Festival de la Imagen - ISEA2017

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.

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

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

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. 

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.

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.

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]. 

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.

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.