Ⓥ V.16 Virtual Discussion - Papers
Wednesday, June 26, 2024 |
8:00 AM - 8:50 AM |
Virtual |
Overview
Group discussion giving virtual presenters the opportunity to discuss their work with colleagues and delegates
Details
Join the session here
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
Speaker
Ms Nagida Helsby-Clark
UNSW iCinema Research Centre and CSIRO's Data61
FP: Turbulence as an Immersive Aesthetic for Climate Extremes
Abstract
In this paper, I explore how humans may grapple with the shifting interrelationships within climate-fuelled extreme wildfire behaviour and ocean dynamics, and our own role both feeding and being impacted by these permutations. I briefly explore existing approaches to climate aesthetics and representations of turbulence, anchoring these to my practice across two immersive visualisation projects; Ocean Explorer and iFire. I argue that traditionally static renderings miss crucial opportunities to sup-port more embodied understandings which leverage more visceral ways of knowing. I reflect on the nature of the ecosystems under examination as complex networks of interrelationships. In doing so, I draw on both Western and Indigenous philosophies which challenge traditional distinctions between human and nonhuman, machinic and "natural" elements. Ultimately, I prioritise a relational ontology which acknowledges the vitality of these disparate agencies, while recognising asymmetry in power dynamics and the potential for newly emergent social and terrestrial structures. By displacing the human's role as subject atop a hierarchy of relations, I underscore the need for a more than human, embodied approach to the aesthetics of turbulent climate extremes.
Biography
Nagida is a design researcher specialising in immersive experiences. She is a PhD candidate across UNSW’s iCinema Research Centre through and CSIRO’s Data61. Her research investigates embodied sensemaking for researchers interacting with ocean and wildfire visualisations in real-time, 3D environments, exploring multisensory and narrative approaches to bring these visualisations to life.
Juan Carlos Duarte Regino
Researcher
Aalto University
FP: Atmospheric Embodiment: Tuning into the Voice of the Weather
Abstract
This article explores the perception of atmospheric processes,
focusing on environmental sound as a communicative medium.
It delves into the concept of a voice of the weather and examines the complexities of climate, atmospheres, and weather
patterns. This study is oriented toward an embodied listening of the weather, departing from ideas related to a hyper-
sensitivity to atmospheric conditions. The article also grounds
Atmospheric Embodiment through a relationship between the
surrounding weather, envelopment, and immersion, particularly
in the context of music and sound. In parallel, it reviews Otoacoustic Emissions within the framework of composing embodied music, considering potential connections with environmental sound. Drawing from these diverse disciplines, the article proposes a work in progress-media artwork that collects these notions to experience an Atmospheric Embodiment, culminating in the creation of an installation based on Otoacoustic Emissions and environmental sound. This novel approach
aims to attune individuals to the nuanced expressions constituting the voice of the weather.
focusing on environmental sound as a communicative medium.
It delves into the concept of a voice of the weather and examines the complexities of climate, atmospheres, and weather
patterns. This study is oriented toward an embodied listening of the weather, departing from ideas related to a hyper-
sensitivity to atmospheric conditions. The article also grounds
Atmospheric Embodiment through a relationship between the
surrounding weather, envelopment, and immersion, particularly
in the context of music and sound. In parallel, it reviews Otoacoustic Emissions within the framework of composing embodied music, considering potential connections with environmental sound. Drawing from these diverse disciplines, the article proposes a work in progress-media artwork that collects these notions to experience an Atmospheric Embodiment, culminating in the creation of an installation based on Otoacoustic Emissions and environmental sound. This novel approach
aims to attune individuals to the nuanced expressions constituting the voice of the weather.
Biography
Juan C. Duarte Regino is an artist-researcher, currently a Ph.D. candidate at Aalto University. Central to his investigation is the relation between the atmosphere, the act of listening, and the profound concept of attunement. His background is in New Media, and Audiovisual Communication. His artistic endeavors over the last decade have gained recognition and have been showcased at prestigious events and venues internationally. His mission looks beyond conventional, extractive, or deterministic approaches to understanding the relationship between nature and technology. Instead, it ventures into ancient and indigenous knowledge that harmonizes with ecological perspectives on our weather systems, giving voice to the natural agencies at play within the realm of weather. His artistic endeavors have gained recognition and have been showcased at prestigious events and venues such as the CTM Festival, Spiral Gallery, Pixelache Festival, Hai Art, IAMAS, RIXC, Media Art Histories, Ujazdowski CCA, ISEA, Goethe Institut Beijing, ETH Zurich, and Medialab Matadero. Through these presentations, Duarte Regino continues to captivate audiences and provoke thoughtful discussions about the intersection of art, nature, and technology.
Dr monika jaeckel
Artist Researcher
Independent Artist
FP: Realizing Noise – Creating Space for Unknown Expressions
Abstract
This essay considers noisy expressions as potential space provid-ers that defer an anticipatory attitude of classification. It questions how our accustomed aurality prevents us from listening to emer-gent voices and noises around us. Feminist new materialism is combined with indigenous resonant studies and critical readings of information theories to examine and undo the negentropic exclu-sion of noise for knowledge production.
Noise causes reverberations not only because of its contribution to information but also due to its unavoidability as an interference pattern. However, congruent to the one-sided interpretation of agency, noise's affectivity has been rendered dismissible within Western modernity. Despite suppression, distortion, or being declared incomprehensible by Western metaphysics, interferences, when considered in its complexity, noise discloses itself as an equally destructive and creative force.
However, by perceiving reverberating interferences as noisy sig-nals, their material affectivity shifts the affordance of re-sponse/i/ability. Thus, this essay argues that a re-interpretation of noise fundamentally contributes to widening the frequencies for meaning/mattering urgently needed for the pressing tasks of un/learning.
Noise causes reverberations not only because of its contribution to information but also due to its unavoidability as an interference pattern. However, congruent to the one-sided interpretation of agency, noise's affectivity has been rendered dismissible within Western modernity. Despite suppression, distortion, or being declared incomprehensible by Western metaphysics, interferences, when considered in its complexity, noise discloses itself as an equally destructive and creative force.
However, by perceiving reverberating interferences as noisy sig-nals, their material affectivity shifts the affordance of re-sponse/i/ability. Thus, this essay argues that a re-interpretation of noise fundamentally contributes to widening the frequencies for meaning/mattering urgently needed for the pressing tasks of un/learning.
Biography
monika jaeckel, Berlin, artist-researcher, concerned with notions of co-constitutional practice working with performance and technology. Practice-based PhD at the CREAM department, University of Westminster, London, 2021.
Dr Ana Peraica
Atelier Peraica
FP: Common Human Ancestor, Cambrian Explosion, and Punctuated Equilibrium in Photogenetics
Abstract
Analysis of computation of photography in context of visual genetic analysis, but also genetic programming, is often limited to theory of genotype and phenotype, due to its relation to artificial life theory. This presentation dives back into historical pieces of photography computation to indicate presence of other genetic concepts, as; theory of common human ancestor, Cambrian explosion and punctu-ated equilibrium. By focusing on works of pioneers Nancy Burson, Gerhard Lang, and Mongrel, this presentation aims is to show how artistic experiments were not limited to a genetic master-narrative but also had worked with other hypotheses.
Biography
Ana Peraica is the author of a number of books, including The Age of Total Images (Institute of Network Cultures, Amsterdam, 2019), Fotografija kao Dokaz (Multimedijalni institute, Zagreb, 2018), and Culture of the Selfie (Institute of Network Cultures, Amsterdam, 2017). She is also the author of encyclopedia entries for Sage and chapters in anthologies and readers published by MIT Press, Routledge, Palgrave Macmillan, Bloomsbury, and Springer. Her articles appear in journals such as Leonardo, Photographies, Philosophy of Photography, Art Documentation, and others that are peer-reviewed. She was the most recently a Visiting Professor at Danube University in Austria and was a Visiting Fellow at Central European University in Budapest previously.
Dr Ricardo Dal Farra
ISEA International / Concordia University / BunB / UVM
AP: Art, Memory, and Place. Pioneering Research and Technology Innovation to Support Creation (When Resources are Scarce)
Abstract
The development of electroacoustic music during the second half of the 20th century represents a significant achievement in a renewal and long convergence process between art, science, and modern technologies. New aesthetic values and models, scientific theories, technologies and techniques gradually met, allowing a new approach to listening, understanding, and creating music. In Latin America, technology innovators were pioneering the development of instruments and devices that allowed the creation of new media art, including electroacoustic music. Juan Blanco from Cuba, José Vicente Asuar from Chile, Raúl Pavón from Mexico, César Bolaños from Peru, and Fernando von Reichenbach from Argentina were among those innovative creators and engineers.
Biography
Professor of music and media art at Concordia University, Canada. Founder of the Electronic Arts Experimentation and Research Centre (CEIARTE) at UNTREF, Argentina. Founder-Director of the international symposia Understanding Visual Music (UVM), and Balance-Unbalance (BunB). Dal Farra has been director of the Hexagram Centre for Research-Creation in Media Arts, Canada; director of the Multimedia Communication program at the Federal Ministry of Education, Argentina; coordinator of the international alliance DOCAM - Documentation and Conservation of the Media Arts Heritage; senior consultant of the Amauta New Media Art Centre in Cusco, Peru; and researcher of UNESCO, France, for its project Digi-Arts. Creator of the Latin American Electroacoustic Music Collection hosted by the Daniel Langlois Foundation, Canada. Member of the editorial board of Leonardo (MIT Press), Organised Sound (Cambridge Press), and the board of ISEA International. Dr. Dal Farra is an artist who specializes in transdisciplinary actions with science and emergent technologies.
Session chair
Ana Peraica
Atelier Peraica
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