Tag Archive for ‘ars’

Ars electronica 2011 – origin

by annasusannaanna

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

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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Review The TOASTER PROJECT, @ars electronica

by peter moosgaard

“Left to his own devices he couldn’t build a toaster. He could just about make a sandwich and that was it.” Mit diesem Zitat von Douglas Adams stellt der Künstler Thomas Thwaites seine Arbeit The Toaster Project vor. Wahrscheinlich eine der besten Arbeiten, die auf der diesjährigen Ars Electronica zu sehen war, unternahm Thwaites den Versuch im Alleingang einen Toaster herzustellen. Mehr Informationen zum Toaster Project hier.

Präsentation: Peter Moosgaard
Kamera: Franziska Mayr-Keber
Schnitt: Christof Vonbank

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Leo Peschta & Gordan Savicic @ ARS 2010

by conny

Leo Peschta (media artist/ AT) ist auf der Ars Electronica 2010 mit einer umfangreichen Serie an Arbeiten vertreten in denen er sich, wie bei “B.R.E.T.T” (2008) mit dem Thema Bewegung und Raum auseinandersetzt, aber auch das Museum als Institution kritisch ins Auge fasst, “Der Zermesser” (2007-2010). Seine neueste Arbeit “Der Chronograph” (2010) verschreibt sich dem “akkustischen Augenblick”.
Über ihre gemeinsame Arbeit, den “WERP_BOT” (2006), und folgende, sprechen Leo Peschta und Gordan Savicic in diesem Interview.

Interview: Gordan Savicic
Kamera und Schnitt: Conny Zenk
language: German

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Playful Interface Cultures @ ARS 2010 Walk with Martin Kaltenbrunner

by fomoke

Unter dem Titel “Playful Interface Cultures” präsentieren Studierende der Kunstuniversität Linz, Masterstudiengang Inferface Cultures, ihre aktuelle Arbeiten im Rahmen des Ars Electronica Festivals 2010.

Verspielt zeigen sich in dieser Ausstellung nicht nur die Schnittstellen zwischen Mensch und Technik, sondern auch der Ausstellungskatalog zum Selberbasteln. Bei jedem der ausgestellten Objekte hängen bunte Kärtchen, eine Mischung aus Beipackzettel  und Ausschneidebogen, die durch ihre anregende Erscheinungsform Neugierde und Sammertrieb der BesucherInnen wecken.  Eine kleine Klapp – Bühne zur Platzierung der persönlichen Lieblingsobjekte bietet letztlich ein mit Ausstellungslogo versehener Pizzakarton.
Diese, dem Fast and Cheap Food entlehnte Verpackungsform, lässt in mir einen Hauch von Kritik aufkeimen, einerseits am Kunst – Produktionsprozess, in welchen die Kunstschaffenden viel Zeit und Kreativität für wenig bis kein Geld investieren,  sowie andererseits an den schnellen, wahllosen Konsum von Kunst, der sich bei derart großen Festivals kaum vermeiden lässt.

Foto: Ars Electronica / rubi

Playful Interface Cultures zeichnet sich durch eine klar stukturierte Ausstellungsgestaltung aus. Besucher werden zu den Objekten und durch verschiedene, in sich geschlossene Zonen geleitet. Zigarttenkartons fungieren als Raumgestaltende Trennelemente, was sowohl einen inhaltlichen Akzent zur Tabakfabrik setzt als auch von respektvollen Umgang mit denkmalgeschützer Bausubstanz zollt.

Martin Kaltenbrunner, Professor der Kunstuniversität Linz und Medienkünstler (reactable), spaziert mit uns durch die Ausstellung und zeigt uns ein paar der ausgestellten Arbeiten.

Interview: Franziska Mayr-Keber
Kamera und Schnitt: Matthias Hurtl
language: German

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We met ASIMO in Deep Space @ ARS 2010

by fomoke

ASIMO, der 130cm kleine humanuide Roboter von Honda war Stargast der Ars Electronica 2010 und wir hatten die Ehre ihn mit Schirm und Charme willkommen zu heißen!

In einer Forschungskooperation zwischen dem Ars Electronica Futurelab und Honda wurde eine interaktive, audiovisuelle Umgebung geschaffen, um den Besucherinnen und Besucheren eine spielerische Möglichkeit zum Kennenlernen und interagieren mit ASIMO zu bieten. Gemeinsames musizieren sozusagen im raumgroßen Musikinstrument “Deep Symphponie” im “Deep Space”.

Über 20 Jahre wurde an der Kreation und Weiterentwicklung von ASIMO gearbeitet. ASIMO kann sich in alle Richtungen bewegen, sogar mit einer Geschwindigkeit von 6km/h laufen und Bälle durch den Raum kicken. Ausgestattet ist er mit insgesamt 34 seperaten Servomotoren und, in seinem Rucksack, trägt er eine 51,8 V Lithium Ionen Batterie (für ungefähr eine Stunde Aktionszeit). Seine Größe von 130 cm mag zwar zunächst enttäuschen, aber begründet sich darin, dass ASIMO als Hilfskraft für ältere oder hilfsbedürftige Menschen konzipiert wurde und er sich somit auf Augenhöhe eines sitzenden oder im Bett liegenden Menschen befindet. Bis ASIMO unser Pflegepersonal ablöst dürfte wohl noch etwas Zeit vergehen, aber die ersten Schritte zur gesellschaftlichen Akzeptanz sind getan.

Horst Hörnter, Direktor des Ars Electronica Futurelabs, spricht über “Deep Symphonie”, tagr.tv begegnet ASIMO sowie Aufnahmen von ASIMO in action mit Menschen…
Viel Spass!

Interview, Camera: Franziska Mayr-Keber
Editing: Emanuel Andel

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F.A.T. greetings from the Ars Electronica Gala 2010

by Emanuel

The Ars Electronica Gala is usually the place for politicians and sponsors to show off – this rule was a bit loosened by a guerillia marketing gag by a bunch of street artists that are involved in one of the ‘Golden Nica’ awarded projects – this is the kind of communication that distinguishes an art event from any other commonplace gala – thank you for that one!

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ARS electronica 2010 … Pressekonferenz and more…

by fomoke

ARS electronica 2010 “repair – ready to pull the lifeline” starting the 2nd September 2010 will be presented at the former tabacco factory in Linz, a location that tells its own story about the moment of change that we are facing.

tagr.tv will be part of the ARS festival scenario as we have been invited by Aram Bartoll to join the Digital Communities Area (Bau 1, OG3). and of corse we will use this opportunity to tagr as much interessting projects, artists, etc. as we can!

PRIX ARS ELECTRONICA 2010 _ digital communities
one of the award winners in this category is the ubiquitous – #unibrennt cloud which was the origin for a European wide student movement criticizing our educational systems…. congratulations!!
CCC-Chaos Computer Club also won a price in this category.

to  get an idea of what you can expect we are featuring the recording of the press conference in Vienna, thx to the team of http://unibrennt.tv for the video!!

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visual impressions ARS 2009

by muk

[use you mouse wheel]

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ARS Electronica 2008

by muk

This years theme of the ARS Electronica Festival “a new cultural economy” has been a big challenge for Gerfried Stocker, Christine Schöpf and their team. Maybe my expectations are far to high in concerns of this topic because if i look back to the festival i can´t find a dispute with or a deep investigation into this theme. We are allready familiar with the advantages of web 2.0 and open source at least for us users, but what about the dark side of the holy participation movement ? I think this comes down to a very basic question about ARS Electronica and their positioning. Their idea is a common consideration of art, technology and society far from technical and industrial interests as they write in their pressmap. At least it´s their idea. My reception was kind of different, but i didn´t attend all conferences and lectures to be honest. To present the “University of Tokyo” as a kind of figurehead is at least straightforward in our new cultural economy which heads towards creative industries. Alright, enough complaints. Like every year you find some interesting works out of this huge range of works, and some i even managed to document. funny that two of this works are out of tokyo university. even though the most of the works there were kind of unsubstantial i found some funny ideas and charming realisation like in the installation “ephemeral melody”. but check out the videos…

check out also the official ARS project we guide you where visitors where invited to participate and document the festival.

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