her people. They confirm the existence and the roads make places for the people that every day walk on there... In a constant and louder place while the time goes on impregnated for the daily routine.


Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

ME RÍO

The following research-creation will talk about the pollution in rivers, streams and its impact on the coffee cultural landscape. To this goal the sound bridge will be approached as an ethnographic tool and a way for the artistic creation. The prevention of the environment is a topic that acquires relevance in the expressive forms of the contemporary art. It sees the need to manifest how pollution in all its variants puts in danger our ecosystem, economy and cultural identity. No matter our work, social status, race or religion; we must to react to this devastating scourge that has become the common factor today, because the lack of planning in the management of our waste.

 

Elements that are transformed into moving image in this Project that, more than critical it becomes a pedagogical act that invites reflection on our behavior and responsibility with the environment.



Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

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


Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

Whose Weather is it Anyway?

‘Whose Weather is it Anyway’ is part of a series of interventions that seeks to decipher, expose and contrast informational patterns that exist in natural ecosystems and that of man-made informational representations of command, control and dissemination mediated by its infrastructural aspects.

Amidst narratives and decisions surrounding recreational tourism, festivities, food, livelihood, calamities and stock prices to which weather conditions are central, lies the colonization of local and global weather information into an intellectual property regime that often makes weather reporting and predictions through opaque informational conglomerates that fuel climate change debates and environmental policy. This project explores the interplay between ‘the climate of economies’ & ‘the economies of climate’ in the age of networked Big Data, critically examining these interfaces while engaging the audience using emerging methods in data sonification and networked media art practices.



Monday June 12, 2017 14:00 - 18:00
Salón Octofónico Expoferias Km 2 Avenida Alberto Mendoza

14:00

14:00

Anatomía para el movimiento: línea 3

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

 

 


Speakers

14:00

14:00

14:00

Columbiritmos - Manizales Coffee Drip
"Columbiritmos" (“Columbi”: Columbia “ritmos”: Algorithms) is an interactive, digital, kinetic, geo-location performance project that uses algorithmic functions calculated in a custom GPS tracking phone application to direct the field-user to navigate the city of Manizales, which is presently the main center for the production of Columbian coffee. Influenced by the Situationists who, before the time of computer code, experimented with numerous rules for navigating Paris with the intention of breaking from routine to re-experience Paris from new perspectives, "Columbiritmos" will use a custom phone app that, when the phone is shaken, uses an algorithm to direct field-users to move in specific directions for specific distances, sample local coffee that is GPS tracked for region of the city, listen to and transmit GPS located stories acquired from the locals, which are all transmitted back to the gallery space to activate of multiple automated kinetic coffee dispensers that deliver coffee with varying degrees of intensity from areas within that region to gallery visitors. Depending on the passenger experience as they navigate, the phone application directs the field-user to respond to a “field- intensity” meter, which in effect makes stronger or weaker cups of coffee for gallery visitors.


14:00

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

Speakers

14:00

Diligent Operator
Nam June Paik (1932-2006) exhibited a progressive music environment for audiences, Random Access (1963) in his first solo show. It allowed audiences to make their own sound collages by interacting with visual audiotapes on a white wall. The interactive approach of Random Access was mainly intertwined with his musique concrète composing experiences. This paper examines the relationship between Paik’s work and musique concrète, and articulates Paik’s contributions to making a prototype of musical interactive art. Based on the study, Diligent Operator (2016) suggests a creative musical space with Max/MSP Jitter and Arduino.

Speakers

14:00

Escaping Chair

A furniture-device is the device having a furniture appearance and physical input and output functions. The Escaping Chair is a furniture-device capable of having physical and dynamic interaction with a subject to create self-awareness toward the intent of their actions and personification of the furniture-device. The chair interacts with the bystanders by trying to move away from nearby people. By doing this, the device tries to make a person unable to sit on it, stimulating their perception toward their sitting action, while also making the person consider the Chair’s "personality".



14:00

Floating Painting
Floating Painting explores visitors’ passive role as a portrait model in interactive art. This visualizes the process of drawing a painting over a long time just as drawing a real portrait painting. A webcam scans a visitor’s face into an 18-by- 32 pixilated image, and the LED canvas emits one color pixel of the image per three hundred milliseconds in order, then the webcam simultaneously re-photographs the LED colors on the canvas. Next, viewers can see the drawing process that illustrates the face on the wall. Unlike most interactive art projects with real-time closed-circuit video systems, in Floating Painting, visitors as passive models experience temps mort, or dead time to see their slow portraits, and to rethink their role in interactive art.

Speakers

14:00

Gradual Slip

In Gradual Slip, a peristaltic pump drips water onto thermal electric cooling plates (TEC) to form mini “glaciers”. After a time of buildup the system shuts down and the plates role rapidly reverses. The plates heat up and the ice slides off onto a tray of dirt and seed. From this point the seeds grow into grass flourishing in the melt water or drying out in its absence. Here the natural element is coping with artificial stresses that are introduced by anthropomorphic forces. The natural environment has evolved into a system in equilibrium. In ecosystems there is a threshold, a limit where the system can no longer function when pushed beyond this boundary. Gradual slip acts as a model of a natural system, exploring this boundary, opening itself up for a dialogue around climate change.

 


Speakers

14:00

14:00

Interstellar: Cross-Scale Space-Scapes
Conceived as a peaceful and playful exploration of the interstellar space, the augmented reality soundscape installation – “Interstellar: Cross-Scale Space- Scapes” invites the audience to access the experiential dimension of space technologies and how the huge amount of data derived from space exploration can be accessed, processed and visualized. Walking through a softly illuminated room where a few transparent cables come from the ceiling having small augmented reality markers in its extremities, holding an ipad mini one will find him/herself immersed in a soundscape populated with 3D animated models derived from actual nanoscale stardust particles’ images. The soundscape, or the soundtrack for navigating this Augmented Reality interstellar space, is made up of a combination of sounds derived from images of stardust particles in nano scale available in online databases taken (its pixels) as rawdata for sonification projects. Both the exercise of designing the 3D representations for the Augmented Reality application from original nano scale image samples of stardust particles and the sonification projects, are part of an interventionist creative practice where different strategies for editing and data visualization were explored, producing data-environments as informational sensorial experiences – somehow touching the untouchable space between the stars


14:00

InTouch Wearables: Exploring Ambient Remote Touch in Child-Parent Relationships
InTouch Wearables is a set of wearables that consist of dresses and shoulder pieces that allow mother and child share remote touches through garments with ambient feedback. This was developed to explore how remote touches can convey emotion and help people stay connected between remote locations. This project was created based on the lead artist’s personal experience with her child. In InTouch Wearables, a parent can increase the vividness of her conversation with a child through contextualized touch, and the loved ones may enhance the affective tone of their communication using a remote touch technology. All the electronic components of the garment for sensing human touches and actuating color-changing garment are integrated on the main fabrics. If accepted, we will be available to exhibit two dresses and four shoulder pieces on mannequins and hangers. Audience will be able to touch and activate interaction between garments.


14:00

Ko Rangi, Ko Papa, Ka Puta Ko Rongo

The artwork seeks to create a peaceful space where we can explore the nature of our universal connection through shared genetic code. DNA is the technology of life, and the piece utilizes modern technology to express our biological code in novel, accessible ways. By transforming the raw DNA sequence data for a set of individuals into music, and sampling a single chromosome from each person to create the final composition, our individuality and collective connectedness are simultaneously celebrated.

The stone circle becomes a comfortable womb in which the participants can experience and reflect on the beauty of existence and the core connection we have to each other, with the projected visuals from above making the participants themselves a central component of the artwork while they explore the space. The tactile and multi-sensory nature of the piece reveals what is otherwise abstract in a visceral and universal way that is hoped to inspire discussion and profound wonder... and above all, bring us together.



14:00

14:00

List of Insults
"List of Insults" is artwork involving collaborative participation. Visitors should reach each other hand and in same time hold the metal tubes on the wall. Videos on the TVs start to work, presenting dialogues between fictional personalities who are discussing art, politics, and poetry. The participants could be two or more than two, but one person is not able to reach tubes on the wall. In that sense, single visitor should engage somebody in the exhibition room to be able to experience the artwork.

Speakers

14:00

Matters Of Gravity
Two years of reflection and a few seconds in zero gravity were the origins of a series of artist works that have been completed at the Yuri Gagarin Cosmonaut Training Centre in Star City, Russia. There, on board the iconic Ilyushin 76 MDK, 9 artists and 1 scientist from Mexico were subject to an environment of weightlessness. A few seconds were enough to experience eternity, to tell a story, to break a paradigm, to liberate a molecule, to have an illusion, to experience movement without references, to create poetry out of falling bodies, to make the useless become useful and to search for the impossible embrace.


14:00

14:00

14:00

14:00

PHALLAINA

Phallaina is the first scrolling graphic novel. A hybrid narrative device by Marietta Ren and the Studio Small Bang, composed of a digital graphic novel designed for tactile screens, as well as a 120 meters long physical fresco with an interactive audio system.



Monday June 12, 2017 14:00 - 19:00
Universidad de Caldas-Parque La Gotera Campus Central Calle 65 #26 - 10

14:00

Pillflower App
The Pillflower Project consists of scanned images of pills and tablets, digitally manipulated into flowerlike Mandelas, as well as actual medicinal pills physically assembled into miniature flower sculptures. These two and three dimensional pillflowers are then used to decorate both functional and sculptural work to create a veritable pillflower world. The Pillflower App is a gamification of the project where the user can grow, gather, play with, dream with and gift the pillflower designs. The grow function allows user to challenge themselves to recreate pillflowers. The gather function leads to collecting all 200 plus pillflowers that have been designed. The play option allows users to interact with their collection of pillflowers rearranging them, expanding and contracting the individual designs as well as multiplying them. The dream function is a relaxing mechanism in which a meditative Mandela of gently changing pillflowers loops along with music of the user’s choosing. Finally the gift function allows users to superimpose their collection of pillflowers on real world photos and then gift them to others. The app is simple to use with humble aspirations.

Speakers

14:00

PROBABLY/POSSIBLY? – An immersive interactive media composition and visual/aural quantum synthesizer that splits a hydrogen-like atom’s electron into superposition combining various orbital shells

PROBABLY/POSSIBLY? is an immersive, visual, aural, interactive, composition/installation that tracks the probability currents and gradients of a hydrogen-like atom’s electron while in superposition, combining two to three different probability wave functions according to the time dependent Schrodinger equation. Spin on the x-axis of the electron is displayed through different hue-color combinations that show spin-up and spin-down of the electron, resulting in a possibility of up to 6 spin relationships on the x-axis alone, among the three wave function combinations.
We present our studies in composing elementary wavefunctions of the hydrogen-like atom and identify several relationships between the physical phenomena and musical composition that has helped the process. The hydrogen-like atom accurately describes some of the fundamental quantum mechanical phenomena of nature and supplies the composer with a set of well-defined mathematical constraints that can create a variety of complex spatiotemporal patterns. PROBABLY/POSSIBILY? explores the visual/aural appearance of these various combinations of two and three wavefunctions of an electron with spin in a hydrogen-like atom, highlighting the resulting symmetries and symmetry changes as visual/aural narrative.

 



Monday June 12, 2017 14:00 - 19:00
Expoferias Alberto Mendoza Km 2 Avenida

14:00

14:00

14:00

Silent Music Plane 1967

In this installation, a paper plane was made of the magazine cover of LIFE (June 2, 1967), which ran a story of the escape of famous Chinese musician Ma Sitson from China. It flies on strings at variable speeds synced with the tempo and level of two songs: Long Life Chairman Mao (1966), and Yesterday (1965). But the playback music is barely heard by the audience.
In May 1967, a year after the nationwide Cultural Revolution took place in China, large-scale anti- colonialist riots broke out in Hong Kong. Lots of Chinese propaganda slogans and music were broadcasted from the loudspeakers at the Bank of China Building in Central, Hong Kong. It was loud and heard everywhere in Central. Then the Hong Kong government installed 6 large military speakers on the roof of the nearby Government Information Services office building, playing loudly the jazz and western pop music including The Beatles to counteract the propaganda. In the “Hong Kong Under the Gun” issue (July 31, 1967) of Newsweek magazine, there is a line in its cover story, “Many of the rich and the middle class have had their airline tickets bought and paid for months, or even years.”

 


Speakers

14:00

SOPRO (THE BLOW)
“Sopro (The Blow)” is energized by the audience through the force of their breath in a propeller. This art proposal is based on the use of a simple technological system, the poetic of breath and primary scientific principles. The present system in the work also reveals tune with current energy and sustainability issues, inserting them in the context of the art technology.


14:00

14:00

14:00

14:00

14:00

14:00

14:00

Dream Garden
Dream Garden is a site-specific augmented reality project to gather, graft and nurture a city’s dreams. Each time a city dweller texts a 7-word dream (a poetic form moving private experience into public space), that dream automatically joins others both in a “garden” (a designated physical location in the city) and online at inthedreamgarden.com. The project shows how some community resources– like citizens’ dreams — can inhabit and expand a space without wounding it, colonizing it or wasting natural resources. As a political space, it’s urban renewal and greening without displacement. As a philosophical space it suggests that dreaming together may change a city and even a country. As a community garden it suggests that our dreams aren’t wasted—they are growable, transplantable, and in the poetic space of the project, both virtual and real.


15:00

Decomposing Landscape
We have arguably entered the Anthropocene epoch, a new geologic era defined by unprecedented manmade disturbances over earth’s ecologies and cultural heritages. In this era, the ecological integrity as well as traditional cultures and heritage of bucolic landscapes in the emerging economies like India are endangered due to governmental pressure for rapid growth in technological infrastructure and industrial development. In this context, multi-channel sound composition Decomposing Landscape as part of a sound and video installation is developed through extensive field recordings made at specific sites now considered Special Economic Zones, situated in the eastern part of India. The work creates a discursive auditory situation to facilitate a contemplative observation of such transitive landscapes. The work intends to delineate transition of India from a pastoral past gearing fast toward the contemporary urban, rendered within a mode of questioning. The large-scale media art project aims to practice digital technology to mediate engendered sites in contemporary art and helps disseminate cultural values to trigger public awareness. The project not only intends to foster the capacity to preserve heritage, but also records cultural transformation of conflict- ridden sites and landscapes for public intervention and artistic transformation to address the possibility of achieving reconciliation and peace.


Monday June 12, 2017 15:00 - 15:30
TBA

16:30

parallel

A continuous video of moving satellite imagery captured along the 49th parallel, the Canada/US border, "parallel" mobilizes imagery from Google Earth's historical database to expose discrepancies in the archived image of the planet. As one follows the pan, anomalies in the image become apparent: digital artifacts having to do with when a given area came under the eye of a satellite, and at what resolution. As the virtual camera moves, the physical border appears, disappears, is replaced and displaced by both geographical features and media artifacts.

Blurrings, double exposures, seams between satellite tiles, images from different seasons or times, all create a parallel landscape with its own boundaries, topography, areas of density and intensity. Digital and material realms mingle, charged with the politics of two nations and the legacy of colonial epistemology. Soundtrack comprises found audio, and ambient sound from ISS and an MQ-9 Reaper drone.

 

"parallel" is an evolving, frequently updated project. Previous iterations have been screened at: Coder et Decoder la Frontiere, Anti-Atlas of Borders, Université Libre de Bruxelles (April – May 2016) Once is Nothing, Inter/Access Gallery, Toronto (Feb. 2015); Movable Borders Furtherfield Gallery, London, UK (May 2013), Another Atlas, RAW:Gallery of Architecture &amp; Design, Winnipeg (April, 20


Speakers

16:30

Keynote Inaugural | Nonhuman creation: images from the end of the world

Today, in the age of drone media, satellite photography and CCTV, image-making is increasingly decoupled from human agency and human vision. It can also literally show us the end of the world. The notion of “nonhuman creation” proposed in this talk will expand the human-centric idea of image-making to embrace imaging practices from which the human is absent: from the contemporary high-tech examples provided by traffic control cameras, space photography and Google Earth, through to deep-time impression-making processes such as fossilization. The Anthropocene, understood as a global ecological-economic crisis in which the human is said to have become a geological agent, will frame the analysis to highlight the interweaving of image-making processes with chemistry, minerals, fossil fuels and the sun. By examining a number of visual projects, including some from her own practice, Joanna Zylinska will argue that the Anthropocene becomes visible to us through altered light, and through the particulate matter reflected in it. In line with the theme of this ISEA symposium, she will also suggest that experimental, posthumanist image-making can allow us humans to “unsee” ourselves from our own narcissistic parochialism – and to take some steps towards envisaging new forms of biocreation and peace.


Speakers
avatar for Joanna Zylinska

Joanna Zylinska

Joanna Zylinska is a writer, lecturer, artist and curator. He works in the areas of new technologies and new media, ethics, photography and art. She is Professor of New Media and Communications at Goldsmiths, University of London and author of five books. | | Zylinska combines... Read More →


Monday June 12, 2017 16:30 - 17:10
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

17:00

Grasshoppers

Grasshopper is a HD looped video showing a couple leisurely enjoying a late afternoon on the beach. The interpretations of time, the meaning of space are explored the way one might bounce off one reality to the next while thrown into the chaos of alternative dimensions. The fragments of existence were reassembled, displaying incoherent timelines existing within a single digital video. “Time is supposed to be intangible and invisible, yet its signs are clearly visible all around us. We can sense the passage of time when we feel the wind blowing; we can see time flowing through the waves of the ocean, and the passage of time is embodied by our footprints in the sand – tracing the multiple trajectories of our frenetic activities. Like grasshoppers, sometimes we stop and we deceive ourselves with the idea that lying down while enjoying the world is all we should to do in our lives. It’s a peaceful feeling, one of connection with the environment, but also one of disconnection from the struggles hidden within our environment. And then we start moving again, frantically struggling for a missed instant. Like jumping grasshoppers we navigate the world as if it were a hypertext. In this new digital world the classical idea of continuity is abandoned in favor of jumps and deviations from linearity: multiple layers are hidden within the most mundane views, and different timelines intersect each other in unpredictable ways.”

 


Speakers

Monday June 12, 2017 17:00 - 17:30
TBA

17:50

PAXX Textile Pattern Sound Machine

Is a hybrid machine in which various multimedia elements are revealed, a sound object that works through a system of artificial vision through which a process is tracked of the surface of Latin American textiles generating a sound abstraction of the textile patterns designing various sound pieces in real time.

 

The incessant search of the human being for generating identity and belonging, there is a process of construction where the individual defines himself in close relationship with his environment, in this context is where we can define the use and importance of the Textile activity in the history of the human being, thus configuring their collective practice, their identity and also their heritage. media arts establish a relation with the tradition to understand the socio-cultural transformations, establishing a conceptual apparatus through the textiles and the cultural identity.

 

Textiles and their ritual and ceremonial connotation emphasizing their use in symbolic form of representation, through the geometry and weaving technique.



Monday June 12, 2017 17:50 - 18:15
TBA

18:00

A Prayer for the Dead

In A Prayer for the Dead, subjecting the body to the purifying power of water evokes ideas and feelings of renewal and cleansing. This project started as an impulse to communicate through water. It slowly took form in its attempt to portray the universal experience of release. Unexpectedly, the work mirrored rituals of which I wasn’t aware, like the Buddhist funerals, where “water is poured into a bowl placed before the monks and the dead body. As it fills and pours over the edge, the monks recite: ‘As the rains fill the rivers and overflow into the ocean, so likewise may what is given here reach the departed’.”



Speakers

Monday June 12, 2017 18:00 - 18:15
TBA

19:00

METATOPIA 4.0 - Algoricene
METATOPIA is a nomadic, interactive & performative environment for outdoors & indoors spaces that merges dynamic physical & digital architectures, with 3D and multisensory immersion, focusing on indeterminacy, unpredictability and open- ended relation to bodies and surrounding environment, an indeterminate space of emergent behaviours and movements that defies prediction and control in the Big Data Era.

Artists

Monday June 12, 2017 19:00 - 19:15
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

19:45

 
Tuesday, June 13
 

TBA

Beyond body: multiple
Beyond body: multiple is a videoart proposal. A theater stage, where black predominates, the set boundaries of shadow direct the eye only to where the light reaches. The enunciation of the feminine and masculine body affirm the diversity, the multiplicity and the deconstruction of one unique identity. The black background unifies the images and the body becomes multiple.


Tuesday June 13, 2017 TBA
TBA

TBA

CALLIS

That’s how the mass behavior analysis manifest: the days, the evenings and the nights connected amongst themselves showing a whole idea of the cultural coffee landscape with common sounds full of social chaos caused by these networks where time goes fast and showing how everyday passes by, full of lights and the independent beings inside their “own world”, but dependent on a network created with an identity of masses and informal fraternity. The ceremonial and ritual behaviors are, without a doubt, important elements that contribute to producing the “us”, which is the self-representation without which the group can’t exist.

 

We must understand how the connections between the countryside and the city caused a complete transformation of these two, affecting their environment and changing the identities that made them different from each other…they unify and begin to understand the same language, their behaviors and the chaos itself.

 

It’s the kind of self individuality of the metropolis that has sociological bases that defend around intensifications of the common stimulus of beings which comes from subtle and continuous changes on the reception of different types of impulses to maintain, internally or externally, mechanized for the appropriation of our environment.



Tuesday June 13, 2017 TBA
TBA

TBA

I Love You, Keep Going

“I Love You, Keep Going” was born while I was bicycling in a heavy traffic jam in California. I wondered if it might be possible to invoke a story about nature, and my country’s addiction to oil, in such a way that an audience could feel these opposing forces in their bodies rather than simply their minds. Working with Iranian film editor Arya Ghavamian, whose nation’s history is entwined with oil, I will create three looping films which invite the visitors to mount bicycles and “change the story.”

 

In Chapter One, where nobody bikes, we see the oil business winning the heart of the world. In Chapter Two, where one person enters the future alone, the fear of death and destruction become activated. In Chapter Three, where multiple cyclists join forces, transcendence and harmony with nature become possible. Viewers may passively watch the world’s destruction, or become part of the story and change the future in a positive way.



Tuesday June 13, 2017 TBA
TBA

TBA

LANDSCAPE
Speakers

Tuesday June 13, 2017 TBA
TBA

TBA

Landschaften der Vergangenheit
In this project certain conexions with algebraic geometry are explored. The visual part is based on recent research in algebraic geometry, relating the theory of aperiodic tilings with singularity theory in algebraic hypersurfaces.

Speakers

Tuesday June 13, 2017 TBA
TBA

TBA

PixelDust
In a world increasingly threatened by erosion of civil rights, environmental destruction and economic disparity, PIXELDUST presents a visual/aural display of hope, faith and resoluteness through short autobiographical texts and visual portraits from inspirational figures in world history. Participants approach a shrine/altar that triggers a visual dust storm of pixels that rise from the bottom of the screen. While the ‘pixeldust’ swirls, an autobiographical statement is heard/displayed from an unknown person, taken from a position of hopelessness, despair or fear expressed in that person’s life. As the voice/text ends, the pixels assemble and reveal the person’s identity, easily recognizable figures who clearly overcame their weaknesses and made substantial contributions to our world. PIXELDUST is designed to be an “engine” built to accept public contributions of inspirational figures from all points of the world. It is designed to be a public display resource to console and give hope to people around the world who fight for peace and social justice.


Tuesday June 13, 2017 TBA
TBA

TBA

STRATA
The STRATA project is concerned with the limits of human senses at those edges where the boundaries dissolve. In an audiovisual film both the audio and the visuals work together – to create evocative and extreme experiences. The project explores the aesthetic properties of analog and digital transformations formed by the limitations and qualities of various forms of sensing apparatus. The result takes the form of noisy and hypnotic soundscapes. An abstract animation is directly and in real-time generated from the sound itself; audio frequencies affect the pulsation of the RGB diode. The artist plays with several parameters affecting the light (e.g., amplitude, frequency, phase, frequency modulation, and wave shape). The camera captures the pulsation of the light and generates moving colorful lines through that. In such a generative process, there is no need for any post-production technique. The STRATA film project is closely related to S T R A T I C audiovisual performance project.


Tuesday June 13, 2017 TBA
TBA

TBA

The Green Project

In recent decades, China has had a severe environmental crisis with millions of people suffering from bad air, polluted water and vegetation degradation. Instead of finding sustainable solutions, some local governments make a “big show” of decorating landscape surfaces by using “artificial colors”, such as paint, fabric, or printed imagery to physically cover the no-longer naturally colored environments. At Laoshou Hill, thousands of square meters of mountain were painted green to hide red coal mine pits. In Beijing, the sky surprisingly became blue and clear during special “showing” days like the Olympic Games to let “guests”forget the extremely high concentration of PM2.5.

 

In this work, I use the standardized/ industrial meadow green to highlight this “artificial color”. I call it “The Green Project”, a camouflage by the government that uses fantasy to maintain power structures. In this situation, the environment becomes an artificial landscape where citizens are forced to exist within it. The green is a portal to travel between the decayed reality and the fictionalization nature, it blurs the boundary between fantasy and reality, covers the truth with layers of deceit, which makes people’s trust in the government evaporate. The more layers of color, the “greyer” the truth becomes.


Speakers

Tuesday June 13, 2017 TBA
TBA

TBA

Wake Vortex

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

 

Wake Vortex employs (re)creativity with orthogonal scanning of the artworks and cultural artefacts which were themselves developed through various modes of innovative combinatorics. 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.

 

In aviation and seamanship, wake vortex is often a dangerous, unpredictable 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 and political consequences.


Speakers

Tuesday June 13, 2017 TBA
TBA

09:00

Coefficient de Digital

Il y aurait aujourd’hui, selon Norbert Hillaire convoquant Marcel Duchamp, un coefficient de digital dans chaque œuvre. Quand celui-ci s’exprime diversement selon les pratiques plurielles d’un art contemporain singulier. Et comment pourrait-il en être autrement, en ce monde du tout numérique ? A commencer par les artistes qui effectuent leurs recherches initiales au travers de moteurs aux algorithmes déterminants. Sans omettre celles et ceux qui, de l’Internet, extraient les matériaux même de leurs créations en devenir afin de les contextualiser enfin au sein de white cubes. Les objets de notre quotidien s’autonomisant, il est aussi des artistes aux cultures open sources pour les en détourner afin de nous inciter à reconsidérer nos relations au monde des machines. Considérant les prémisses d’une étrange relation de l’art aux technologies que l’on peut aujourd’hui dater de la fin des années soixante, il aura fallu une cinquantaine d’années pour qu’enfin le digital ait contaminé l’intégralité des médias artistiques. Des images ou sons aux objets comme du traitement à l’usinage. Afin, au-delà des tendances, de devenir le médium essentiel d’un art contemporain.


Speakers
avatar for Dominique Mulon

Dominique Mulon

Art critic and independent curator, Dominique Moulon studied visual art at the Fine Art School (ENSA) of Bourges and holds a Ph.D in Arts and Sciences of Art. He is a member of the Observatory of Digital Worlds in Humanities (OMNSH), of the International Association of Art Critics (AICA) and of the Opline Prize for online contemporary art. Founder of MediaArtDesign.net and MoocDigitalMedia.paris ; he also writes articles for Art Press, Digital MCD, The Seen and Neural. He is the Artistic Director of the media art fair Variation (Show Off) Paris. Dominique Moulon teaches digital media at EPSAA (Ecole Professionnelle... Read More →


Tuesday June 13, 2017 09:00 - 09:40
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

09:40

Everything Boils Down to Vibrations

Triana will describe how she uses her creative process to penetrate intangible aspects of nature, in search of a deeper understanding of how nature's traits and behaviors are linked to the very existence and development of music and poetic expression. 


Speakers

Tuesday June 13, 2017 09:40 - 10:20
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

10:20

Sounding Conflict: Aural Experiences in the Everyday

This talk will introduce methodologies and strategies associated with recent participatory sonic arts projects in the UK (Sounds of the City, Belfast),  Brazil (Som da Maré, Rio de Janeiro) and Portugal (Sou Cigano, Castelo Branco). These projects explore how sound is related to ideas of place, identity and the everyday. Participatory strategies rooted in authors such as Paulo Freire and notions of relayed creativity (Georgina Born) inform this work which aims to assert sonic arts as a vehicle for social intervention, documentation and change. These projects have identified the power of sound when in comes to contested space, territorial politics and conflict. Belfast’s sonic histories reveal both segregated and shared conditions, articulated by sound memories and stories. Rio favela’s territorial conflicts manifest themselves in sound as events such as military occupations are meant to control local discourse and politics. The sonic arts function as an environment in which to explore these tensions of identity and territory in the context of everyday life. Field recordings, interviews, sensory ethnography, sound sculptures, immersive audio are all strategies which engage participants in revealing their own sound stories which are intrinsically rooted in space. The talk will share recent work in the context of two research projects funded by the Partnership for Conflict, Crime and Security Research.


Speakers

Tuesday June 13, 2017 10:20 - 11:00
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

11:15

11:15

11:15

11:15

11:15

11:15

11:15

11:15

11:15

11:15

14:00

14:30

Digital Material
Digital Material explores fluctuant dynamics between artistic creation and digital systems by projecting a theoretical model to analyze variable methodologies implemented in creative processes. The proposed model is articulated through levels and layers of information representing abstraction barriers where the information changes and assumes particular identities. Through these strata creative thought is filtered informing the material, manipulating its information and becoming art.


14:30

Hackitectures. Reordering physical spaces, electronic flows and social bodies
The a point architectural gap between the real and the virtual from the point of view of inhabiting is a field of study within the branch of the Hackitecturas - driven by the need  of the technological subject to be a participant in the transformation of the places that he inhabits. The current emerging society, the society of information and knowledge, begins to demand changes where spaces for social reality are appropriate to its needs. From here, architecture - the science that deals with the organization and production of the space we inhabit -, has to reach a transformation in development of its concepts and goals in order to organize and produce new spatialities. In order to do that, architecture it self generates the need to begin to connect with other fields of knowledge, getting to know, imagine and create the new habitants.


14:30

TURBA Concert in 15 movements for 64 neural oscillators
TURBA is a hybrid environment of artistic speculation that combines an electromechanical robotic device and its sonification with the network structure of 64 neural oscillators and the social context of the collective behaviors. None of the actions generated by TURBA is previously arranged: no sound, no movement, no pattern is deliberately produced. Quite the opposite, these elements come alive because of its own processes in its own network structure.

Speakers

Tuesday June 13, 2017 14:30 - 14:55
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:30

Weeping Bamboo: Resonances from Within – Exploring Indigenous Memory
Weeping Bamboo: Resonances from Within is an exploration of new forms of communicating and preserving indigenous forms of oral culture. It is a locational sound art piece offering a site- specific, reactive soundscape that is experienced in public at the Plaza de Bolívar of Manizales, Colombia. The project builds on the notion of resonance, the correlated vibration of bodies, to transmit sonic, tactile, and gestural experiences. It creates a rich layering of different stages of the history of Manizales through an augmented reality experience that merges environmental sounds with a spatialized soundscape. Through a custom-made headset a spatialized audio experience is transmitted by way of the bone structure of the skull, which makes it seem as if it were coming from the space within the listener’s head. The multi-channel soundscape merges with the environmental sounds perceived through the ear. Beginning with narratives of indigenous myths in concert with today’s environment, the project offers a narrative soundscape that is correlated with the actual geography of the plaza through a GPS location-tracking unit, inertial sensors and a microphone.


14:55

Bag-Bug: Adaptive Horizontal Transfer
Integrating biological data and phenomenon in the creative process, and proposing a transversal reflection considering the sub- themes for ISEA 2017, “Bag-Bug: Adaptive Horizontal Transfer” is an invitation to reflect on the intersections between biocreation and heritage from a cross-scale perspective. Beyond media, does bioart have the capacity to preserve heritage? The ongoing project is a tribute to the Brazilian artist Helio Oiticica’s work “B50 Bólide Saco 2 'Olfático' (1967; plastic, and coffee)”, consisting of a series of apparatus designed as ‘performatic-lab-experiments’ exploring genetic information horizontal transfers due to the eventual molecular scale superficial contamina- tions/transferences. Customized sleeping bags made of plastic, coffee beans and electronics (sensors, microcontroller and displays) – and the whole body of someone from the audience gets involved in a cross-scale conversation that can potentially con- sists in a “Horizontal Gene Transfer Session (HGTS)”!

Speakers

Tuesday June 13, 2017 14:55 - 15:20
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:55

Bag-Bug: Adaptive Horizontal Transfer
Integrating biological data and phenomenon in the creative process, and proposing a transversal reflection considering the sub- themes for ISEA 2017, “Bag-Bug: Adaptive Horizontal Transfer” is an invitation to reflect on the intersections between biocreation and heritage from a cross-scale perspective. Beyond media, does bioart have the capacity to preserve heritage? The ongoing project is a tribute to the Brazilian artist Helio Oiticica’s work “B50 Bólide Saco 2 'Olfático' (1967; plastic, and coffee)”, consisting of a series of apparatus designed as ‘performatic-lab-experiments’ exploring genetic information horizontal transfers due to the eventual molecular scale superficial contamina- tions/transferences. Customized sleeping bags made of plastic, coffee beans and electronics (sensors, microcontroller and displays) – and the whole body of someone from the audience gets involved in a cross-scale conversation that can potentially con- sists in a “Horizontal Gene Transfer Session (HGTS)”!

Speakers

Tuesday June 13, 2017 14:55 - 15:20
TBA

14:55

Decomposing Landscape: Hearing the Troubled Site
Site-specific sound artworks are developed through location- based listening and recordings made at specific places with a particular cultural heritage. The compositional strategy in these works relies on artistic intervention by intricate processes of field recording and processing of recognizable environmental sounds using multi-channel spatialization techniques. The artistic trans- formation renders these sounds into a blurry area between compositional abstraction and portrayal of their site-based narrative. The question is: how much spatial information is retained and how much abstraction is deployed in these works? In this proposed paper presentation I discuss my recent multi-channel sound work: Decomposing Landscape (2015) to shed light on the specific approaches and the methodology of handling site-specific evidence in sound art production dealing with environmentally troubled heritage sites in India.


14:55

Motivation in Design Strategies for Behavior Change
Motivation is a key factor that determine behavior change. In this paper, the researchers study how people is motivated when interacting with two strategies that aim to change grocery shopping behaviors. The strategies are similar but with differences in mindfulness and nudging elements. Researchers collected qualitative data with observations and interviews from 12 user participants. Motivation categories of Fogg’s behavioral model were used in the data analysis. Findings show that the strategies can trigger pleasure, pain, fear and social acceptance. People that used the reflective strategy with mindful processes were able to better express their motivations.


14:55

Prototyping Puppets Beyond Borders
We report on an ongoing collaboration that uses puppetry as a shared cultural expression in STEAM workshop designs that inform intercultural exchange. Collaborators in Atlanta, USA and Medellín, Colombia work in tandem on the design and implementation of a puppet-building workshops. These workshops use narrative framing, craft-based prototyping, and performancebased validation to teach students basic prototyping skills. They specifically encourage them to relate to their local culture and to inform an ongoing dialogue between the two cultural spheres

Speakers
avatar for Michael Nitsche

Michael Nitsche

Associate Professor, Georgia Institute of Technology


14:55

Un-Earths: Disorientation, landscape & the industrialized map
This paper addresses the failures of the modern mapping project understood through three creative works in video and projection- mapping, discussing them in terms drawn from Bernard Stiegler's writing on industrialized memory. The three works harvest moving satellite images associated with significant geopolitical frame- works: the 49th Parallel, the Greenwich Prime Meridian, and Canada's Dominion Land Survey, exposing anomalies and opacities in imagery gathered there. One of these videos, parallel, is being screened at ISEA 2017. The paper articulates these works as amplifications of the failure of the modern project to transparently map the world. Rather, such frameworks -- in both their historical forms and their contemporary manifestations in GPS, GLONASS, the International Earth Rotation and Reference Systems, and popular tools such as Google Earth -- are rife with anomalies and errors. Counterintuitively, such failures are built into the industrialization of knowledge; as Stiegler puts it, the straight line generates the bent. This is even more the case as the mapping project be- comes a temporal archive.

Speakers

15:20

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


15:20

15:20

Data Won’t Change Your Behavior. A Critical Design Exploration of Quantified Self Technologies
Data is becoming a ubiquitous phenomenon in our culture. Technologies that collect data about us on our behalf, such as lifelogging and quantified self devices, have been presented as able to help people change behaviors. This paper presents a study exploring the meaningfulness of these devices and their use. To investigate this topic, we designed our own QS device, using a critical design approach, called Feeler. We also conducted an experiment in which five participants used the device. Feeler guides users to meditate, study, and play. When the user is engaged in these activities with the device, it collects biological data (EEG) from the user and further asks users to share their own impressions about their attention and relaxation levels. From the experiment we collected about 7.5 hours of audio data, including think-aloud and semi-structured interviews. The audio was processed by marking interesting sections for further analysis and contextualization. Our results indicate that people are trustful of QS technologies and the ability of such technologies to help them initiate behavioral changes. We also found out that the use of these technologies is targeted towards productivity and self-improvement, such as avoiding procrastination, improving focus, and avoiding social media.

Speakers
avatar for Teemu Leinonen

Teemu Leinonen

Professor, Aalto University
http://teemuleinonen.fi


Tuesday June 13, 2017 15:20 - 15:45
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

15:20

Imagined Geography, Border Futurism, Guatemex
This paper examines Guatemex (2006), an intervention at the border of Mexico and Guatemala by three Mexican artists, Rene Hayashi, Eder Castillo, and Antonio O’Connel. I discuss the project’s significance in relation to its conception as a concrete response to local needs, as it was designed to provide internet access and information to undocumented migrants crossing the interstitial space of Usumacinta River, the fluid border between Mexico and Guatemala. In this light, I also consider how Guatemex builds on, speaks to, and expand on notions about architecture, “border art”, “imagined geography”, utopian community, and “securitization”. The focus of discussion is on the project’s negotiation of these terms, and on its relevance as an intervention that suggests connecting and thinking with the margins as one of today’s most urgent projects.

Speakers

15:20

The Demise of the Frame: A Media Archaeology of Motion Prediction
Prediction theory emerged during the WWII in order to improve anti-aircraft artillery and resulted in algorithms devised to statistically predict airplanes and missile paths. Although today predic- tion is the backbone of the video compression, the historical and technical connection between this mathematical theory and contemporary imaging technologies has not been sufficiently determined. Using a media archaeological approach this paper discusses how the implementation during the 1990s of prediction algorithms to video compression has generated an entirely new type of moving images. I argue that the consequence of turning each displayed picture into a rigid grid and its construction into the statistical prediction of the pixel's values is dramatic because it renders the temporal coincidence of all pixels within the frame unnecessary. On the surface there is no change. Yet, using prediction a video codec such as H.264/AVC has turned the frame into an address where chunks of pixels coming from different moments in time are put together. At the coding level, prediction has banished the frame. The elimination of that basic unit of all moving images, not only miniaturized video but it also has had ontological consequences for the image that are not yet fully understood.


15:45

15:45

15:45

Design process for wearable technologies and urban ecology, AirQ Jacket
This paper reports the creation and research process of the AirQ jacket, a wearable device that conveys temperature and air quality data through embedded electronic devices emitting light and sound. The project is oriented to enhance environmental awareness to the local passerby, since the proximity of Manizales (Co- lombia) to an active volcano brings the topic of air contamination to the everyday life city concerns. While the research process is introduced, some topics will be discussed such as the policies and actions taken by governmental institutions in monitoring air pollution or some wearable technology projects and approaches facing similar challenges. The paper will also describe in detail the prototyping process, on the one hand, by discussing high-level topics such as the perceptualization of scientific data. On the other, by addressing low-level topics related to the assemblage and electronic components embedding, such as portability or washability. Our systematic method of design research will be presented, outlining the dilemmas we faced and solutions we followed in the four stages of the research process. 


15:45

15:45

The Sound of Decentralization – Sonifying Computational Intelligence in Sharing Economies
Pervasive technologies in socio-technical domains such as smart cities and smart grids question the values required for designing sustainable and participatory digital societies. Privacy-preservation, scalability, fairness, autonomy, and social-welfare are vital for democratic sharing economies and usually require computing systems designed to operate in a decentralized fashion. This paper examines sonification as the means for the general public to conceive decentralized systems that are too complex or non-intuitive for the mainstream thinking and general perception in society. We sonify two complex datasets that are generated by a prototyped decentralized system of computational intelligence operating with real-world data. The applied sonification methodologies are largely ad-hoc and address a series of concerns that are of both artistic and scientific merit. We create informative, effective and aesthetically meaningful soundworks as the means to probe and speculate complex, even unknown or unidentified, content. In this particular case, the sonification represents the constitutional narrative of two complex application scenarios of decentralized systems towards their equilibria.


Tuesday June 13, 2017 15:45 - 16:15
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

16:30

16:30

Monster Cyclone / Follow the Void Live

Tuesday June 13, 2017 16:30 - 16:40
TBA

16:30

ISEA International
Speakers

Tuesday June 13, 2017 16:30 - 16:50
TBA

16:30

16:30

Generative Membrane
Humans are always interacting with the environment in the direct and not- direct ways. We have affected many organisms by engineering ecosystems to suit human comfort. Invisible microorganisms play significant roles in the recycling organic and non-organic materials particularly in the decomposition of natural wastes. Microbiota is the community of microbes inhabiting our body and helps us in improving health and preventing diseases. The piece “Generative Membrane” materialize this abstract concept of human interacting with microbes. The structure created by digital bacteria generated from bio-inspired algorithm to cover the sculpture is realized by implementing sensors in the textile object, which reacts to touch, moisture, heat and triggers by means of its shape mapped projections and amalgamated sounds.

Speakers

Tuesday June 13, 2017 16:30 - 18:00
TBA

16:40

16:40

16:40

16:50

16:50

17:10

Journal for Research Cultures

Tuesday June 13, 2017 17:10 - 17:30
TBA

18:30

19:00

 
Wednesday, June 14
 

TBA

All Hands- and Simon Howden
When we wave at machines, do they also wave back? "All Hands" is a software assemblage that explores this question, arranging a human hand so that it co- emerges on screen with a machinic conspirator it must trace to activate a shifting topology of ambient sound and light. The participant sits in front of a screen showing a minimal real time environment: a fractionally shimmering curtain of light. As they raise their hands above the Leap Motion controller, a multitude of virtual hands appear on the screen, and the participant needs to use a meshwork of sensory skills ( embodied reflexes, micromovements, vision, and proprioception) to track and disentangle.


Wednesday June 14, 2017 TBA
TBA

TBA

TBA

Mirror


Mirror IV : Stranger is a two-screen installation developed to explore the nature in which trust and suspicion is confronted when empathy is being established within a context of polarisation. Mirror is conceptualised as a series of two-screen works considering polarised perspectives, drawing alternatively on assumption and objectivity; this project is designed to explore the common human characteristics that could provide a stronger empathetic bridge between strangers than their contexts, roles and attire might suggest. Portraits of individuals are constructed in a manner that they transcend or challenge place, prejudice, projection, assumption and fear of the other – while at the same time providing insight into nuanced internal negotiations and narratives.

 

At a time when the extraordinary polarisation of half a century of war, appears to be coming to a close, we propose the development of a new research-based artwork modestly considering the enormous challenges of reconciliation and forgiveness. The project Mirror IV : Stranger is a collaboration between the UK- based visual artist, David Cotterrell and Sri-Lankan screen-writer, Ruwanthie de Chickera. It is a contemplative study of the process and obstacles to the normalisation of individual interaction within a context of deep historical division.



Wednesday June 14, 2017 TBA
TBA

TBA

Solar Flare
A1- SolarFlare | B1-StillTransmitting | B2-EvenWhenI’mGone A piece in three movements inspired by the film Sunshine. The piece was made with a damaged synth, and recordings of an old family piano; The synth constantly warps like how traveling through space involves the distortion of space and time itself, and the detuned piano samples are manipulated to express more than the raw sounds can. The distorted and twisted video effects reflect and amplify these themes.

Speakers
Artists

Wednesday June 14, 2017 TBA
TBA

TBA

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

Speakers

Wednesday June 14, 2017 TBA
TBA

TBA

Video essay: “ Inner Pathways ”

The mystery of the Nazca lines and the lines called &quot;Ceques&quot; at the Bolivian Plateua, lead us to explore different conceptual and aesthetical speculations of this technology lost in time. The Quechua concept of &quot;Pacha,&quot; (Time and Space) was one of the worldviews that shaped this majestic artwork and it was created by lost civilizations before the indigenous communities that inhabit currently these areas.

 

We had the opportunity to walk throughout several of these lines at the Sajama national park in Bolivia; collecting audiovisual material meanwhile commuting with the indigenous inhabitants of the area, who told us several fantastic stories hidden in these pilgrimage routes which connect several worlds.

 

According to the inhabitants the civilization who built the lines, disappeared the day when the sun raised. These perfectly straight pathways can only be seen from satellites. Later on the lines were readapted by the Inca Empire to connect the entire South America. They were also related to their calendar; the movement of the stars; geomagnetisum and spiritual paths. They connected the mountains, springs and other sacred places where the gods lived and controlled the destiny of the inhabitants.



Wednesday June 14, 2017 TBA
TBA

TBA

Video essay: “ Inner Pathways ”

The mystery of the Nazca lines and the lines called &quot;Ceques&quot; at the Bolivian Plateua, lead us to explore different conceptual and aesthetical speculations of this technology lost in time. The Quechua concept of &quot;Pacha,&quot; (Time and Space) was one of the worldviews that shaped this majestic artwork and it was created by lost civilizations before the indigenous communities that inhabit currently these areas.

 

We had the opportunity to walk throughout several of these lines at the Sajama national park in Bolivia; collecting audiovisual material meanwhile commuting with the indigenous inhabitants of the area, who told us several fantastic stories hidden in these pilgrimage routes which connect several worlds.

 

According to the inhabitants the civilization who built the lines, disappeared the day when the sun raised. These perfectly straight pathways can only be seen from satellites. Later on the lines were readapted by the Inca Empire to connect the entire South America. They were also related to their calendar; the movement of the stars; geomagnetisum and spiritual paths. They connected the mountains, springs and other sacred places where the gods lived and controlled the destiny of the inhabitants.

Read more...



Wednesday June 14, 2017 TBA
TBA

TBA

Wake up! the fight does not only last one day

Since a couple of month the colombian state has taken a little more consciousness about the need to protect one of the most vital resources for every living creature: the water, the element that most value should have for the human being, which is only 0,4% (potable water) in the entire planet, which is, nowadays, a big part contains contamination traces, result of unconscious human actions; one of the protection measures that are being realized in Colombia I am interest in stick out one of them, located in Villamaría, in Gallinazo county, place where mining activities were intended and would directly affect the river and all the nearby water sources; these tasks were recently suspended for legal actions implemented by people of town.

 

I want to highlight all this fights that have the objective to looking for the wellness of everybody and I want to make a call of attention with the proposal to continue supporting this goals that make this world a better one, we want to join more people to fight with us, and partner this world with the nature enjoying all that it does for us.



Wednesday June 14, 2017 TBA
TBA

TBA

Finding Prana
Finding Prana is a bio-art work that employs the yogic concept of prana (breath or life-force) and the practice of pranayama (regulation of breath) to bring awareness to our co-existence in air and breathing as our technology of being. Yoga practitioners make extraordinary claims concerning the value of the conscious observation and control of breath. Breathing here, is not just a gross bodily function segregated away from the mind and soul; breathing is our material of time and the producer of consciousness. In collaboration with Dr Philippa Jackson at Northumbria University’s Brain, Performance, and Nutrition Research Centre (BPNRC) this interdisciplinary bio-art work employs the neuroimaging technology fNIRS (Near Infrared Spectroscopy) to take real-time brain-state data during a live pranayama performance. fNIRS is recording the changing levels of oxygenated and deoxygenated hemoglobin levels in each hemisphere of the brain. The data is sonified, turned to vibrations in air, in real-time, creating a re-appropriated system for sound creation controlled by the practitioners moving and suspended breath. This bio-art performance acts to elicit an Irigarian remembering of our most essential element in the search for consciousness, unity and peace that is thought to be found in the practices and imaginaire of prana.

Speakers

Wednesday June 14, 2017 TBA
TBA

09:00

Proyectos de investigación con relevancia práctica: Arte & Tecnología

Los procesos y prácticas creativas son cada vez más reconocidos como investigación, ya sea por su metodología, por su proceso, o por su fuerza para aportar ideas y soluciones a la sociedad en gran escala.

El artista, tecnólogo e investigador, Klaus Fruchtnis, enfoca su práctica en fomentar innovación y creatividad a través de la educación, y estudia las maneras en las que tecnologías digitales pueden ser usadas en los procesos creativos. Con el advenimiento de las tecnologías digitales un cambio significativo en la educación es necesario; así como el estudio de nuevos géneros de expresión artística, y nuevas formas de transmisión de información y de conocimiento.

 

Hoy en día, la noción de creatividad ha evolucionado considerablemente. La visión cognitiva creativa de la creatividad proporciona una base sólida para analizar el proceso de diseño conceptual porque usan mecanismos cognitivos básicos para explicar cómo los individuos crean. El proceso creativo desempeña un papel importante dentro de la práctica creativa, ya que permite y potencia la exploración de ideas para mejorar y evolucionar la creatividad, expande el conocimiento, refina habilidades y destrezas técnicas. Estas tecnologías están inextricablemente ligadas a nuevas formas de educación, tecnologías digitales y conjuntos de habilidades transdisciplinarias. Como consecuencia, la investigación en el sector creativo con relación a las nuevas tecnologías presenta desafíos en dos áreas (1) la creatividad en entornos tradicionales, y (2) la innovación en nuevos entornos de aprendizaje para la actividad creativa y la colaboración peer-to-peer.

A través de casos prácticos el artista hablará de proyectos de investigación con relevancia práctica como una experiencia colaborativa para resolver problemas, improvisar y experimentar nuevas formas de pensar y aprender. Los procesos que el artista ha desarrollado son de cohesión, interacción social y participación cívica, como también aportan en proyectos culturales que incluyen la memoria colectiva de comunidades con el fin de valorar y entender mejor su patrimonio e identidad.

Klaus también hablará del programa académico que dirige en la Paris College of At, que tiene como objetivo reunir pensadores creativos para que desarrollen ideas, creen conexiones, colaboren y comuniquen, a través de las diferentes áreas como investigación y creación.


Speakers
KF

Klaus Fruchtnis

Klaus Fruchtnis (1978) es artista, tecnólogo y docente Colombo-Francés. Es licenciado en Bellas Artes del École Nationale Supérieure des Beaux Arts, Máster en Diseño, Arte y Tecnología de La Sorbona y formó parte del grupo de investigadores del programa EnsadLad en el Éc... Read More →


Wednesday June 14, 2017 09:00 - 09:40
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

09:40

From Wetware Art to Greenness Studies

After the disentanglement of the terms ‘life’ and ‘nature’ – both terms putatively non-technological – the concepts ‘green’ and ‘nature’ need to be uncoupled as well. Investigations into biomediality have shown that contemporary art forms which employ biotechnologies as a point of departure, emphasize – paradoxically – both their ‘aliveness’ and authenticity on the one hand, and their explicit technicity and artificiality on the other. We encounter a similar problem with the culturally pervasive greenness trope: Aliveness and greenness are linked through ‘biofacticity’, the idea of biological artifacts that at the same time grow and indeed are technically constructed from the beginning.

In this media archaeological talk, ‘green’, symbolically associated with the ‘natural’ and employed to hyper-compensate for what humans feel they have lost, will be addressed as the most anthropocentric of all colours, in its inherent ambiguity between alleged naturalness and artificiality. As ‘green’ has become a pervasive trope across a broad range of disciplines, and its meanings have migrated across different cultures of knowledge, inherent contradictions have emerged. Far from having universal meaning, ‘green’ marks a dramatic knowledge gap prone to systematic misunderstandings: Engineers brand ‘green technologies’ as ecologically benign, while climate researchers point to the ‘greening of the earth’ itself as the alarming effect of anthropogenic CO2 emissions. ‘Green growth’ aims to reconcile economic and ecologically sustainable development, while in philosophy ‘prismatic ecology’ rebukes the use of green to represent binary ideas of the other-than-human world as an idealized nature. More concept than colour, ‘green’ is frequently being reduced to a mere metaphor stripped of its material, epistemological and historical referents.

There has been little reflection upon – and much abuse of – ‘green’ in its migration across different knowledge cultures. The resultant confusion increasingly obstructs, rather than enables, an interdisciplinary dialogue between the humanities and the natural sciences – a dialogue which is urgently required in light of anthropogenic effects on climate and biodiversity: Researchers, policymakers and citizens lack a common terminology to address real world problems, meanwhile green-washing greenhouse effects away. This interdisciplinary paper presents a novel art, media studies, science and technology studies, and natural sciences based approach to reinvestigate the unique role of greenness in human self-understanding as colour, percept, medium, material biological agency, semantic construct and ideology.


Speakers

Wednesday June 14, 2017 09:40 - 10:20
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

10:20

11:15

Design for the Non-Human
Speakers
avatar for Jordan Matthew Yerman

Jordan Matthew Yerman

Writer/Photographer/Artist, The Street Cat Project
I document cities through the lived experiences of their inhabitants, be they human or otherwise. I impose interventions upon his images to explore how those inhabitants—and those who view them—embody the changes in their built environments. My work mostly focuses on animal-m... Read More →


Wednesday June 14, 2017 11:15 - 12:45
Sala Olimpia - CCC Teatro Los Fundadores Carrera 22 con calle 33

11:15

11:15

11:15

11:15

14:30

14:30

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

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

 


Speakers

Wednesday June 14, 2017 14:30 - 14:55
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:30

Politics of HCI and the User-Programmer Continum
In this paper, we propose characterising Human-Computer Interaction (HCI) as a negotiation between a specific design and its context of use. We then argue that HCI design is a political activity, and that the classification between users and programmers it commonly uses reflects a political stance, deeply rooted in its socio-political context. Finally, we propose that HCI can take inspiration from new media art’s subversive appropriation of technological knowledge.

Speakers

Wednesday June 14, 2017 14:30 - 14:55
Auditorio Danilo Cruz- Edificio Orlando Sierra - Campus Central - Universidad de Caldas Calle 65 # 26 -10

14:30

Production Processes of Mexican Digital Artists
My hypothesis is that the observation of processes, products and context of Mexican digital artists’ activity reveals common patterns that define Mexican Digital Art as a distinct artistic area. Through a qualitative research which included semi-structured interviews applied to eight artists, I was able to gather and ana- lyse data that confirmed my hypothesis. No other virtual or physical documents address this issue with the perspective shown in my research. The interviewed eight artists use different expressive materials and media, like sound, robotics, free software programming, laser and obsolete technologies, and internet. Notwithstanding their formal differences, they share several common aspects like interdisciplinary approach and poor funding. The robotics project, for example, uses bioremediation, water supply and decontamination technologies. All of them, with one exception, started their artistic activity with no funds and operated in precarious conditions.


14:30

The Sagamine Satoyama Plan
The Sagamine Satoyama Plan is an initiative underway in the Sagamine district of Nagakute City in Aichi Prefecture, Japan. This is a comprehensive undertaking, aiming at the preservation of the agriculture rooted in the natural environment of the area, the creation of a distinctive local culture and enhanced human interaction between local residents. The initiative is carried out on the understanding that the locality’s natural environment and agriculture form a single ecosystem, along with such elements as local festivals, the internet, and renewable energies.

Speakers

14:55

Creation of meaning in processor-based artefacts
Processor-based artefacts are often created following conventions inherited from analogue media forms, allowing the development of experiences that, in spite of the new platforms, are not fundamentally different from those that were already possible in the previous contexts. But contemporary media and arts often use processor-based artefacts focusing on conceptual and mechanical principles that do not attempt to simulate earlier forms but rather explore their computational nature. These systems bring about new modes of reading and new challenges, to both readers and artists or designers. In order to optimize the usage of processor- based media, creators need to understand how these artefacts are interpreted and how readers develop processes of creation of meaning in procedural contexts. This will allow authors to ground their practices on procedurality rather than only on surface con- tents, and to make a constructive use of contingent behaviour, learning, adaptation, selection, and other traits of these systems, not being limited to the emulation of well-established media forms. This paper outlines some of these challenges and proposes designing for the meaningful interpretation of computational artefacts. 


Wednesday June 14, 2017 14:55 - 15:20
Auditorio Danilo Cruz- Edificio Orlando Sierra - Campus Central - Universidad de Caldas Calle 65 # 26 -10

14:55

Does Ritual Disappear as Walter Benjamin describes in “The Work of Art in the Age of Mechanical Reproduction" in the Age of Digital Technology?
This article refutes Walter Benjamin’s opinion about the disappearance of aura and ritual in ‘The Work of Art in the Age of Mechanical Reproduction’. According to this essay, rituals disappear through a method of mass reproduction— a film. I argue one of the mass reproductions, the film, actually creates a new aura and new ritual unlike Benjamin’s opinion. In the digital technology era, numerous replicas influence the fact that the massive re- production leads to create a new ritual phenomena as well. This phenomena appears as a piece of creative writing, a piece of fan- fiction in the cyber space. Firstly, we are going to look at a new ritual which is created by a character in the television series, Star Trek. Then, we will examine a new ritual phenomenon which is generated by a fan-fiction, in the late 1990s Korean pop culture, in the age of digital technology.

Speakers

14:55

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

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

 

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


Speakers

Wednesday June 14, 2017 14:55 - 15:20
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:55

Open Estudio: mapping intercultural dialogues through art and technology

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

 

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

 

We will also evaluate the course in order to provide improvements for the upcoming 2017 course. The academic exchange reflects on the topic of cartography in the digital era, introducing the concept of the journey as the starting point for reflection and artistic creation. Our methodology encourages cooperative work between students and professors, establishing a dialogical relationship without the traditional teaching hierarchies. The participants of the experience (students and professors of Purdue University and U.de A.) create a bridge for an interdisciplinary, geographic and cultural exchange. The social and cultural projection of this pedagogical research experie



14:55

Place-making With Telepresence: A Navigation Guide to A Journey into Time Immemorial’s Seven Exhibition Spaces
A Journey into Time Immemorial is an interactive website that historically represents the everyday way of life of Stó:lō-Coast Salish peoples in a computer-generated naturalistic setting. This paper closely examines aspects of its seven exhibition spaces to investigate the relationship between the poetics of new media and contemporary curatorial practices in Indigenous culture. By doing so, it seeks to showcase an award-winning example of how an Indigenous community made use of digital technologies and online platforms to reclaim the right to curate, design, and display its own living history, to extend placemaking into cyberspace, and to establish a direct relationship with the general public.

Speakers

15:20

21st Century Brazilian Computer (Experimental) Art
This paper refers to the development of (Experimental) Computer Art in Brazil, during the period 2004-16, from a frame view of artists researchers involved with the commitment of producing Computer Art exhibits, mainly the annual series of exhibitions EmMeio – Art and Technology. These exhibitions address the organization and strengthening of different Computer Art groups around the country. We highlight the role of the Art Institute at University of Brasilia, pioneer in this research area, promoting spaces for discussions, courses, theoretical- practical methodologies and exhibitions. The art modalities shown use innovative devices, concepts, modes of manufacturing, organizing data and information deeply inter-mediated by computational technologies while integrated with Computer Science, Robotics, Neuroscience, Ecology, Mathematics and Physics, among others. It was possible to observe during this period how the diffusion of sensor technology, physical computing, 3D print and neuroart became more intensive on the artworks pointing out to an increasing and more pervasive use of computer technology in Art.


15:20

15:20

Mechanisms of Listening and Spatial Mental Imagery
Listening requires attention, engagement toward an environment, and relies on subjectivity and (self) consciousness. The paper explores mechanisms of listening in the sonic arts through an on- going research based on art process informed by cognitive science. The project focuses in particular on the American composer Pauline Oliveros’ concept of deep listening (Oliveros 2005). She proposes an expansion to all what is humanly possible to listen to. It leads to the phenomenal world that lies inside the auditory cortex about one’s personal space perception. To engage toward an environment as a sonic architecture and as a perceived atmos- phere, necessarily involves the body. Sound and space are linked to vibration, and resonating energy within the body may result in mental imagery of space. The vibrational aspect of sound through experience provides new ways for spatial perception, as well as new paths in novel philosophy of sound and auditory perception. That is, the paper investigates fields of possibility of sonic meaning and experience in mind in relation to the world. Collaboration with cognitive science includes the investigation of body perception in relation to a spatial ecology.

Artists

Wednesday June 14, 2017 15:20 - 15:45
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

15:20

On the Cohesion of an Electronic Device Ensemble

The use of DIY methods in the guidance of students in their own formation process are just as important as any research process now days, the access to open information and technology are growing at a fast rate and with a bit of a tinkering mind the periods of time it may take to build your own embedded acoustic instrument(Berdahl, 2014) is widely lessened with the technology available such as 3D printers or raspberry pi’s. Contemporary practices like network music become also more accessible thanks to the advance of the possible communication protocols and device robustness; in less than 40 years if we count from those experiments with low level assembler for hacking a chip and serial protocol for its communication(Gresham-Lancaster, 1998) to interfacing a couple of raspberry pi’s through OSC protocol.

 

This paper summarizes the process of cohesion of an electronic device ensemble where students and researchers live new expression practices throughout the use and misuse of technology, enhancing music interpretation and ensemble robustness through the practice of network music. 



15:20

Representing peace in Colombia through interactive and transmedia non-fiction narrative

Over the years the emergence of interactive digital communication has added new narrative structures to the audiovisual media ecosystem. Dividing this ecosystem into fictional and non- fictional narratives, the evolution of the representation of reality has led to a new area called "interactive non-fiction". Colombia is an interesting example of the use of this new area for two main reasons: it is one of the South American countries that has invested most in the development of digital projects in recent years, and it is now in a historical moment in which it is deciding which direction peace could take. This article would like to promote debate and discussion on how producers and audience could benefit from the non-fiction interactive formats and genres to promote peace in Colombia in the forthcoming years. To explore the potential of certain narratives combining with interactive media and the peace process, we will focus on four main forms of non- fiction according to their importance and presence in the current media ecology: documentary, journalism, educational formats and museology.

 


Speakers
avatar for Arnau Gifreu-Castells

Arnau Gifreu-Castells

Open Documentary Lab - MIT


15:45

Designing for Bottom-Up Adaptation to Extreme Heat
In the wake of global climate change, our world is projected to heat up and experience more extreme heat waves over the next few decades. Phoenix, Arizona, where this research was conducted, is one of the hottest locations on the planet and presents a testbed for understanding and addressing heat-related challenges. This paper focuses on adaptation as a design strategy that compliments existing approaches to mitigate human impact on the environment. We report on findings from a summer-long diary study that reveals how extreme heat impacts human lives, how participants cope with extreme heat. These findings motivated our critical making work themed around adaption, focusing on artifacts for visualizing, coping with, and utilizing extreme heat. In constructing these artifacts, we critically reflect on both the benefits and drawbacks of designing for adaptation and suggest hybrid approaches that mitigate human impact on and help people adapt to climate change.


15:45

Journalism visualization devices: six visual modes of seeing
The growing number of visualization devices in the online journalism world draws attention to the mechanisms both technical and symbolic that build the relation between the producer and the user in the interaction with the device. This relation has been studied in different approaches and empirical research; some of them related to the visual studies field. This paper aims to contribute to the study of the visual aspects of this relation through the analysis of the implicit representation of the user that the producer depicts into the device. This symbolic approach tends to find the guidance operation for interaction as a prescriptive model of information consumption focused in the visual representation. This paper propose six-visual modes for this guidance operation as the established models in the current online journalism: (1) visualization of events, (2) visualization of hidden issues, (3) visualization of spaces, (4) visualization of narratives, (5) visualization of the subject involved with data and (6) visualization of convergences. These six modes are defined and their characteristics explicated

Speakers

15:45

Preservation of electronic and digital art in the context of expographic spaces and museums: an information management perspective
This article aims to elucidate two fields of interest on the aspect of information management by museology and other actors of 'art systems'. The first field refers to the issue of the preservation of 'digital' information focused on the perspectives and dilemmas in digital arts. The second one seeks to discuss memory issues through the access of information present in the context of management, curatorship and mediation, mainly in the context of digital arts and inserted in the perspectives raised by the article, regarding information capacity to perform and allow such processes, access and memory.

Speakers

15:45

Prolegomena for a Transdisciplinary Investigation Into the Materialities and Aesthetics of Soft Systems
This paper presents exploratory research on the materiality, aesthetics and ecological potential of soft robots. Within the still emergent paradigm of soft robotics research, bio-inspiration is often hailed as being of central importance. The paper argues that soft robotics should equally be seen as giving prominence to materiality and the enactive and processual potential of soft matter. The paper excavates different notions of materiality within media art that uses soft robots and in technical soft robotics re- search practices and discourses. Against this background, the author’s own practice-based experiments with soft robots are presented. 

Speakers

Wednesday June 14, 2017 15:45 - 16:15
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

15:45

16:00

Flores sonicas, un viaje a la intimidad del sonido by the Aquatrio ensemble

Aquatrio presents a sound installation performance made of small sonic scuptural modules spread around in a garden and resonating multicultural diversities of both Finland and Manizlaes region. The detailed nuances of the sonic experience will take the audience into a subtle and intimate listening adventure. Visitors can feel how divergent sonic ecosystems organise themselves as a supportive and colourful whole and how listening is a key to creating this whole.  

 The Aquatrio is an electroacoustic ensemble from Finland with members of cultural origins from Colombia, Mexico and France. Aquatrio has realised projects and concerts in Turku, Helsinki, Venice, Ljubljana, Weimar, Mexico City, Morelia, Cuernavaca, and Oaxaca. It has integrated in its works sonic elements and observations from each of these places.

 


Wednesday June 14, 2017 16:00 - 18:00
Recinto del pensamiento Kilometro 11 Vía al Magdalena

16:30

16:30

“Rapchiy” - Enquiry Into Brain Readers´ Hidden Designs

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.


Speakers

Wednesday June 14, 2017 16:30 - 18:30
C202 - Campus Central, Universidad de Caldas - Calle 65 # 26 - 10

19:00

Zen-Borg

Zen-borg is an audio-visual, biofeedback piece. The idea consists in creating a musical experience that is directly influenced by the performer's vital signs. By wearing brainwaves and heartbeat detectors, the data coming from these devices is sent to different parameters inside the music system. This creates a cyclical interaction between the performer, the sound, and the environment which then re-influences the performer and affects the outcome once again. The intention of this is to explore the implementation of a tool that was developed for medical purposes in a creative application. It also constitutes a personal exploration about how to embrace your limitations and take advantage of them. Heart surgery at birth set up the base for a lifetime interaction with biofeedback devices. By taking a personal element that defined me, and merging it with a lifetime process of becoming an artist, I implement the biofeedback paradigm. The piece is intended to be performed in a meditative state. Meditation is the practice of self-awareness and has effects in how we engage with our daily situations. Depending the state of mind and the heart rate, the piece will go from a quiet and consonant state to a noisy and chaotic one.

 


Artists

Wednesday June 14, 2017 19:00 - 19:20
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

19:20

_nybble_

_nybble_ is an audiovisual, formal and spatial performance which aesthetics fluctuates between « digital minimalism and organicity ». Two poles of a same continuum. The formal fluctuation is made by a generative visual where various forces impose, to a particle system, both natural movements and more or less complex geometric movements. The modular synthesizer replaces the musician in the heart of the proposal and brings the musical fluctuation desired by the project. The stage design allows the audiovisual medium to deploy in space via a specific structure composed with 4 transparent screens and 4 points of sound diffusion. It offers to the public a quadriphonic and quadriscopic image for a total synaesthetic experience.

_nybble_ is coproduced by Arcadi (Paris, FR), Stereolux (Nantes, FR), Alex Augier Studio (Paris, FR) and supported by La muse en circuit (Alfortville, FR)


Artists

Wednesday June 14, 2017 19:20 - 19:50
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

19:50

20:50

On XCurrencies. A performance project

The aim of our research is to develop artworks that are informationally ‘grown’ for the art-market to become part of an ecological economics.

In our performance/installation 'Hare’s Blood +' we designed a gene to allow the audience to speculate on artworks that incorporate animal relics in the light of a counter-economy as envisioned by Joseph Beuys. We opened one of the multiples in which Beuys had shrink- wrapped hare’s blood. We then isolated the catalase gene from the blood which protects against aging and spliced it into living yeast cells. We then programmed an interface able to activate the synthetic gene. The transgenic Beuysian creature was then put up for auction to act as an ‘eco-political agent,’ whose life would now be governed by the commercial interests of the auction attendees.

 

We currently assign economic systems to cellular processes with expanded xDNA alphabet. We use systems biology to program logic operations interfacing between the living artwork and the art consumers. Artworks thus become inalienable objects between artists and consumers who both are in a state of reciprocal dependence that establishes a qualitative relationship between the three transactors.



Wednesday June 14, 2017 20:50 - 21:15
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33
 
Thursday, June 15
 

TBA

International show of feminist cinema, Fem Tour Truck.
The festival features a selection of audiovisual works, dealing with the problem of gender inequality. It is about creating a space for discussion in favor of human rights, in which gender equality is contemplated. The festival was born in Spain with the cultural platform guerrilla food sound system, who promotes art, culture and food rights. An international jury has selected 40 films with a total duration of three hours, in them there are short films, documentaries and experimental video. The aim of this exhibition is to demonstrate a new concept of empowered women, all jobs share the spirit of struggle and many of them also do it from the humor, because we see no need, about showing more drama. This show has been travelling around spain and portugal by truck, the symbol of male led by a woman. In this second stage, the proposal no longer have truck, but has two legs.

Speakers

Thursday June 15, 2017 TBA
TBA

TBA

Muted Arms, Touched Nature (Armas Mudas, Naturaleza Tocada)
Muted Arms, Touched Nature is a video art piece that builds on the media memories of the Colombian armed conflict that are produced in the battlefield and are archived on the YouTube platform. Remixing short segments from non- professional digital videos recorded by soldiers at the frontlines, this piece offers a reflection on how the natural landscape has been witnessed from the fighters’ point of view. By exalting the visual imagery of Colombian biodiversity that has been captured in these audiovisual records of war, I intend to reflect on the persistence of nature. Despite being disrupted, outraged, and touched by the armed conflict, the natural landscape of Colombia persists. A lyrical soundtrack (a public domain record of Bach's Air Suite in No.3 in D major) accompanies the slow motion of the visuals and provides a sentimental tone to the piece.


Thursday June 15, 2017 TBA
TBA

TBA

Parqués y Territorio
Displacement is a natural phenomenon derived from the activity of living things and natural elements such as water, light, sound or wind To be able to give this it is necessary that there is a territory where a set of elements and factors, coalition producing a certain force and, this in turn translates in to a movement, this movement we can also call displacement.


Thursday June 15, 2017 TBA
TBA

TBA

ProteSonics
During the days of the uprising and protests in Cairo’s Tahrir Square in 2011, I intercepted tweets that contained the word “Egypt”, utilising the twitter API. The words in the tweets were converted to sound using an undocumented feature of Google’s translation service. The result is an audio-visual work where the words form a constellation and the audio slowly builds over time to create a soundscape resembling a room full of people chattering.

Speakers

Thursday June 15, 2017 TBA
TBA

TBA

SYNTHCITY
SYNTHCITY is a generative audiovisual installation which constantly creates unrealistic versions of a city by algorithmically blending its real landscapes, objects, sounds and people. In doing so, this work aims to highlight our acculturation to modern means of industrialization, and its often-ignored impact on social and civic systems. In Soundscape theory, lo-fi acoustic environments are those that exhibit an overpopulation of sonic elements. A lo-fi soundscape is often the mark of an industrialized urban environment; the acoustic affordances of such an environment are deemed disproportionate to human physiology, and can be amplified to hazardous levels. SYNTHCITY explores the relationship between hi-fi and and lo-fi acoustic environments from a multimodal perspective: as it computationally blends organic and inorganic sound-producing objects, and resonant spaces of a city, it does so in both the auditory and the visual domains. The result is an uncanny mixture of mundane objects that are out of proportion and out of place. By contrasting the thresholds of audiovisual stimulation in various parts of a city, it realigns the viewer’s perspective on what tends to be regarded as natural or comfortable in everyday environments.

Speakers

Thursday June 15, 2017 TBA
TBA

TBA

TEMAS
TEMAS (tr. contact, touch) is a stochastic audiovisual performance. The software underlying the performance integrates the artist into a generative system as a module of analysis. The software interface affords control over probability distributions instead of immediate parameters. Sound acts as a seed; the artist listens, and in return, performs probabilities. All sounds and images are generated in real time. The graphics, which react to sounds, guide the viewers through the diegetic layers of the performance; the unfolding visual narrative highlights the contrasts between the alternating tools of the performance (i.e. a laptop and a modular synthesizer). The software design of Temas draws inspiration from Karlheinz Stockhausen’s Kontakte, Morton Subotnick’s Touch, and Curtis Roads’ Touche pas. Temas, which generates purely abstract sounds and imagery, stochastically traverses the fine line between the organic and the synthesized, forming contacts with representationality.

Speakers

Thursday June 15, 2017 TBA
TBA

TBA

The Chthulu and The Final Girl
The Chthulu and The Final Girl is an animation about gender and power in horror films. The piece troubles the genres’ normalization of hierarchies of physical and psychological dominance. Rebellion against normative morality, particularly by women, is violently punished in horror, yet it is the final girl who emerges alive and strong at the end. Alongside the cinematic, Donna Haraway's writing also influenced the animation, particularly Haraway’s détournement of the cyborg and the cthulhu. Concerned that the name Anthropocene is ineffective, Haraway prefers the term Capitalocene, which commences with early global markets and trade routed. And as a more expansive and livable term, she posits the Chthulucene. With the later she is overturning, or defiantly misusing, Lovecraft's racists and misogynistic cthulhu to theorize a giant and powerful feminist science and science fiction to re-think, re-tell, re-world our possible future.

Speakers

Thursday June 15, 2017 TBA
TBA

TBA

What Lies Beneath the Stars
August 2016. While attempting to photograph the timeless sight of Milky Way on a calm seashore, planes zips across the sky, lights of the cars travels between bays in distance, and ships cross the horizon. The life of a touristic town is in its height. Further deep, invisible to eye and the camera, echoes a war that ricochets all the way to these shores of Aegean and Mediterranean seas where every day refugees take the next steps of their journeys, risking their lives for a hope of a safer home. “What Lies Beneath the Stars” is, more than anything, about the irony of an artist’s search for beauty and wonder, in a geography of uneasy contrasts.

Speakers

Thursday June 15, 2017 TBA
TBA

09:00

09:40

Keynote Alain Ruche
Speakers
AR

Alain Ruche

lain Ruche is dedicated to the thinking and formulation of out-of-the-box policies in the field of international relations. He is a member of the Royal Society of Arts of the United Kingdom (RSA) and associate member of Club of Rome. | | Alain is a member of the Global Kosmos A... Read More →


Thursday June 15, 2017 09:40 - 10:20
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

10:20

On Space Curves as a Substrate for Audiovisual Composition

In this talk, I present the use of space curves as a fundamental construct for audiovisual composition. Curves provide an attractive starting point for audiovisual synthesis as they provide a natural translation between sound and graphics. Systems for producing curves for art, design, and scientific inquiry date back to at least the 18th century and we see similar constructs persisting across mechanical, electronic, and digital technologies. Digital technologies break with the past by allowing precise, interactive control of these curves that allows a much tighter perceptual-computational feedback loop. Contemporary uses of space curves will be presented through my own audiovisual compositions and collaborative projects including the recent "Mutator VR" virtual reality experience that dips the user into a multitude of procedurally-generated sci-fi alien worlds.


Speakers

Thursday June 15, 2017 10:20 - 11:00
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

11:15

14:30

Extending/Appending The Perceptual Apparatus: A History of Wearable Technology in Art
Our understanding of how we perceive the world, and our ability to manipulate it, has become increasingly mediated by technology. As this technology progresses, the possibilities for a closer coupling between technology and our sensing faculties is possible, blurring the line between body and technology. This paper explores the history of the relationship between wearable technology and our perceptual apparatus. It spans from the invention of the lens through to the current exploration of embedded technology, which allows for the manipulation of the perceptual apparatus itself. This paper discusses the various ways in which the relationship between our perceptual apparatus and forms of wearable technology has been developed and explored in the arts. It then uses this framework to speculate on new works, and describes two new works by the author: Your Hearing Them, and Your Localisation Exposed


14:30

14:30

14:30

Fostering care and peaceful multispecies coexistence with agential provotypes
Human societies are deeply entangled with biotic and abiotic entities that constitute and sustain our life-world, consequently to address peaceful coexistence within and between human societies, necessitates addressing a much broader issue: peaceful multispecies coexistence and the end of environmental violence. Key to this is a change of the present dominant neoliberalist ontology, which is wreaking havoc on the planet, socially and ecologically. This paper introduces agential provotyping as a catalyst to prompt a dialectic process of re ection of the assumptions and beliefs, which constitute the foundation of our present exploitative and human-centered value system. Agential provotypes are tools of subversive design practice, which are readily accessible design artifacts aimed at a broad heterogeneous public that reveal the taken-for-granted elements of the human life-world through playful interaction and aesthetic experience. The paper starts by explicating the relationship with provotyping as emerging from systems design and posi- tions agential provotypes in relation to critical design. It thereafter demonstrates agential prototyping on the basis of an interactive installation consisting of digital artifacts and plants; nally it dis- cusses the impact of the agential provotype on interactants’ beliefs and assumptions and their development of empathy towards other lifeforms in their environment.

Speakers

14:30

Visualising the Meditating Mind: the Aesthetics of Brainwave Data
Meditation is an ancient Eastern practice, which is receiving renewed popularity as a secular approach to health and well-being. Recent advances in commercial EEG sensor technology provide opportunities for visualising biological brainwave data by artists and designers, outside the fields of neuroscience and psychiatry. We chart the creative development of an aesthetic visualisation, Narcissus Brainwave that aims to provide insight into the shifting states of mind during the practice of meditation, informed by a series of user studies with meditators and non-meditators. Interestingly, assumptions we made from the interpretation of brain- wave sensor data about when a meditative state was achieved did not always resonate with how meditators understood the quality of their inner meditation experience. This may be due in part to the limitations of a single electrode EEG device. Issues also arose related to personal preferences and cultural conventions for interpreting the meaning of the Buddhist-inspired visual symbols representing our model of meditation. Our study has revealed some of the challenges of visualising the meditating mind and creating meaningful aesthetic visualisations with commercial devices.


Thursday June 15, 2017 14:30 - 14:55
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:55

Avoid Setup: Insights and Implications of Generative Cinema
Generative artists have started to engage the poetic and expressive potentials of film playfully and efficiently, with explicit or implicit critique of cinema in a broader cultural context. This paper looks at the incentives, insights and implications of generative cinema by discussing the successful and thought-provoking art projects that exemplify the complex connections between the creativity in cinematography and the procedural fluency which is essential in generative art. It states that the algorithmic essence of generative cin- ema significantly expands the creative realm for the artists working with film, but also incites critical assessment of the business-oriented algorithmic strategies in contemporary film industry. These strategies of commercial film seem logical but they are creatively counter-effective and generative cinema is becoming the supreme art of the moving image in the early 21st century.

Speakers

14:55

Interactive Art Based on Musical Genealogy: Nam June Paik’s Random Access
Random Access (1963) is one of the earliest interactive art pieces, which incorporates an electronic interface in art. Compared to Paik’s fame in video art, his originality in interactive art was hardly examined in the history of new media art. This paper explores Random Access as a pioneering project in interactive art. Paik was ed- ucated in West Germany from 1956 to 1963. Based on his aca- demia in the center of music, Paik published several music articles for Korean and Japanese readers as a foreign correspondent. According to his articles about progressive music in Europe, Paik was inspired by Karlheinz Stockhausen, Pierre Schaeffer and John Cage when he started to create his own interactive project. His specific articles about these experimental composers reveal that Ran- dom Access shows a long-time development of a diligent academic artist. As a history of interactive art, this study traces Paik’s unprecedented creation, which made a significant transition from music to interactive art.

Speakers

14:55

Preservation of material and inmaterial heritage through interactive and collaborative artistic interventions
The present article elaborates on the preservation of material and immaterial heritage through the production of community-based artistic propositions in Media Art in order to activate the discursive and enunciative potential of blighted urban neighbourhoods rendered invisible. We consider the media art project Rede_em_Rede 2015/2016 (Network_in_Network 2015/2016) based on the concepts of the territory in Gilles Deleuze and Felix Guattari and the actor network theory developed by Bruno Latour. This project builds upon and continues the work of previous community media art interventions, Aircity:arte#ocupSM 2012 and Aircity:arte#oc- upSM 2013. The three projects were developed in the Vila Belga cultural and historical heritage neighbourhood of Santa Maria/RS, Brazil.


14:55

Reimaging Coral Reefs: Remodelling Biological Data in the Design Process
Coral Reefs are filled with infinite and unique forms, variations of shape, and complex phenomena and processes. These forms and processes have inspired both scientists to document, archive and collate, and designers to reimagine these intricate ecosystems in their creative design work. In this paper, we explore how designers integrate scientific data from coral reefs, by examining two projects. Firstly, we discuss Reefs on the Edge, an interactive installation using scientific data from a marine biologist to visualize the effects of ocean warming on corals reef ecosystems. Secondly, we discuss Coral Colonies, an installation that adapts mathematical codes of coral geometries to create biomimetic coral prototypes. We conclude how design and science use visual data taken from biological processes to help raise awareness and promote biodiversity, sustainability and the survival of the Great Barrier Reef (GBR).


Thursday June 15, 2017 14:55 - 15:20
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:55

Urban Mesh: Exploring Data, Biological Processes and Immersion in the Salmon People
Information systems are continually recontextualizing data, migration patterns, biological components and processes, between life and code. As Geographer Eugene Thacker states, these systems can be scientific, or many things, with lasting effects that are cultural, social, and political. As these systems evolve and grow, so to do the artworks created in the afterglow, becoming vital reflections of our contemporary algorithmically soaked culture. This paper examines these ideas alongside the Salmon People, a video and sound installation thematically concerned with the shared dark ecologies of nonhuman and human animals. The large format projections present a triptych of migrating sockeye salmon across urban landscapes. The prolific artwork purposefully utilizes scale, and multi layered visual fields, to push audiences to consider our shared ecologies. Like information flowing through high tech super highways, sockeye salmon deftly negotiate seen and unseen geographies, technologies, politics, and cultures. In order to understand the artworks content, sequences and layout, as well as the logic of the shot selections, we conducted a close reading analysis of the installation. We suggest that the work is generative and claim that the projections are made up of 9 videos playing concurrently in 3 large vertical panels. This paper examines these ideas, asking the questions: What role does the screen play in the design of this artwork? What are the types of audience immersion and interaction? Finally, we address the work on three levels: the structural, the narrative, and the immersive. The structural level identifies the key frames, and any overlapping frames. The narrative level investigates the 3 vertical panels in relation to story parameters such as plot and storyworld. The immersive level considers how the audience oscillates between a heightened state of immediacy and hypermediation. 


15:20

Artistic Brain: A Complex Nonlinear System as Advanced Neuroesthetic Research

This paper explores brain systems that neuroesthetics and brainwave art have experimented, in order to consider a complex nonlinear system of a brain in terms of art, science and technology.

 

Semir Zeki created a field of neuroesthetics by trying to study the relationship between art, aesthetics and brain through fMRI technology. Since then, neuroesthetics has attracted the attentions of cognitive neuroscientists and elicited the vigorous discussions of aestheticians and artists. Nevertheless, recently neuroesthetics confronts lots of criticisms and skepticisms. It is involved in a problem that regards a brain of the most complex structure as a functionally specialized linear system. In contrast, artworks that use brainwaves view a brain as a nonlinear system rather than a linear system. In particular, brainwave sonification experiments a brain as a complex nonlinear system, focusing on sound generated from neural impulses caused by the complex interactions of neurons in a brain. Interestingly, EEG and auditory feedback are appropriate elements for exploring a complex nonlinear system of a brain.



Thursday June 15, 2017 15:20 - 15:45
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

15:20

Diligent Operator: The Resurrection of Musique Concrète with Max/MSP Jitter and Arduino
Nam June Paik (1932-2006) exhibited the progressive music envi- ronment for audiences, Random Access (1963) in his first solo show. It allowed audiences to make their own sound collages by interacting with visual audiotapes on a white wall. This unusual music project was based on Paik’s musique concrète composing experiences. Studying the practical relationship between Random Access and musique concrète, Diligent Operator (2016) develops Paik’s idea of interactive collage music by employing Internet sys- tem to access a wide range of sound data all the world over. This new version of musique concrète was created with computer pro- gramming including Max/MSP Jitter and Arduino.

Speakers

15:20

Mental Maps of Traditional Fishermen in the Caribbean Sea
Traditional fishermen of Old Providence, Taganga and La Boquilla, Colombia rely on mental maps as a tool to identify the best locations to fish. Fishermen read natural signs and use geometry, arithmetic and images in the mind to create mental navigation maps for fishing in the Caribbean Sea. Life experiences provide the empirical knowledge to create oral stories and life histories in the development of mental paths in the minds ideological patrimony of the fishermen. These mental paths, revealed by the researcher-artist through drawings visualized, form a metalanguage that has its own visual codes, a visual alphabet and a glossary of images

Speakers

15:20

The Exhibition Space Through the Presence of Digital Games
The purpose of this work is to think about the exhibition room (gallery) based on the presence of digital games. This proposal is a specific development of a research project that studies the exhibition space towards the presence of digital technology. In order to achieve the goal, we will focus here on the Interactive Space of Life Sciences (EICV), which is part of the Museum of Natural History and Botanical Garden of UFMG, in Belo Horizonte/MG. Specifically, this article discusses the exhibition space and its curation when digital games are shown in it. Considering that, we debate about the configuration of the contemporary exhibition space, bringing up the relation among art, digital games, technology and science.

Speakers

15:20

Valuably Unsought: Systems for Digital Serendipity
Contemporary interaction with media is mediated through a plethora of digital systems, conditioning said interaction to the experiences that these systems anticipate and limiting the potential of the medium for surprise and serendipity. Through a literature-review and system analysis, we assert the value of serendipity in our digital interactions, arguing the necessity of a distinction between Natural and Artificial Serendipity, while establishing key areas of action of serendipitous systems: Information Encountering, Experience, Collaboration, Creativity and X. We identify specific systems within each of these key areas, as well as their methods and mechanics for achieving Artificial Serendipity in the Digital Medium.


15:45

15:45

Image Manipulation Practices through the History and Evolution of Photography
Etymologically, photography can be understood as an image painted with light, but in a more complex view, its definition has evolved from the analog processes used since its early days to the digital practices we witness today. Industrialization and new technologies applied to visual arts have affected the way people see these practices, have changed its values and pushed its boundaries, forcing artists and amateur performers to reevaluate the limits and possibilities of their disciplines to approach new territories through innovation and exploration. This paper is intended to make a brief description of the evolutional process of photography from a historical and technical view, and the transformation of this concept, from the early analog cameras and systems in the 19th century to the digital advances in the 21st century, analyzing the idea of visual manipulation, as an inherent activity to the different cameras and technologies, based on the definition of photography as a form of art. Supported by the case of the Bang Bang Club and the artwork of Kevin Carter, this reflection analyzes different forms of visual manipulation, not intended as an ethical judgment, but as recognition of a constant phenomenon through the history of this practice.

Speakers
avatar for Rafael Ángel

Rafael Ángel

Director, Docente Investigador, Grupo de Investigación Visualizar
Graphic Designer, Universidad del Valle, Cali, Colombia. Teaching researcher and director, Grupo de Investigación Visualizar, Corporación Universitaria Autónoma de Nariño Aunar, Extensión Cali. | Teacher, Instituto Nacional de Telecomunicaciones Instel, Cali. Photographe... Read More →


Thursday June 15, 2017 15:45 - 16:15
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

15:45

Media Culture and Heritage: Curating Outsidership
This article looks at current and future issues in the field of art, science, and technology—from the challenges of its own historicizing process to the curatorial exclusion of cultural heritages usually located at the margins of mainstream research. It argues the need for “other” histories and knowledge inclusion from overlooked sources such as oral cultures. With a few curatorial examples coming from Brazil, the paper emphasizes the social inequities in that country, as well as a deep-rooted colonial mindset, unfortunately still dominant in many circles. By emphasizing critical and original examples of artists, critics, and curators who uphold contemporary art alongside heritages from black, indigenous, folk and outsider groups, the paper examines strategic uses of technology, for instance, in the phenomena of the rolezinhos, and that of a nomad museum.

Speakers

15:45

Retracing the story of Bourges’s Institute of Electroacoustic Music through exploratory programming and live visualizations
Bourges’s Institute of Electroacoustic Music (IMEB) has been cre- ated in France in 1970 by the composers Françoise Barrière and Christian Clozier who directed it until its closure in 2011. During its forty years of existence this institute has been heavily involved in the development of electroacoustic music both on national and international scales. Its activities have included among others mu- sical research, development of music-making software, creation of instruments and organization of music festivals and competitions. From 2005 to 2011, this Institute has donated all of its archives to the National Library of France that is to say a complete set of multimedia data about the history of electroacoustic music and its worldwide diffusion. In this paper will be describing the work that has been done to retrace the story of the international competitions organized by the IMEB using interactive data visualizations and multi-agent systems (MAS) that have been modeled based on the study of living organisms’ behavior. The use of MAS will be presented as a way of exploring wide set of cultural data and retrieve new information stored in a database from the study of click streams.


15:45

SOPRO (The Blow)
This paper talks about “Sopro” (The Blow), an interactive work energized by the public through the force created by their blowing on a propeller. This art proposal is based on the use of a simple technological system, a poetics of the blow and on primordial scientific principles. The system present in the work aligns itself with current energy and sustainability issues, inserting them in the context of art-technology, and post-digital thinking.

Speakers

16:30

19:00

Data.Nature.Anagenesis

Where are we come from? How do we define ourselves who are evolved from a chance occurrence of microbes’ random movement?

 


Artists

Thursday June 15, 2017 19:00 - 19:20
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

19:20

Sound Dialogues

This trio, which was formed in the year 2010 is formed by Gonzalo Biffarella, Gustavo Alcaraz and Julio Catalano. It focus in designing and programing interactive gestual controlled instruments. This instruments are the basic tools used in each musical and multimedia composition.

 

The group has developed different projects around the concept of Memory. By investigating social and political reality in Latin American contexts they generate data bases. This bases are the begging of sound works that construct relations between reference materials, direct testimonies and digital re-elaborations. All this materials are captured in sound and multimedia art works, with both determined and improvised structures.

 

This proposal is complemented by the seminar - workshop "Sound Dialogues" proposed to be developed in the academic area. From ISEA 2017, since the multimedia concert program, would include the presentation of the result of the seminar - workshop, presented as work in progress.



Thursday June 15, 2017 19:20 - 19:50
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

19:50

PART OF HISTORY (Latin American electroacoustic music)

This is a concert focusing on recovering and make known part of the history of electroacoustic music from Latin American.

 

The political and economic instability in many Latin American countries have been deeply affecting the life of its inhabitants for decades. Support for artistic activities has usually been postponed to solve urgent social problems. In spite of that, the development in the region of the electronic arts in general and the electroacoustic music in particular, is really astounding. To name but a few examples: Mauricio Kagel composed eight electroacoustic studies in Argentina between 1950 and 1953, according to Hugh Davies’ International Electronic Music Catalog. José Vicente Asuar in Chile, Joaquín Orellana in Guatemala, Reginaldo Carvalho in Brazil, Horacio Vaggione in Argentina, Héctor Quintanar in Mexico and Juan Blanco in Cuba are only some of the many names in the ocean of electroacoustic music creativity that has always been Latin America.

 

The compositions on this program presents a significant sampling of music created between the 50s and 80s by artists from various Latin American countries. The program includes: “Valsa Sideral” (1962) by Jorge Antunes from Brazil and “Bolivianos…!” (1973) by Alberto Villalpando from Bolivia, among several other works.



Thursday June 15, 2017 19:50 - 20:15
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

20:15

Leviathan

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

 

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

 

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



Thursday June 15, 2017 20:15 - 20:35
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

20:35

Bodyscape

The project is a site-specific composition. The performance space and its architectural resonating characteristics are included. The main idea focuses on the body of a dancer as the main sonic source. The sound recordings of two performances in San Francisco and Switzerland were then composed at NOTAM in Oslo Norway, leading to a piece intended to be played in the dark and thus magnifiying the sonic memories of the audience. The project includes fifteen days field recordings at the border of Botswana, Limpopo Region, South Africa with a biologist and composer (Francisco Lopez). I conducted the research further as an expedition in other regions of South Africa on the base of a text of the Swiss writer Friedrich Dürrenmatt (The Viral Epidemic). The novel was published originally in the column of a Swiss newspaper, which describes a virus transforming the body of white persons into black ones. A text about privileges and how those are kept in a specific context. I explored the country with the text in mind and observed the division after the end of the apartheid. The composition includes layers of cut-up text, pictures, video and sound composed into a an electroacoustic piece, like a road movie.

 


Artists

Thursday June 15, 2017 20:35 - 21:05
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33
 
Friday, June 16
 

TBA

TBA

TBA

Animated web series "CHRONICLES OF THE EDGE OF THE WORLD, Stories, Myths and Legends" , , and Juan David Aristizabal Gomez


Understanding the symbolic system that lies behind a collective imaginary created around its historical cultural traditions and to recreate it through the use of technologies that allow a greater possibility of rapprochement between the digital and analogous environments can facilitate the understanding of its problems and through In order to promote the capacity of appropriation and ownership that is possessed over it.

 

The main purpose of Transmedia's proposal "Chronicles of the Edge of the World - Stories, Myths and Legends" is to disseminate the oral tradition that has built the collective imagination of Latin American identity throughout the history narrated by both indigenous peoples and Spaniards after the conquest, using as tools of diffusion, technology and animated arts, in a process of fictional reinterpretation that allows to approach multiple facets of said cultural context and to appropriate them in a process of contemporanization that reaches the target public.



Friday June 16, 2017 TBA
TBA

TBA

Animated web series "CHRONICLES OF THE EDGE OF THE WORLD, Stories, Myths and Legends" , , and Juan David Aristizabal Gomez


Understanding the symbolic system that lies behind a collective imaginary created around its historical cultural traditions and to recreate it through the use of technologies that allow a greater possibility of rapprochement between the digital and analogous environments can facilitate the understanding of its problems and through In order to promote the capacity of appropriation and ownership that is possessed over it.

 

The main purpose of Transmedia's proposal "Chronicles of the Edge of the World - Stories, Myths and Legends" is to disseminate the oral tradition that has built the collective imagination of Latin American identity throughout the history narrated by both indigenous peoples and Spaniards after the conquest, using as tools of diffusion, technology and animated arts, in a process of fictional reinterpretation that allows to approach multiple facets of said cultural context and to appropriate them in a process of contemporanization that reaches the target public.



Friday June 16, 2017 TBA
TBA

TBA

I Love You, Keep Going

“I Love You, Keep Going” was born while I was bicycling in a heavy traffic jam in California. I wondered if it might be possible to invoke a story about nature, and my country’s addiction to oil, in such a way that an audience could feel these opposing forces in their bodies rather than simply their minds. Working with Iranian film editor Arya Ghavamian, whose nation’s history is entwined with oil, I will create three looping films which invite the visitors to mount bicycles and “change the story.”

 

In Chapter One, where nobody bikes, we see the oil business winning the heart of the world. In Chapter Two, where one person enters the future alone, the fear of death and destruction become activated. In Chapter Three, where multiple cyclists join forces, transcendence and harmony with nature become possible. Viewers may passively watch the world’s destruction, or become part of the story and change the future in a positive way.



Friday June 16, 2017 TBA
TBA

TBA

New York, New York
New York, New York focuses on the magic feelings and alchemic effects that transform a daily view of the Hudson river into a layered and complex video composition. As in a well-organized spectacle numerous little epiphanies slowly become part of a balanced composition. “The soundtrack is composed of two main audio tracks. I recorded the first one while contemplating the view, fascinated by a jazz musician practicing with his saxophone. The second one is composed by the voices of three friends of mine. I invited them to hum a few famous American melodies like “New York New York” and a few others. They recorded them in their apartments in NYC, and then sent them to me, to become part of a larger portrait of my city.”

Speakers

Friday June 16, 2017 TBA
TBA

TBA

The Sky, The Man and the Sea
This large scale work can be presented as a video projection or a multimedia installation composed of a photograph on a plexiglass superimposed onto a digital monitor displaying video with sound. The work incorporates unusual depth and monumental dimensions achieving a particularly emotional effect. “The word emotion comes from the latin emovere, which is historically connected with the idea of movement. An eternal movement that moves the viewer emotionally and conceptually, and that the artist observes and try to preserve with his creation. In the presence of the work, the viewer can connect with a larger emotional landscape that embraces all of us and lives without and within; because we are all part of a larger spectacle.”

Speakers

Friday June 16, 2017 TBA
TBA

TBA

Wake up! the fight does not only last one day

Since a couple of month the colombian state has taken a little more consciousness about the need to protect one of the most vital resources for every living creature: the water, the element that most value should have for the human being, which is only 0,4% (potable water) in the entire planet, which is, nowadays, a big part contains contamination traces, result of unconscious human actions; one of the protection measures that are being realized in Colombia I am interest in stick out one of them, located in Villamaría, in Gallinazo county, place where mining activities were intended and would directly affect the river and all the nearby water sources; these tasks were recently suspended for legal actions implemented by people of town.

 

I want to highlight all this fights that have the objective to looking for the wellness of everybody and I want to make a call of attention with the proposal to continue supporting this goals that make this world a better one, we want to join more people to fight with us, and partner this world with the nature enjoying all that it does for us.



Friday June 16, 2017 TBA
TBA

TBA

Wake Vortex

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

 

Wake Vortex employs (re)creativity with orthogonal scanning of the artworks and cultural artefacts which were themselves developed through various modes of innovative combinatorics. 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.

 

In aviation and seamanship, wake vortex is often a dangerous, unpredictable 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 and political consequences.


Speakers

Friday June 16, 2017 TBA
TBA

TBA

What Lies Beneath the Stars
August 2016. While attempting to photograph the timeless sight of Milky Way on a calm seashore, planes zips across the sky, lights of the cars travels between bays in distance, and ships cross the horizon. The life of a touristic town is in its height. Further deep, invisible to eye and the camera, echoes a war that ricochets all the way to these shores of Aegean and Mediterranean seas where every day refugees take the next steps of their journeys, risking their lives for a hope of a safer home. “What Lies Beneath the Stars” is, more than anything, about the irony of an artist’s search for beauty and wonder, in a geography of uneasy contrasts.

Speakers

Friday June 16, 2017 TBA
TBA

09:00

09:40

Chris Marker, all the media/arts together

Novelist, essayist, critic, publisher, filmmaker, vidéomaker, drawer, mutimedia artist, musician even, there are few fields in which Chris Marker did not excel.

This lecture will be mainly devoted to the series of works which, since Zapping Zone (1990) to The Hollow Men (2005), have developed as so called multimedia works (installations and CD-Rom), inventing new spaces and new constellations in a work wich has nevertheless been till its end faithful to cinema.


Speakers
avatar for Raymond Bellour

Raymond Bellour

Critic and theoretician of cinema and literature. He studied letters and founded Artsept magazine. He published Le Livre des autres, a great book of interviews with Michel Foucault, Claude Lévi-Strauss, Roland Barthes, Pierre Francastel, etc., making widely known great thinkers o... Read More →


Friday June 16, 2017 09:40 - 10:20
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

10:20

Keynote Masaki Fujihata
Speakers
avatar for Masaki Fujihata

Masaki Fujihata

Explore the possibilities of cinema, computer image, animation, interactive installation and internet. Fujihata studied at Tokyo University of Arts (graduation and master). In the 1970s, he produced animation films with traditional techniques, moving to digital format from 1983 o... Read More →


Friday June 16, 2017 10:20 - 11:00
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

11:15

11:15

11:15

11:15

11:15

14:30

Curating/containing: Exhibiting digital art about mental health
Museums and galleries have always been recognized as creating wellbeing outcomes. This paper builds upon this existing dis- course with a study that is specific to the curation of digital art- works addressing the topic of mental health. It documents my own practice based research and audience response to the exhibi- tion: Group Therapy: Mental Distress in a Digital Age, held at FACT, UK in 2015. Audience feedback was gathered using a psychosocial research method called the visual matrix, which is designed to capture more affective responses than existing meth- ods of arts evaluation. Presenting this feedback, I focus on a perceived dichotomy between the historical and the digital, where audiences understood the asylum as a place of sanctuary and the digital content as anxiety provoking. I use this tension to propose next steps in my own practice alongside some wider considerations for curatorial approaches to digital art dealing with mental health. Issues of curatorial care are central, as I consider how a curator can support audiences to encounter challenging digital artworks that deal with mental distress. I adapt and test Wilfred Bion’s concept of container-contained (also a key theoretical component of the visual matrix method) as a paradigm for this caretaking function.


14:30

Domains, Publics and Access. A Wiki In Progress On Access Archaeology
Domains, Publics and Access is an ongoing collection online of projects related to current access forms such as: open government, open design, citizen science, collaborative economy, commons, co- ops, crowdfunding, DIY, free culture, community currencies, p2p, piracy, etc. The main goal is to preserve initiatives that appear and disappear in different countries because each project is the declaration of a possible future. That’s why the project as the poetics of social forms is studied by an access archaeology that explores the hypothesis of the emergence of new bottom-up institutions. The hypothesis is latent in the work of several authors, but Geert Lovink and Ned Rossiter pose it explicitly around the online organized networks. They provide the theoretical framework for the qualitative textual analysis of the accountability, sustainability and scalability of different projects. The faceted classification adapted to a MediaWiki articulates the field work as a distributed analysis process, and shows how not only organized networks but also top-down networked organizations define the poetics of access forms. The result is an online common- pool resource that displays the historic and antagonistic limits of access and that can be used to develop new research questions –in and out of academia- through the integration of new facets and projects in a simple way.

Speakers

Friday June 16, 2017 14:30 - 14:55
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

14:30

idMirror

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



14:30

Transmedia as a tool for the reconstruction of collective memory in post-conflict scenarios in Colombia

In the context of Colombia's reconciliation process, and in light of the dynamics of country reconstruction in which post-conflict is framed, it is necessary to create spaces for the construction of collective memory and future scenarios that allow the rapprochement between the actors of the Conflict to be able to consolidate a new vision of its reality. In this sense, alternatives should be sought that, in the light of the new forms of representation, allow the formation of narratives and facilitate the participants of this type of process to understand the new scenario that they pose and of which they are art and part for the consolidation of Truth and trust.

 

The development of transmedia scenarios, allows the generation of a re-dimension of the reality of a collective, and thus build a proper sense of narrative that facilitates to the actors of this type of conflicts the search of the channels that more conform to their Situation, the media that actually identify them, and the possibility of varying the information systems that serve as a sieve for the evidence of situations that in themselves have been difficult and should be ex- pressed for conciliation.



14:55

Poetic Instinct – Aesthetic experience as a vital function
This paper aims to discuss the concept of poetic instinct, considering the urgent need to reformulate the relationship between humans and nature considering technological ubiquity and its affective side effects. We start by analyzing the current process of disaffection and the impact of our intellectual, social and technical development on our abilities of perception. We approach Yuasa Yasuo’s body theory that develops a comprehension of the body based on four levels of consciousness. We get inspired by his theory to discuss the process of perception, analyzing how we can understand the aesthetic experience as a vital function. Finally, we present the performance “Avocado Tree, we’ll follow your act” and the installation “Preamar” to discuss two approaches of the poetic instinct in an artistic practice and discuss the role of technology on this proposed poetic reading of the survival instinct.

Speakers
avatar for Barbara Castro

Barbara Castro

PhD Candidate, Federal University of Rio de Janeiro
I'm PHD candidate researching modes of connectivity and the need of afective otherness. I'm investigating a poetic redesign of the human survival instinct. How does art contribute to the establishment of these meaningful relationships? What is the role of these relationships i... Read More →


14:55

Projects Desluz and ZN:PRDM (Neutral Zone: a River Passes Through Me) by Poéticas Digitais Group
The purpose of this communication is to present some recent projects developed by the Poéticas Digitais group related to the theme of environment and flow, visible and invisible forces, and how to dialog with the construction of the context, in which the public is part of a large collaborative system related to the envi- ronment. The discussed projects are: “Desluz” (2010) and “ZN:PRDM – Zona Neutra: Passa um Rio Dentro de Mim (Neutral Zone: A River Passes Through Me)” from 2013.

Speakers

14:55

14:55

Visualization of Climate Change in Internet
The Climate Change is a concept (CC) that has been changing in order determined by the incorporation of new knowledge and scientist evidence around it. Looking for effects mitigation in quality of human beings several efforts at an international cooperation scale have been made specially within the United Nations agenda. From the communication point of view, in Internet circulate many documents, pictures, drawings, infographics and simulations that represent such a problem in different grades of complexities in its accessibility. Visualization also is an emergent concept that has been defining its frontiers according to advances in representational computer processing of big data from reality combined to the necessity to understand it. This situation applied to any discipline brings about two regular study approaches: a didactic and an analytical one. So, this paper presents a methodology based on diverse artwork that traces organizational changes in the Intergovernmental Panel for Climate Change (IPCC) in up to now five in- forms emitted in Internet. In this way is possible to project a future scenario for visual representations and policies actions concerning CC communications.


15:00

15:00

15:20

Augmentations across virtual and physical topologies: Mixed Reality re-assembled
An analysis of the material-discursive practices surrounding Augmented Virtuality and Augmented Reality reveals the some- times digressional, sometimes convergent positions taken by computer science and media art on the issue of embodiment. Mapping out some of those positions, this paper considers Mixed Reality as a topology that has an entangled and material relationship with the body, that goes beyond an analysis of Mixed Reality as a technology of augmentation: rather, a topological understanding of Mixed Reality explores the patterns of diffraction ( Barad 2007: 29) that ripple and disrupt the material thresholds between physical and virtual, troubling the over simplified real/virtual dichotomy that permeates much Human Computer Interaction (HCI) research. Tendering an argument for Mixed Reality as a continuous topology operating between physical and virtual spaces, I will address the contrived duality of embodiment/virtuality embedded in much of the literature surrounding Mixed Reality. Then, I will offer a contrasting view of Mixed Reality as a contiguous topology where virtual and physical are interwoven by contingent and conditional 'meshworks' (De Landa, 1998) of augmentation, involving technicity, devices, bodies, and objects.

Speakers

Friday June 16, 2017 15:20 - 15:45
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

15:20

Encoding Colours: from the trichromatic theory to the electromagnetic signals
Encoding schemes for producing, storing, and transmitting colour information in electronic media are based on a three-colour canon that originated in the 19th-century physiological studies of vision. During the 20th century this canon was first standardised and then implemented in technical media. Since then it has become ubiquitous for understanding and producing the sensation of colour. However, the precise technical operations to produce colours in electronic media has been usually overlooked in media history. This paper discusses how a certain interplay of scientific ideas, technical blueprints, and encoding specifications gave origin to the trichromatic theory and its implementation in electronic media. The first part of this paper happens in the scientific labora- tories of the 18th and 19th centuries where the additive three- colour canon was set. The second part focuses on three implementations of this principle that have dominated electronic visual media ever since. These are: (i) the characterisation of a standard observer in the Colorimetric Resolution I by the Commission Internationale de l'Eclairage (CIE) in 1931, (ii) the implementation in of the NTSC color television during the 1940s and 1950s, and (iii) the ITU BT.601 recommendation for encoding digital video as a three-colour component signal from 1981.


15:20

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


15:20

Vis. [un]necessary force. A socially engaged creative practice research project
Vis is a long term socially engaged creative practice research project that—using digital technology as a tool—examines the consequences of violence on the daily life of civilians in contemporary Mexico. This project addresses the tensions that take place in the smallest human unit/group possible: family. Specifically, Vis focuses on families in both rural and urban areas of Mexico, that have one or more members that, officially, are not kidnapped or killed, but who are not present: absentees [ausentes], that is those taken away by police forces, the military, or by members of drug-cartels. At present the ausentes, their children and/or spouses [not officially orphans or widows yet], are just numbers and statistics in governmental reports. This project reclaims the experiences of these families by attentive listening to them, understanding their stories, and engaging in an active participation about how they would like to be portrayed within the contemporary social ethos. Using the potential of technology through creative practice, Vis collaborates with these families in order to regain the lost power of their voice—a voice that has been silenced—within a dialogue that has yet to start in Mexico.


Friday June 16, 2017 15:20 - 15:45
TBA

15:45

And the earth sighed: a case study

A tipping point is a critical threshold at which a tiny change can dramatically alter the state of development of a system tipping past a point of no return. Exploring these thresholds through artworks provides an experience for the audience that encourages engagement and contemplation on the catastrophic effects of climate change. Human beings form bonds with the landscape in which they live, but losing a surrounding landscape while we still live in that same place creates a form of homesickness for which we had no word until recently. A new term was coined by Australian philosopher Glenn Albrecht (2005) after interviewing citizens living in farming areas surrounded by encroaching coalmines. The term “Solastalgia” means an emplaced or existential melancholia experienced with the negative transformation of a loved home environment. “Solastalgia is a form of homesickness one gets when one is still at ‘home’.”.

 

This state of mind is being reflected in a new global genre of artworks. “and the earth sighed” is an immersive media art installation that re-imagines the relationship between nature and culture by presenting aerial views of landscapes dynamically manipulated in ways that reveal their underlying fragility. The artists filmed landscapes and seascapes using drone technology and used post production techniques to create large-scale visual and sound environments.



15:45

Cognitive beings: Brain mechanisms discussed in cultural studies
Cognitive science emerged from an interdisciplinary discussion of information theory, linguistics and psychology among many other disciplines. Since its emergence, it has not only been largely discussed in other disciplines but has also shaped our views and perception of the world. In this paper, I will examine how scholars in cultural studies and philosophers incorporate scientific theories about the brain into their work, and how they bridge scientific knowledge with immediate human experience. Through Katherine Hayle’s notion of the cognisphere, this paper examines the impacts of informatization of human body and cognition within a pyramid of digital data flows between machines. This paper also takes the French philosopher, Catherine Malabou’s observation of the scientific concept of brain activities – brain plasticity and synaptic connection - as a metaphor to identify what is needed in our social engagement.

Speakers

Friday June 16, 2017 15:45 - 16:15
TBA

15:45

Design of pictographic signs for the educational area
The text documents the process and the necessary conditions for the design of pictograms during the ‘Signage’ university course at the Design Department of Guanajuato University, taught as the IV semester design workshop. During this course the student applies visual techniques and specific concepts that conduct to the graphic design of pictograms. These pictograms are used in a product for the educational area that the student must also design.


15:45

16:00

Weeping Bamboo: Resonances from Within
Weeping Bamboo: Resonances from Within is an exploration of digital media for communicating and preserving indigenous forms of oral culture. It is a locational sound art piece offering a site-specific, reactive soundscape that can be experienced in public at the Plaza de Bolívar. Building on the notion of “resonance,” the correlated vibration of bodies, as a way of transmitting sonic and gestural experiences, the project creates a rich layering of the different stages of history of Manizales through an augmented reality experience that merges environmental sounds with a spatialized soundscape, which, through a custom-made headset, is transmitted through the bone structure of the skull, merging with the environmental sounds perceived through the ear, with the multi-channel soundscape that seems to be coming from the space within the listener’s head. Beginning with narratives of indigenous myths all the way to todays environment the project offers a narrative soundscape that is correlated with the actual geography of the plaza through a GPS location-tracking unit, inertial sensors and a microphone.


Friday June 16, 2017 16:00 - 16:30
TBA

16:00

Evento especial
Mesas de networking

Friday June 16, 2017 16:00 - 17:30
TBA

17:30

Talk: Ways of Knowing: Creative Pedagogies for Digital Literacy

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.


Speakers

Friday June 16, 2017 17:30 - 17:50
Universidad de Caldas Sede Central - Auditorio Humberto Gallego Gamboa Calle 65 # 26 - 10

18:00

19:00

20:00

WanderingScapes – an audiovisual performance
WanderingScapes is an audiovisual performance about journeys on nature. It is wandering on different scapes such as landscape, cityscape, townscape, roofscape; riverscape, seascape, waterscape, snowscape… It is going into field trips as nature immersions and bringing back a miscellaneous of videos and sounds. This audiovisual performance is the outcome of the lived experience in different environments. It is glitched, rusted, noised as the experience cannot be (re)lived. It is just performed with simple body movements, instruments and objects created by us.


Friday June 16, 2017 20:00 - 20:15
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

20:15

ONE ONE
Artists

Friday June 16, 2017 20:15 - 20:36
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

20:36

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

Artists

Friday June 16, 2017 20:36 - 20:58
Sala Fundadores - CCC Teatro Los Fundadores Carrera 22 con calle 33

21:00

23:00

Nuits Sonores
Artists

Friday June 16, 2017 23:00 - Saturday June 17, 2017 02:00
Expoferias Alberto Mendoza Km 2 Avenida
 
Saturday, June 17
 

09:00

10:00

14:00

18:00

Reunion 2 - Performance of the Data Stethoscope for complex networks of fMRI data and chess board
The performance is in honor of the celebration of the 50th anniversary of the Nine Evening performances in 1966 where prominent artists and Bell Labs engineers performed in public in New York. The performance used both the data and the software developed for a data stethoscope project that is associated with ongoing research with a team of Neuroscientists at the Center for Vital Longevity Studies at UTDallas. The project data was fMRI data on age cohorts of healthy individuals from 20 to 80. The research involved adding sonification to visualisation tools as a strategy for data exploration. The performing artist is Scot Gresham Lancaster in collaboration with astrophysicist Roger Malina. The artist developed an interface and performance strategies with a chess board and various midi controllers. Using various data sets from the research a soundscape and real time interventions based on the “Reunion” electro-acoustically enhanced chess match between Cage and Marcel Duchamp from 1968. In this case the two collaborating scientists play chess on an electronically enhanced chess board. The moves they make drive the soundscape and interaction of both the video and audio of the performance. The interactions are enhanced by actions and reactions during the performance.


Saturday June 17, 2017 18:00 - 18:30
Inauguración Banco de la República

23:00

Nuit Sonores

Saturday June 17, 2017 23:00 - Sunday June 18, 2017 02:00
Expoferias Alberto Mendoza Km 2 Avenida