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Ars electronica 2011 – origin

by annasusannaanna December 19, 2011

As a summary, just to get a short overview, I elected together with an eight-year-old boy his ten favourites, also to focus on  what´s most interesting for the younger generation and how they interact with media art.

 

“Otamatone”- Novmichi Tosa, Maylsa Denki: musical-note-shaped electric instrument

“Gear Box”- Ulrich Brandstätter & Oliver Buchtala: kind of musical loop-sequencer

“Paro”- Aist : Therapeutic Robot with 5 kinds of sensors: tactile, light, audition, temperature and posture sensors. It can learn to behave in a way that the user prefers and simulates interaction between patients and caregivers.

“TalkTorque-2″- Hideaki Kuzuoka, Hiroshi Kasai, Ikkaku Kawaguchi, Toshimasa Yamanaka: guide robot that utilizes human skills

“Is there a horizon in the deep water?” -HEHE: Helen Evans, Heiko Hansen: Installation, Performance which works through the ecological tragedy, the explosion of the oil platform Deep Horizon in 2010, by reconstructing the event minutely.

“Six-Fourty by Fourty-Eghty”- Jamie Ziegelbaum, Marcelo Coelo: Installation, handy magnetic pixels as an interpretation of the touchscreen principle, by touching they change the color or copy it onto another

“Shadows”- Jyun-ya Kataoka: Installation, device, consisting of a turntable, found at a garage dump, and  strobes from  instant cameras attached to a circle, by rotating the turntable you manipulate the shadows

“Paricles”- Daito Manabe, Motoi Ishibashi: On a construction that resembles a rollercoaster, lightballs can be orchestrated via control-screen to whiz about in all directions and grouped into moving patterns.

“Running through the fog” at the roof of the O.K.-house: just a part of the “Hoehenrausch”

“CCD-me-not-Umbrella”- Mark Shepard: of sentient city survival kit: An umbrella studded with infrared Leds visible only to CCD surveillance cameras, designed to frustrate object-detection-algorithms used in computer vision surveillance systems

 

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Black reflections. Nanoart by Frederik De Wilde @ ars electronica 2010

by Tobias February 8, 2011

Frederik de Wilde likes black art. At Ars Electronica 2010 he showed a patch of the blackest black ever, a nano-structured material that absorbs 99.97% of the incident light, winning him the “[the next idea] voestalpine Art and Technology Grant”. He envisions a bright future for the material, with applications ranging from superblack magneto-levitated cubes to increasingly large patches that might finally allow the observer to get immersed in infinite darkness.

For now, De Wilde leaves us in the dark in other ways: In an interview with derstandard.at, he impishly refuses to explain the details of how the trick works, pointing out that Rembrandt and Picasso didn’t publish their color recipes either. The scientists of Prof. Lin’s group at Rice University who developed the material did publish their findings, albeit in a closed-access journal. Probably they also filed a patent. German newspaper Die Zeit has a story on how British scientists discovered the material in the wings of a butterfly. Later, this feat of nature was mimicked using nanofabrication techniques in a Houston cleanroom.

In the exhibition space, the material is covered by plexiglass since dust particles would quickly degrade its properties. The glass surface however creates quite strong reflections, indeed reminding us of a Rembrandt painting hidden behind security glass in a carelessly illuminated museum. A prototype problem only, says De Wilde, to be solved by further research.

In our interview, quantum physicist Tobias Nöbauer finds out more about the physical principle and artistic concepts behind De Wilde’s work: How are the incident photons being treated? What’s the artist’s approach to taking a nano-material from the cleanroom into the exhibition space? Art as alchemy, uncontrolled reflections, whispering black magic? There’s a new shade of nano on the artistic reasearcher’s color palette: What do we get shown?

Interview: Tobias Nöbauer
Camera: Franziska Mayr-Keber
Editing: Sophie-Carolin Wagner

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Worm/Detour : Martin Howse

by fomoke November 23, 2010

Martin Howse, ein Mann mit Hut, dunklem Bart und einer Schachtel gefüllt mit “elektronischen Zubehör” spaziert mit uns zu diesem kleinen Platz am Rande des Grete-Rehor Parks, zwischen Parlament und der Staßenbahnstation “Dr. Karl Rennerring”. Ein Ort an dem sich ständig etwas hör und sichtbar bewegt, seien es abbiegende Straßenbahnen, die stetigen Stop and Go Actions der motorisierten Ringfahrer oder schlendernde Sonntagsspaziergänger. Optimale Voraussetzungen für ein Soundexperiment im Rahmen der WORM/Detour Veranstaltungsreihe (initiiert, kuratiert, organisiert von Bernhard Garnicnig).

Also, Martin Howse beginnt sein psycho-geophysisches Experiment mit diversen selbst gebauten Gerätschaften, die nach und nach aus der Schachtel gezogen und Teil eines immer komplexeren Instrumentes werden. Mit Hilfe der Geräte macht sich Howse auf die Suche nach Signalen der Umgebung und wir werden hörende Zeugen seiner Funde…

Kamera, Schnitt: Franziska Mayr-Keber
Inserts: Bernhard Garnicnig

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Transmediale 2010 Award Winners announced

by Emanuel February 7, 2010

winners.jpg

In the Award Ceremony on Saturday, 6 February, Barbara Kisseler (Permanent Secretary of the State of Berlin) and the members of both juries announced the winners of both the transmediale Award 2010 and the Vilém Flusser Theory Award 2010!

Canadian artist Michelle Teran is the winner of the transmediale Award 2010. Her work Buscando al Sr. Goodbar was awarded with a prize of 6,000 Euros.
A Distinction worth 2,000 Euros was given to the Americans Aaron Koblin and Daniel Massey for their work Bicycle Built For Two Thousand.

The Vilém Flusser Theory Award 2010, also worth 2,000 Euros, was given to biologist and artist Warren Neidich (us/de) for his research project Neuropower.

from www.transmediale.de


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Interview with James Powderly (GRL, FAT Lab)

by Emanuel November 23, 2009

During the Olympic Games in 2008 James Powderly traveled to Beijing in order to support the group “Students for a free Tibet”. The Idea was to go there and do a L.A.S.E.R. Tag performance. Before he was able to do so he was arrested and sentenced to 10 days of prison. When the games were over he was set free and sent home, where he decided to publish the story as a comic book together with Jihoi Lee. In the interview he tells us about the time in prison and the comic book that was exhibited at the Blackriver Festival in Vienna.

This is the L.A.S.E.R. Tag Video by GRL, for everybody who is not familiar with the project:


from http://graffitiresearchlab.com/rotterdam/laser_tag_WEB.mov

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Japan Media Arts Festival in Vienna MQ

by Emanuel September 18, 2009

The Japan Media Arts Festival chooses every year another country to show their currently awarded and nominated pieces in an exhibition abroad.
This years the exhibition takes place in Vienna. It shows very well that the Japanese art definition differs from the European approach quite a lot, the border between art and design is floating as you can see by the selection of pieces in the exhibition.

Atsushi Wakimoto, the curator of the Japan Media Arts Festival walks us trough the viennese exhibition of the Festival which is running until 20th of September.

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Façade-Play and Body-Sound

by axolotl September 12, 2009

“Signs and Signals” @ Ars Electronica Festival 09Last weekend, at the FM4 co-hosted multimedia performance “Signs and Signals”, artist duo freyluft visualized sounds on the surface of the Ars Electronica Center (AEC).

“Any heavy-handed block can be transformed to a magical zone with an illuminated façade”, wrote Gerlinde Lang on the FM4 Website. Now, for sure, the new Ars Electronica Center (AEC) at its location on the banks of the Danube in Linz, does not qualify as a “heavy-handed block”, a magical zone it became nonetheless. This happened courtesy of artist duo freyluft, who, last weekend in cooperation with FM4, made 40.000 LEDs dance on the façade of the AEC, in their performance “Signs and Signals”.

The sounds involved were provided by DJs and live-musicians, but, notably, also by media artist Ulla Rauter, who utilized her own body as an instrument. With an electric violin bow she stroked her right forearm, while her hand was fitted with electric contacts. “The skin serves as a conductor. When the violin bow touches the skin, the circuit is closed”, says Rauter: “It is a sort of biofeedback.”
Text: Patrick Dax, ORF Futurezone Translation: Oliver Stummer

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