Ⓥ V.4 Virtual Discussion - Artist Talks
| Monday, June 24, 2024 |
| 12:40 PM - 1:30 PM |
| 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
Dr Pablo Gobira
estudante
UEMG
MUSEUM ON FIRE
Abstract
This work is an excerpt from the research originated from Laboratório de Poéticas Fronteriças regarding memory, preservation and cultural heritage, as the field of digital games studies. We present a report on the game art we have developed, called “Museu em Chamas” (Museum on Fire), related to the discussions previously held by the LabFront research group. So, in this work, we will showcase the development of the game and the work that made it possible to carry out a journey that provides us with different degrees of immersion and can even become an anti-immersion, in a 3D environment, at the National Museum, in Rio de Janeiro. The game, in addition to the route within the Museum, presents possibilities for saving artifacts that belong to the museum's collection, which allows the interactor to form their inventory of objects. Furthermore, the application contributes to the discussion regarding the preservation, safeguarding, and memory, as well as the ones in the arts and digital games field. Concerning the field of digital games, the application demonstrates the potential for reflection on memory and cultural heritage, as the application and use of digital technologies, such as digital games themselves, as a tool to assist in preservation.
Biography
Pablo Gobira is a professor doctor at the Guignard School (UEMG) and a member of the permanent staff of PPGArtes (UEMG), PPGACPS (UFMG) and PPGGOC (UFMG). Director of the Laboratório de Poéticas Fronteiriças (CNPq/UEMG - http://labfront.weebly.com).
Dr Hannen Wolfe
Assistant Professor
Colby College
AT: Paper Bark
Abstract
“Paper Bark” is a virtual reality experience about deterioration, decolonization, and regeneration. It uses generative algorithms, photogrammetric reconstruction, and image style transfer to reconstruct the past, show the present and suggest possible futures. Historically pulp and paper mills were the driving force of economic prosperity for many towns in the state of Maine with the industry peaking in 1967. Due to outside firms maximizing short term profits, the industry collapsed in the 1990s leaving mill towns impoverished. “Paper Bark” focuses on the remains of a 130-year-old mill in Winslow, Maine that closed in 1997, and its past, present and potential futures. The mill is situated in the homeland of the Kennebis people who were displaced during the Indian Wars and sought refuge in other Wabanaki nations. The name of the artwork is derived from the production of paper at the mill and the bark of paper birches, a native plant material used for making canoes, baskets and other goods. “Paper Bark” embodies the ecologies of place and shifting temporalities through a virtual reality, non-linear narrative about colonization, collapse and the potential future regeneration of a paper mill town.
Biography
Hannen Wolfe (they/them) is a media artist and Assistant Professor of Computer Science at Colby College. They earned a PhD in Media Arts and Technology and a M.S. in Computer Science from the University of California, Santa Barbara. Their research is at the intersection of art and computation, building interactive art installations and staging robot performances that uplift underrepresented voices, question how we use technology, and dismantle systemic and structural inequalities. Their work has been shown at SIGGRAPH Art Gallery winning “Best in Show”, the International Symposium on Electronic Art, NIME, CHI Interactivity, IEEE VIS Art Program, Contemporary Istanbul and others. Their research has been published in Leonardo and IEEE Transactions on Affective Computing.
Listening Patterns Sadaf Sadri
University of Washington
AT: Listening Patterns: Encountering Slowness and Resistance
Abstract
This pictorial investigates the convergence of tradition and technology in the creation of the Listening Pattern, an interac-tive prayer mat that explores the relationship between tech-nology, culture and rituals. The mat integrates Persian and Palestinian embroidery with embroidered speakers to invite the audience to reflect upon the current, deeply distressing conflict in the Middle East. By documenting the development of the mat, we interrogate the forms of multi-sensory listening within a textile encounter, and its entanglements with the spaces—spiritual, psychic, sonic—that it creates. The mat embodies the essence of a Persian garden, symbolizing a haven in Persian culture. It combines the renowned Persian design with the resilient symbols of Palestinian embroidery—referred to as Tatreez in this paper—to create a private space for contemplation. While this piece does not intend to repli-cate a religious experience, it delves into the documentation of its progress to inspect the role technology and electronic tex-tile can play in recreation of religious and spiritual experienc-es.
Biography
Sadaf Sadri is a new media artist currently based in Seattle. The focal point of their work revolves around the concept of interruption. Their interest in disruption lies in the void that emerges in the wake of the discontinuation of the established power systems. This void, they believe, offers a space to imagine alternative narratives that might otherwise remain unexplored. To translate their imaginations to a more palpable communicative form, they employ video, AI and Mechatronics.
Sadaf’s main focus in their research is to answer this question: Can the very mechanisms that empower a system to maintain dominance be reappropriated to instigate disruption within that same system?
Professor Deborah Cornell
Chair of Printmaking
Boston University
AT: Breath - An Installation
Abstract
Mystery attracts imagination. Humans sense the immensity of natural forces, envisioning a shaping of the world beyond what can be seen. The video installation Breath is based on the immense space of ocean and air, and the invisible transfer of oxygen into the atmosphere from the unseen action of immeasurable planktonic organisms, an environmental phenomenon that sustains all of human life, and one which is threatened by the warming of the atmosphere and changing ocean chemistry.
This paper outlines the shape of the installation Breath, a work in two-channel video (one fixed-media channel and one interactive) with immersive sound and infrared interactivity. The paper will describe its modus operandi, the research and environmental consequences propelling the work, its imagistic and sonic references, and its interactivity that implicates human interference in vast environmental and sustaining movements.
This paper outlines the shape of the installation Breath, a work in two-channel video (one fixed-media channel and one interactive) with immersive sound and infrared interactivity. The paper will describe its modus operandi, the research and environmental consequences propelling the work, its imagistic and sonic references, and its interactivity that implicates human interference in vast environmental and sustaining movements.
Biography
Deborah and Richard Cornell’s collaborations are presented worldwide, including New York Town Hall, NY Electroacoustic Music Festival, Krakow Print Triennial, Taiwan Normal University, Kala Institute, Buenos Aires, and Dubai.
Deborah’s awards include Grand Prix-Krakow Triennial and the Bunting/Radcliffe Institute, Harvard. Her works are seen in Krakow, Istanbul, Melbourne, and Los Angeles, with presentations in Perth Australia, New York, Dallas, and San Francisco. Collections include Boston Museum of Fine Arts, Hangzhou Art Academy, Danang Museum, Turku Art Museum Finland, RISD Museum, Boston Public Library, RMIT Melbourne, Weisman Art Museum.
Professor Richard Cornell
Professor of Music
Boston University
Co-presenter
Biography
Richard Cornell works in acoustic and electroacoustic media. Awards include the National Endowment for the Arts and the Fromm Foundation, with performances worldwide. He was commissioned by Boston Musica Viva, Boston Modern Orchestra Project, and the Muir Quartet. Recordings are with Sony Classical, Albany, Summit, EMI Virgin Veritas, and Ravello labels.
They are Professors at Boston University College of Fine Arts.
Felipe Mammoli
Researcher
Cti - Renato Archer
Sensing Change: A Creative Journey into Climate Awareness with GaiaSenses
Abstract
This short article presents the GaiaSenses project, a research project that joins science and art to raise awareness about Climate Change. Based on environmental media and art-research literature, it argues that climate change is not only a scientific and political issue, but also an aesthetic issue. Thus it demands new aesthetic responses so non-expert people can make sense of the more-than-human scale of this new phenomena. GaiaSenses tries to answer to this demand by presenting its users with custom audio-visual compositions created using weather data and rendered in real time. Through the conceptual and technical challenges of its implementation, we suggest that a main challenge of raising awareness about climate change is the scale gap between the geological scale of event and the human scale of perception. In this sense, GaiaSenses is part of an increasing movement of multimodal artists that uses scientific informed art-research to produce artworks that blend aesthetic experiences, climate awareness and critical reflection
Biography
Artemis Moroni graduated in Computer Science from the University of Campinas (UNICAMP) and obtained her master's degree in Computer Science and Ph.D. in Computer Engineering from the same university. She is a Senior Researcher at the Renato Archer Information Technology Center in the Cyber-Physical Systems Division (CTI/DISCF). She also collaborates as a researcher at the Interdisciplinary Center for Sound Communication at UNICAMP (NICS). Her areas of interest include multimodal interactive systems, social robotics, computational art, and computational creativity. Artemis Moroni is a pioneer in Art and Technology, actively involved in the field since 1989. She has participated in numerous exhibitions and events, both nationally and internationally, and has contributed to the organization of events in the same scope. https://lattes.cnpq.br/2772554372904564
Felipe Mammoli has a degree in Computer Science from the Federal University of Itajubá (UNIFEI), has a master's degree in Science and Technology Policy from University of Campinas (Unicamp) and is currently a PhD Student in Science and Technology Policy at the same university. His PhD research is an ethnography of predictive modeling of the Amazon Forest. Felipe is currently a PCI researcher at Renato Archer Information Technology Center in the Cyber-Physical Systems Division (CTI/DISCF) working at the GaiaSenses Project. He is interested in Social Studies of Science, Anthropology, Climate Change, Computational Art and Interdisciplinary Methods. http://lattes.cnpq.br/7584235221360008
Artemis Moroni
Co-presenter
Biography
Ms Yan Shao
Artist Fellow
New York University
AT: Left To Feel That Wind
Abstract
Left To Feel That Wind is an installation explores the perception of time stretched across both geological and human scales, through the lens of transformation between the Great Salt Lake and Lake Bonneville. The installation features an intricate hand-layered reimagining of Lake Bonneville, spanning 8 x 18 feet, with its primary material: salt, sand, and water. The Great Salt Lake, depicted by a computer numerically controlled (CNC) system, captures at its lowest water level in November 2022 as a result of climate change. Water drops slowly and evenly from the CNC system, symbolizing the concept of precise time we humans construct and possess in the Great Acceleration. The water permeates into the saltscape, leaving a temporal trace signifies human impact on the environment. The ephemeral contour, along with its surrounding pattern of cracks expands an experience from space-scale to an awareness of time-scale on site, resonating with the passage of industrial time and deep time.
Biography
Yan Shao is a terrestrial artist and creative technologist based in New York. She creates new media works exploring the uncharted territories of perception, mediating the complex interrelations between humans and the earth. Her artistic language draws inspiration from geopoetics, the transitory essence of nature, and the human responsibility towards ecology, resulting in a unique and evocative narrative.
Currently, Yan is an artist fellow at the NYU Gallatin WetLab. She is a receipt of Judson-Morrissey Excellence in New Media Award and the Tisch Initiative of Creative Research Fellowship. In 2023, she completed her MPS from Interactive Telecommunications Program (ITP) at NYU Tisch School of the Arts.
Session chair
Deborah Cornell
Chair of Printmaking
Boston University
Richard Cornell
Professor of Music
Boston University
