In June returns BIAN, the digital art biennial based in Montreal. AUTOMATA is the theme of this year and thanks to the presence of international artists, they will discuss about: what are the limits of the machines, how far the inhumane can replace the human and if it's possible create an art made by machines for machines?
The exhibition Ob_ject and Ob_serve will explore different languages for revealing the desires, memories and inner conversations of objects and non-humans, in an attempt to understand how machines and technology shape their own worlds, and in turn, ours.
Following the program announcement from last month, we are pleased to announce further participants from the realms of art, culture, and media, who will gather for transmediale/conversationpiece, to take place at Haus der Kulturen der Welt from 3-7 February 2016.
The exhibition Eppur si muove (And yet it turns) focuses on the many links that exist between the fields of the visual arts and technology, as well as the decisive influence that the history of the sciences and technology has exercised on contemporary artists.
How do computers experience the world? This is the question driving Kim Asendorf and Ole Fach's playful investigation of what the physical world looks like through digital eyes.
Peter Beyls is a Belgian pioneering interdisciplinary artist who has been exploring computer programming for nearly four decades. His work extends into the visual arts, music and hybrid experimental formats. In light of the publication of a monograph by MER Paperkunsthalle, iMAL organises the first major survey exhibition of Peter Beyls in Belgium featuring a significant selection of works from 1974 until today.
Bob Meanza is the nickname of Michele Pedrazzi, media artist and electronic musician born in Verona in 1978, now based in Berlin. He makes music with robots of various types and sizes, be they spring-loaded or quad-core-processor powered, but he studied jazz piano with Riccardo Massari Spiritini in Verona, then with Fabrizio Puglisi in Bologna, where attended to the multimedia composition seminars with Nicola Zonca at Studio Arkì. In 2004 he entered the doctoral program in Semiotics directed by Umberto Eco, and earns his Ph.D. with a thesis on improvisation in music
VIDA, the International Art and Artificial Life Awards, launched in 1999 by Fundación Telefónica, was founded to promote creation and stimulate an environment in which art, science and technology converge.
Institute for Flexible Cultures and Technologies – Napon, is looking for works for exhibition “Autonomies”, at Museum of Contemporary Art Vojvodina in Novi Sad
In a scenario in which institutions and individuals have to fight in an increasingly harsh way to grab the (few) research funds, the recent news of the European Union to include the Human Brain Project in the FET has outraged the "flagship projects" for the next decade. Surprise struck also for the consequent money allocation: one billion euros in ten years to create a complete simulation of the human brain through a network of supercomputers.
The Conference series on Affective Computing and Intelligent Interaction is the premier international forum for research on affective and multimodal human-machine interaction and systems.
Erwin Driessen and Maria Verstappen are a couple of digital artists based in Amsterdam. They are active since 1990 and their works have been presented not only in the Netherlands but also abroad. They took part, for instance, in exhibitions, conferences and festivals all around the world, namely in Europe, Australia and United States.
The VIDA Award is granted to artistic creations developed using artificial life technology. Among the projects submitted to VIDA, the artists‚ ties to this theme and their choice of media are very diverse. Throughout its history, the competition has welcomed proposals that challenge the boundary between living and non-‐living, between natural and synthetic, either by juxtaposing both realities or by creating overlapping spaces for reflection.
The philosophical twentieth century was characterized by an explosion of science and scientific nature which highlighted an idea of progress and progression of the human thought and evolution as something which does not need further questions. The idea that functionality and applicability of a theory can be applied to praxis, which executes and finalizes such theory, comes full circle
This two-part essay offers an investigation of the 'depths' of the algorithmic workings of digital visualisation systems. The focal point of this study is digital 'memory', as explored in relation to the Algebras of Logic, the notions of process paradigm, pre-representational pixel-grids and emergence
This article offers an investigation into how drawing infra-spaces creatively reveals the unknown types of digital geometry that emerge from the algorithmic 'flows' of digital visualisation systems, and our perception of science, technology and visualisation is redefined. This is the first part of this two-part essay.
SonarMàtica splits itself in two this year for Sonar 2010 Barcelona and Sonar 2010 Galicia, two different exhibitions which can be seen in Barcelona and A Coruña on 17th, 18th and 19th June. The Sónar 2010 Barcelona exhibition displays interesting artistic work produced using and based around the world of robotics.
The beginning of the 21st century is characterized by an overwhelming awareness of environmental issues. Facing the threat of global warming, the findings of scientific research have become a subject of intensive political debate.