7.5 Mixed
Tracks
Track 5
Wednesday, June 26, 2024 |
10:30 AM - 12:30 PM |
Plaza P9 |
Speaker
Mr Raivo Kelomees
Estonian Academy of Arts
FP: Self-surveillance and Self-perception in the Digital Arts
10:30 AM - 10:55 AMAbstract
The viewer is inside the work, the viewer is in front of the work. The viewer's reflection in the work. The viewer as an object of self-manipulation. A feature of these projects is the reflection of the viewer in the work or being an object of ma-nipulation: the viewer is visible directly as an image or be-comes the object of the work's transformation. Paying atten-tion to projects that manipulate the viewer's image is especial-ly relevant in the current era of selfies. We can see the history and development of digital selfie projects in them. We can describe projects related to self-surveillance and self-perception as viewer functioning at various levels of complex-ity, from low-intrusive mirror-like environments to environ-ments that attack the integrity of the personality.
Biography
Raivo Kelomees, PhD (art history), is an artist, art historian and new media researcher. He studied psychology, art history and design in Tartu University and the Academy of Arts in Tallinn. He is senior researcher at the Fine Arts Faculty at the Estonian Academy of Arts and professor at the Pallas University of Applied Sciences. Kelomees is author of Surrealism (Kunst Publishers, 1993) and article collections Screen as a Membrane (Tartu Art College proceedings, 2007) and Social Games in Art Space (EAA, 2013). His doctoral thesis is Postmateriality in Art. Indeterministic Art Practices and Non-Material Art (Dissertationes Academiae Artium Estoniae 3, 2009). Together with Chris Hales he edited the collection of articles Constructing Narrative in Interactive Documentaries (Cambridge Scholars Publishing, 2014). In collaboration with Varvara Guljajeva and Oliver Laas he edited the collection of articles The Meaning of Creativity in the Age of AI (EKA Press, 2022).
Dr Louise Rollman
Independent Researcher
FP: Collapsing City Narratives: Artistic Activism and Urban Ecologies in Strife
10:55 AM - 11:20 AMAbstract
'InterFace: City as a Work of Art, or City Under Redevelopment' (1988), was a pioneering interdisciplinary project that leveraged art and digital technologies to critique urban change in Meanjin (Brisbane). Emerging as an early experiment predating conventional public art policies and unencumbered by economic or city marketing pressures, the project, with artist Jeanelle Hurst as interlocutor, represents a distinctive approach to imagining the city. Moreover, predating the digital realm as we know it, the project merits renewed critical attention, celebrating Hurst’s obscured influence in shaping early concepts of electronic telecommunications within visual art and culture. Utilizing a multifaceted approach, the study employs critical review analysis, enriched by semi-structured interviews with key participants and observers, historical memory and contextualization. By examining the project's engagement with urban spaces and its conflicted reception in the socio-cultural context of the late 1980s, this research contributes to a deep understanding of place. As a compelling and productive counterpoint to urban renewal strategies, this study positions InterFace as an exemplar that continues to hold significance, especially in fostering innovative, collaborative and socially relevant art within the broader context of urban ecologies and change.
Biography
Dr Louise Rollman is currently a Fryer Library Fellow with the University of Queensland (UQ). Her research focuses on political, urban development and management practices impacting upon the arts and cultural sector. As a curator specializing in commissioning contemporary art for the public realm, she has facilitated countless exhibition-projects including complex, city-shaping public art commissions involving innovative technologies that project onto bridges, wrap ferries, dive into bodies of water and reshape earth. Past projects include 'my own private neon oasis' (2011) (cat.) -- which in recognition of its innovations, influence and reach, was awarded the 2012 Gallery and Museum Achievement Award (GAMAA), M&G QLD; amongst other awards and best practice acknowledgements.
Paz Sastre
Universidad Autónoma Metropolitana
SP: The Time of Tactical Media
11:20 AM - 11:35 AMAbstract
Assuming the premise that what characterizes tactical media is their temporality, the here and now of daily experience, the essay questions the role they could play today. The argument makes a synthetic tour through the history and theory of tactical media from its popularization in the nineties, attending to its decline at the beginning of the 21st century with the rise of the web 2.0, until its disappearance from the dystopian horizon of the current dominant discourses on digital culture, centered on strategies. Paradoxically, social media platforms now seem to be the only ones interested in research on the uses in themselves as advocated by Michel de Certeau. The conclusion proposes to recover the analysis of tactics in its original sense, attending again to the everyday uses of the many and not only the abuses of the few, in order to understand the present of tactical media.
Biography
Paz Sastre holds a degree in Philosophy from the Universidad Autónoma de Madrid and a PhD in Media Studies from the Universidad Complutense in the same city. She is a professor in the Department of Arts and Humanities at the Universidad Autónoma Metropolitana in Mexico. Her work revolves around digital culture from the perspective of visual studies, critical studies and media archeology. In addition to her academic work she is also a regular contributor to projects such as the Media Library of the Huichol Nation, the memory of Mexican feminism of the second wave recorded by Ana Victoria Jiménez, the Mexico Commons Lab (now defunct). She is currently working on the recovery of the information society´s manifestos on which she published in 2021 the anthology "Manifestos sobre el arte y la red 1990-1999" (EXIT).
Chun-Huang Lin
Graduate Institute of Art and Technology, National Tsing Hua University
SP: Float: Evaporation and Dissipation of Digital Information
11:35 AM - 11:50 AMAbstract
Behavior and objects in the physical world are constantly being transferred into large amounts of “information.” As people attempt to find methods to validate the existence of “information,” they also start to try to calculate the “infor-mation weight” by scientific methods. However, the tiny weight of an object after transferred into information is very different from the original object that people perceive. Think-ing about it further: While digital technology is compressing and eliminating entities in people's impressions, the weight of the world's existence is also rapidly condensing, depleting, and evaporating, without us even realizing it. The art project “Float” aims to explore the weight of the world that has been dissipated through various transformations in digital technol-ogy. The project collects postings about “I Lost”and focuses on the disappearance of every materiality. Each operation of a unit scale-like installation represents the production, trans-mission, and dissipation of information. After losing weight in the digital process, the residual minimal weight is diffused into space by the installation, striving to rekindle people's sensory experiences of “loss.”
Biography
Chun-Huang LIN is currently a postgraduate student in Graduate Institute of Art and Technology at National Tsing Hua University. He has received several awards from the 17th KT Art and Technology Awards(2022), Hualien Art Awards(2022), and Excellence Award from Spring-Tsing Hua Art Competition. His works have participated in many exhibi-tions and festivals including 2023 Ars Electronic Festival Linz, 2023 Taiwan Lantern Festival in Taipei (Hakka Area), Tainan Yuejin Lantern Festival, and Hsinchu Lantern Festival.
Miss Chi Hung Huang
National Tsing Hua University
Co-presenter
Biography
Chi-Hung HUANG is currently a postgraduate student in Graduate Institute of Art and Technology at National Tsing Hua University. She has received Excellence Award in Nany-ing Award(2022), and Excellence Award from Spring-Tsing Hua Art Competition. Her works have participated in many exhibitions and festivals including 2023 Ars Electronic Festival Linz, 2023 Taiwan Lantern Festival in Taipei (Hakka Area), Tainan Yuejin Lantern Festival, and Hsinchu Lantern Festival.
Miss Zih Yun Jheng
National Cheng Kung University
Co-presenter
Biography
Zih-Yun JHENG is currently a postgraduate student in Master Program on Techno Art at National Cheng Kung University. Her works have participated in many exhibitions and festivals including 2023 Taiwan Lantern Festival in Taipei (Hakka Area), Tainan Yuejin Lantern Festival, and Hsinchu Lantern Festival.
Dr Clarissa Ribeiro
Program Director
Roy Ascott Studio
FP: Window Water ${object} Moving (Convolutional Mnemonics)
11:50 AM - 12:05 PMAbstract
The paper presents and discusses aspects of the installation “Window Water ${object} Moving (convolutional mnemonics)” (2023-2024) experimenting with Convolutional Neural Networks (CNNs) with ml5.js for object classification to critically address ectogenesis concerning chronopolitics and related temporal aesthetics in the evolution of government views, policies, and program measures, concerning population size and growth. The works address the necropolitical use of humans' bodies, which can foster economic growth in ways that directly and dramatically impact our tentative friendly permanence on Planet Earth. As if an appropriated and deconstructed hookah could be 'a metaphorical ectogenous chamber’ — the relational object (plastic bag resembling a biobag for ectogenesis, atomizer, USB camera/P5JS ml5 for object classification, two hookah flexible hoses tubing and handle)—invites the audience to interfere in the mist pattern by ‘blowing through the hoses’ and consequently influencing the guessing of objects by the machine learning library. The ml5 library is so, guessing ‘objects’ from fluid mist patterns as we guess shapes by observing the clouds. The work explores a possible generative convolutional aesthetics of objects-as-babies-as-objects — as if the only possible babies-outcomes that our accelerated hyper-mediated algorithmic society wants to produce are objects—namable shapes that can be identified by convolutional neural networks’ based libraries. The aesthetics of the trans object and its functioning— blowing through tubes and interfering in the mist fluid and mutable patterns—invites us to navigate animistic references to tubes—flutes, shamanic pipes, humans’ respiratory and reproductive organs, and the generative power attributed to them in the Amazonian Tucano people’s cosmology, from the perspective brought by the anthropologist Stephen Hugh-Jones in his "Thinking through Tubes: Flowing H/air and Synaesthesia.”
Biography
Clarissa Ribeiro, Ph.D., architect, media artist, and researcher, is the Program Director of the Roy Ascott Studio's Technoetic Arts (TA) advanced degree program in Shanghai, China, a senior lecturer and researcher in the Program, serves as a member of the Editorial Board (Editorial Organism) of the ESCI and Scopus-listed journal Technoetic Arts (Intellect Books). Ph.D. in Arts (ECA USP Brazil, Poéticas Digitais/CAiiA hub of The Planetary Collegium, UK), Fulbright Postdoctoral Scholarship awardee (UCLA, Art|Sci Center/James Gimzewski Lab, US), M.Arch. (IA USP, Brazil), B.Arch, member of the UCLA Art|Sci Collective (2013-present), is the chair of the first Leonardo/ ISAST LASER talks to be hosted in Brazil/Latin America (2017-present). Since July 2023, she has been organizing the LASER talks at Roy Ascott Studio SIVA/DeTAO in China. Awarded the Pete Townshend Endowed Senior Lectureship in Performative Technoetics (2022-2024), the core of her explorations is the interest in cross-scale information and communication dynamics that impact and shape macro-scale emergent phenomena. In her recent projects, she explores the metaphysics of information visualization in subversive morphogenetic strategies and the macroscale impacts of molecular, atomic, and subatomic trades in the design of a series of transobjects, welcoming the animistic to navigate ecologies as cosmologies. She is the principal of OI.SE.AU Oce for Sentient Architecture and represents the University of Fortaleza in China. She has widely published in journals and conference proceedings and her work has been exhibited worldwide. She has been a reviewer for Leonardo Journal and the Technoetic Arts Journal, the Leonardo Abstracts Service (LABS), contributing as a member of international conferences and symposium committees and art juries including ISEA International, Consciousness Reframed, and POM Politics of the Machines.
Mr Ian Winters
Independent Artist, University of Sussex
AT: DOMESTIC LIGHT: A mid-project Artist Talk
12:05 PM - 12:20 PMAbstract
Domestic Light is a timely work, conceived in and for a COVID and post-COVID world, it explores the nature of our relationship to the character of light, home, and the passage of time – through the collection of a year-long data time-lapse of spectral color of light in homes worldwide. Currently in process, Domestic Light will have been collecting global multi-spectral light data for 11 months at conference time.
This work-in-progress artist talk on the Domestic Light project will share excerpts and a live view of the currently in-process year-long real time data-video work, and will fore-ground discussion and observations about the creation and collection of the color data at the heart of the project, as well as a facilitate discussion amongst sensor hosts and collaborators about the social and software network built for the project. The presentation concludes with a brief exploration at the future plans for the network and a view of the physical installation premiering in winter 2024.
Members of our sensor host network will discuss the emerging peer to peer artistic and cultural networks that can facilitate new possibilities of observation of our environment and the exploration of expanded temporalities through data time-lapse.
This work-in-progress artist talk on the Domestic Light project will share excerpts and a live view of the currently in-process year-long real time data-video work, and will fore-ground discussion and observations about the creation and collection of the color data at the heart of the project, as well as a facilitate discussion amongst sensor hosts and collaborators about the social and software network built for the project. The presentation concludes with a brief exploration at the future plans for the network and a view of the physical installation premiering in winter 2024.
Members of our sensor host network will discuss the emerging peer to peer artistic and cultural networks that can facilitate new possibilities of observation of our environment and the exploration of expanded temporalities through data time-lapse.
Biography
Lead artist Ian Winters is a media and video artist making works for gallery, site-specific projection / light works, as well live performance staged work. Often collaborating with composers, directors, and choreographers, he creates both staged and site-specific visual and acoustic media environments internationally. His work with noted ensembles and directors in performance, and in more traditional video and visual work, has been supported by the Creative Work Fund, the Rainin Foundation, Zellerbach Family Foundation, Djerassi, and EMPAC, among many others. He maintains an active worldwide teaching practice, leading workshops in live media and the integration of sensors, physical performance and site-based pieces. He studied video and performance at the School of the Museum of Fine Arts and Tufts University, followed by training in dance / physical theater, and architecture. He is also the co-curator of MilkBar with Mary Armentrout and is also a visiting research fellow at the Sussex Humanities Lab at the University of Sussex. More about his projects can be found at www.ianwinters.com.
Other key collaborators in the presentation include curator Vanessa Chang, our partner at Leonardo/ISAST; programmer John Macallum; Bernardo Fipro (sensor host and program-mer, Fernando Martin Velazco (sensor host and communica-tions).
See https://domesticlight.art/team for more information about our full list of collaborators.
Dr Weidong Yang
Co-Director
Kinetech Arts
Co-presenter
Biography
Weidong Yang, Ph.D. is Co-Director of Kinetech Arts, a non-profit organization bringing dancers and engineers together to explore the creative potential of making art via new technologies. He is also the founder and CEO of Kineviz, a data science company that connects world-class businesses, agencies, and nonprofits, with data and provides visualizations of complex data to gain insights for better outcomes. Weidong has been awarded 11 US patents; contributed to 20+ peer review publications; and holds a doctorate in Physics and a Masters in Computer and Information Science from the University of Oregon.
Session chair
Martina Mrongovius
Art Producer
Lake Arts Precinct
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