Collanews

🔒
❌ À propos de FreshRSS
Il y a de nouveaux articles disponibles, cliquez pour rafraîchir la page.
À partir d’avant-hierVos flux RSS

ARS ELECTRONICA: 9 -13 September 2020, Linz

Par : Marco Savo



Ars Electronica is THE new media arts festival: a core reference for audiovisual events and artists worldwide.

The festival and its audiovisual artists embrace new technology as a tool for artistic expression rather than the main factor of spectacularization.

This critical approach unlock the infinite creative possibilities within new technologies rather than fetishize them, as we have seen happening a lot with projection mapping and more recently with virtual reality.

ars electronica -audiovisual event

The festival was founded in 1979 by cyberneticist/physicist Herbert W. Franke, electronic musician Hubert Bognermayr, music producer Ulli A. Rützel and Hannes Leopoldseder. It has come a very long way since then but it has always kept its main focus on the intersection of art, technology and society.

One of the most appealing elements of the festival is The Prix Ars Electronica: the most prestigious prize in new media arts, with hefty prizes up to 10.000€. Every year the Golden Nica is awarded to the ground-breaking fruits of artistic experimentation from audiovisual artists worldwide.

Prix Ars Electronica - Audiovisual event - open call

Ars Electronica features a wide variety of activities every year: Symposia, exhibitions, performances, concerts and interventions spanning a broad arc from speculative futuristic scenarios to analytical considerations, from provocative actionism to philosophical debate.

Combining amazing artworks with fruitful conversations is the perfect recipe to create a meaningful experience that constantly scans the new media landscape to find the most inspiring projects. The projects are not simply chosen based on their technical realization but most importantly because the social and artistic innovation they incorporate.

The result of this consistent endeavour is the creation of a loyal community of audiovisual artists, researchers and visitors from all over the world that every year reunites in Linz to inspire and get inspired.

 deep space live - fata morgana - audiovisual artists
Deep Space LIVE – Fata Morgana

Since its inception, the festival has been dedicated to develop new themes for each edition and the organizers are also constantly on the lookout for interesting new venues.

Indeed, the ongoing effort to break out of the narrow confines of conventional conference rooms and artistic spaces, and to stage cultural and scientific encounters in the public sphere has become something of an Ars Electronica trademark.

Stay tuned: Ars Electronica 2020 theme will be released soon!

Contact

Website

Facebook | Twitter | Instagram | YouTube

The post ARS ELECTRONICA: 9 -13 September 2020, Linz appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @joan_____giner⁣ ⁣__________________⁣ ⁣⁣ ⁣Abstract...




⁣⁣
⁣#repost @joan_____giner⁣
⁣__________________⁣
⁣⁣
⁣Abstract waves 01 #videomapping #sculpture #digitalart #lightdesign #contemporaryart #interiordesign #visualart #kineticart #multimediaart #art #lightart #digitalinstallation #videoprojection #experiment #waves #millumin2 #aftereffects #motiongraphics #insitu #installation #abstractart #geometricart #triangles #stripes #hypnotizing #artwork #fold #geometric
https://www.instagram.com/p/CB7cIL6pIqh/?igshid=56c4aynq7hil

⁣ ⁣⁣ ⁣#repost @ex_lumina⁣ ⁣__________________⁣ ⁣⁣ ⁣It’s alive...




⁣⁣
⁣#repost @ex_lumina⁣
⁣__________________⁣
⁣⁣
⁣It’s alive again! 😍🥳 The #interactive #laser defence turret #game powered by #millumin, #arduino, #leapmotion, built of a recycled scan #light inspired by #portal game 👍👊⁣⁣
⁣⁣.⁣⁣
⁣⁣.⁣⁣
⁣⁣#interactiveart #arduinoproject #circasismic #besancon #cyberpunk #recycledart #servo #diy #projectionart #sensoryplay #artinstallation #creativity #automation #robot #robotics #makers
https://www.instagram.com/p/CB7b4i4JJaS/?igshid=wnkfcnihgsaw

KEEP YOURSELF CLEAN Exhibition: Online

Par : Marco Savo



Virtual Reality and gaming tools are rapidly becoming the essential vehicles of expressions for audiovisual artists during the Covid-19 imposed restrictions on public events.

We know, we know: no virtual experience can substitute the actual audiovisual event. But that is not the point. The point is experimenting and evolving beyond boundaries accordingly to the contingencies we face in a particular given time.


Audiovisual art as every form of art expression is driven by the tools available, the internal factors such as time and budget, and the external ones, such as venue restrictions or the total lack of them.

Now a lot of digital artists are facing the same problem and they are responding in different ways. The Russian audiovisual art collective VOLNA decided to turn their first solo exhibition: KEEP YOURSELF CLEAN into a virtual reality experience using Unreal Engine.

Keep Yourself Clean Exhibition - Audiovisual Event

The video gaming tool is being widely use in audiovisual art and virtual events. It allows you to simulate real-time scenes and lighting effects.  Exhibition visitors are invited to immerse themselves in the surroundings of each installation and can move freely in the room and choose any observation point.

The following works were reconstructed for the exhibition: the audiovisual installations NEUBAU (2016), Powerline (2017) and Rotor (2018), the light installation Octave (2018), the installation Vague (2019), and two kinetic light installations, Duel (2019) and Nymphéas (2020).

Rotor - audiovisual installation
Neubau -audiovisual installation

Despite the site-specific nature of the works, the overarching artistic principle behind all of them is the search for a universal language of pure forms. These forms, which correspond to the abstract subjects of the installations, are refined during an extensive detailing process, minimalist in their expressiveness and often even have a functional nature.

The eight installations generate intimate spaces where the viewers sits in contemplation of the structural semiotic elements that compose them: light, sound, movement. Each room triggers different emotions slowly revealing themselves while we explore the space and embrace its unique atmosphere.

Duel -audiovisual installation

The primary expressive element in VOLNA’s work is light and its various characteristics, its interaction with space, as well as its movement, the rhythm of chiaroscuro and the way chiaroscuro scenarios unfold in relation to time. Some works include synchronized sound, created to interact closely with the light’s dramaturgy.  

The virtual exhibition space itself is hetero-topic and at the same time proportional to the original exhibition locations. The model exhibits displayed inside it are as close as possible to their real prototypes and preserve the original structural details, including the nature of the lighting and scenarios behind each of the live installations.

The original sound design and ambient sound environments are reproduced, and each work’s context and theme are discussed in an accompanying text.

Powerline -audiovisual installation
Octave - audiovisual installation

In conclusion the exhibition Keep Yourself Clean attempts to embrace all the real and virtual layers of information that make up each of the works, and then let the works themselves become the determinants of perception.

Each of the contexts will “re-sort” in the virtual world, rethink and obey the laws of perception, and each work, in turn, will become an experience of sensory contemplation.

Contact

The post KEEP YOURSELF CLEAN Exhibition: Online appeared first on Audiovisualcity.

ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE

Par : Marco Savo



ADAF is an audiovisual event constantly evolving along with the new creative trends and breakthroughs within the digital arts, without loosing the core vision of its foundation days.

Every year the organisers finetune their artistic program through their open call for audiovisual artists, to keep themselves up to date with the ever-evolving new media art landscape.

From the initial focus on video art, installations and live performances they have been widening their program up to include Virtual Reality experiences (VR), Web Art, Video Games and more.

adaf 2020 - audiovisual event

The Athens Digital Arts Festival has been founded in 2005 and it is the pioneer longest living institution in Greece dedicated to audiovisual culture and digital arts. This year, as other audiovisual events, ADAF is responding to the Covid19 crisis with resilience and creativity.

Their 16th edition ADAF ONLINE| TECHNOTRIBALISM will be accessible to everyone through the internet. More than 5,500 audiovisual art proposals from 100 countries around the world are the source for the ADAF 2020 program selection.

adaf 2020 - open call for audiovisual artists

The 2020 year theme reflects upon our primitive status in the foundations of the new hyper-informational world, where the data-flux is absorbing the entire existence reaching the status of God.

Is technology serving us or we are serving the data-totem by providing our more sensible information, giving up our privacy for a greater good?

Algorithms, already present everywhere in the digital realm, are reading us better than ourselves, better than our friends and siblings and in the name of  optimization of our virtual experience, we are gradually letting them make decisions for us, filter our perceptions predict our behavior, our bio metrics, our emotions.

adaf 2020 - audiovisual event

All manifestations of culture can now be experienced on a digitized basis, translated to a language (code, DNA) and stored for everyone who possess it to experience regardless the circumstances. Markets and Money are transfiguring into intangible algorithmic byproducts. Everything to serve the information flow.

Close your eyes and connect to your data-doppelganger your mirrored algorithmic self to your digital footprint. You are part of techno-tribalism, you are part of ADAF 2020.

Contact

Website

Facebook | Twitter | Vimeo | Instagram | Youtube

The post ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE appeared first on Audiovisualcity.

INFINITE SPACE – Miami Artech House: 13 June – 6 September 2020

Par : Marco Savo



We have put feelers out fetching information about audiovisual events happening in physical spaces, to understand how venues and organisers are coping with the social distancing guidelines.

A lot has been happening virtually since the Covid 19 outbreak but very few actual events have taken place with plenty of cancellations, endangering the already fragile audiovisual culture ecosystem.

Well, Miami Artech House is kicking off with a bang, showcasing the art exhibition of one of the most recognized audiovisual artists worldwide: Refik Anadol.

Refik Anadol immersive installations allow us to leap into an universe of data, featuring a matrix that swallows everything around until there is nothing left outside of it.

His overwhelming data sculptures foresee a post-digital architectural future in which there are no more non-digital realities. A world where man and machine are embedded within each other.

Infinite Space is the first major retrospective of the work of award-winning, Los-Angeles-based, Turkish-born artist Refik Anadol. The immersive data installation invites visitors to open their senses to the endless transformation and infinite possibilities at the intersection of man and machine.

Refik Anadol - Audiovisual Artist

One of the greatest eighteenth-century English artists William Blake famously said, “if the doors of perception were cleansed, everything would appear to man as it is – infinite.”  Infinite Space is a collection of works that revisits Blake’s statement and seeks to cleanse the doors of perception with the tools available to twenty-first-century artists.

The exhibition explores memories and dreams through the mind of a machine by using data sets ranging from human memories, photographs of Mars, cultural archives and sea surface activity as data sculptures and digital paintings.

Book Tickets

Website

Facebook | Twitter | Instagram

The post INFINITE SPACE – Miami Artech House: 13 June – 6 September 2020 appeared first on Audiovisualcity.

SHARJAH LIGHT FESTIVAL: 05 -15 February 2020



Sharjah Light Festival illuminates the Emirate once a year showcasing local talent and internationally renowned audiovisual artists.

The audiovisual event features eye-opening displays of colors, images and lights inspired by a variety of subjects such as beauty, science, creativity and knowledge. 

The yearly festival attracts hundreds of thousands of visitors and takes them on a tour of cultural heights, music, artistic ingenuity and technical skills. Projection mapping artworks and lighting installations illuminate the beautiful architecture of Sharjah.

The festival fuses all the components of beauty, art, culture, education, innovation and higher thinking into one glorious event. 

It includes rich programmes, grouped into clusters based on up to 20 locations with new highlights every year showcase the architectural splendour of Sharjah and the beauty of its buildings.

Utilising creative and innovative light technology and specifically curated music, the architectural landmarks of the emirate, such as Al Noor mosque, Al Hisn Fort, Sharjah University City Campus as well as others can literally be seen in a new light.

Many of the designs are poetic and inspired by local culture, stories and traditions or incorporate nature and space, some are based on more modern art and design, all are beautiful and thought provoking.

The Sharjah Light Festival extends to the east coast towns of Dibba, Khorfakkan and Kalba. The 2019 edition featured well known artists and curators such as Larent Langlois, Cindy Lo, Studio Halpeji and Group F

Website

Facebook | Youtube | Instagram

The post SHARJAH LIGHT FESTIVAL: 05 -15 February 2020 appeared first on Audiovisualcity.

Memo Akten

At Audiovisual City, it’s always a pleasure to discover new audiovisual artists, and sometimes even artists that we should already know, but that we discover late, like Memo Akten.

I stumbled upon Memo’s work in my investigations and learnings of the well-known VJ software, VDMX (which is to put it quite lightly – VDMX is a very powerful visual creation tool).

Memo Akten describes himself as:


“an artist and researcher from Istanbul, Turkey. He works with emerging technologies as both a medium and subject matter, investigating their impact on society and culture – with a specific interest in the collisions between nature, science, technology, ethics, ritual and religion.”

http://www.memo.tv/

Artificial Intelligence

His work goes much further your average visual artist, as he specialises in Artificial Intelligence, works with algorithms and large-scale responsive installations with image, sound and light. In AV culture’s layman terms he’s an audiovisual jack-of-all-trades and a true techy, oh and he’s studying for a PhD in AI as if that wasn’t enough. Here you can see a selection of his work in the very accurately named video, ‘Selection of work in 3 minutes’ (2017).

Audiovisual awards and prizes

Akten received the Prix Ars Electronica Golden Nica – the most prestigious award in Media Art – for his work ‘Forms’ in 2013. He has exhibited and performed internationally at exhibitions including The Grand Palais’s “Artistes & Robots” in 2018 (Paris FR), The Barbican’s “More than human” in 2017 (London UK) and the Victoria & Albert Museum’s landmark “Decode” exhibition in 2009 (London UK). He has shown work at venues such as the Moscow Museum of Modern Art (Moscow RU), Shanghai Ming Contemporary Art Museum (Shanghai CN), Mori Art Museum (Tokyo JP), Royal Opera House (London UK), Lisbon Architecture Triennale (Lisbon PT), Itaú Cultural (Sao Paulo BR) and many others.

Creative Collaborations

He has collaborated with celebrities such as Lenny Kravitz, U2, Depeche Mode and Professor Richard Dawkins, and brands including Google, Twitter, Deutsche Bank, Coca Cola and Sony PlayStation. Akten’s work is in numerous public and private collections around the world.

Alongside his practice, Akten is currently working towards a PhD at Goldsmiths University of London in artificial intelligence and expressive human-machine interaction, to deepen collaborative creativity between humans and machines and augment human creative expression. Fascinated by trying to understand the world and human nature, he draws inspiration from fields such as physics, molecular & evolutionary biology, ecology, abiogenesis, neuroscience, anthropology, sociology and philosophy.

Photo credit: http://www.memo.tv/works/bodypaint/



Marshmallow Laser Feast

Memo hasn’t just emerged on the scene by any means. In 2007 Akten founded The Mega Super Awesome Visuals Company (MSA Visuals), an art and tech creative studio. For some of those who have been following audiovisual culture since before even Audiovisual City was born, then they’ll recognise the name Marshmallow Laser Feast (MLF) – the evolution of MSA Visuals in 2011. In more recent years and a lot of success, Akten is now focusing on his own work and research, though his contribution to audiovisual culture and performance, must not go unmentioned. I strongly recommend that you explore his exceptionally wide and varied body of artwork and scientific investigations, as it takes you on a socia cultural journey that goes beyond audiovisual art.

Website

Instagram | Vimeo

BUY US A COFFEE?BUY US A COFFEE?

The post Memo Akten appeared first on Audiovisualcity.

Natalia Stuyk

Natalia Stuyk is a self taught video artist, famous for her colourful surrealist landscapes and vivid digital fantasy worlds.

Think how things would look if you dreamed in digital formats. Her creative work as audiovisual artist is generally split between personal projects, which later feed her portfolio to get commissioned projects, generally in the world of fashion.

She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).

In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.

Her latest project can be found on Vimeo (below).

Website

Instagram | Vimeo

BUY US A COFFEE?BUY US A COFFEE?

The post Natalia Stuyk appeared first on Audiovisualcity.

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo



How digital arts can unlock value and opportunity in a socially distanced cultural sector?

Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.

Cultural consultants who met over Zoom to explore where their world’s crossed-over, and how their mix of experience could help artists, freelancers, and the arts sector as a whole to combat this unsettling time.

Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.

The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.

Together with a multi-disciplinary group of experts who all have touch-points with digital arts experiences, Audiovisual City and The Revels Office ran a workshop to explore what role digital arts projects could play in the future of arts organisations.

At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.

We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…


Case Study: Enjambre Cellular

Developed by Mónica Rikić, Enjambre Celular is a project created and designed specifically for the Medialab-Prado interactive façade.

It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.


Case Study: Distances

Developed by Scenocosme, In this installation, two people in two separate physical spaces are filmed in real time by two devices.

They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork


Digital art vs digital design.

To make informed choices about the use of digital, it is important to understand the distinction of digital art as an artform in its own right, and digital design as a tool for engagement.

Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.

“The importance of concept is key; you must start with your concept and then chose the technology to match”

Hayley Cantor

What digital art and digital design have in common is their ability to bridge between traditional cultural content and modern, digitally aware audiences, and allow people to fully interact with the arts.

No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.

While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.

Digital arts is the perfect solution for a hybrid cultural offering, connecting those experiencing it online and those there in person, allowing for smaller, safer groups to pass through it without losing the commercial, social and artistic benefits of scale.

Case Study: Virtual Archive.

Virtual Archive is a 3D, computer-generated environment open to interactive exploration by single users.

Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.

  • Digital Archive - Audiovisual Artist
  • Digital Archive - Audiovisual Artwork


Case Study: Natural History Museum of Valparaisa.

In the Introductory Room at Natural History Museum of Valparaíso, Chile, visitors meet an installation of naturalistic illustrations of flora and fauna of the region, highlighting the work of Claudio Gay among others.

Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.

  • Delight Lab - Museum Valparaiso - Audiovisual Artwork
  • Delight Lab - Museum Valparaiso - Audiovisual Artists


It’s time to set the price.

The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.

Digital comes with development costs, artist costs and new software and/or infrastructure requirements, among other operational demands. Digital content is by no means free to create, and so why is it presented as free to consume? There are two ways of looking at this dilemma.

• Option 1 is to embrace the non-financial value that going digital presents: reaching new and much larger audiences, collecting insightful data, offering educational and social benefits, and adopting new methods in storytelling and human connection.

In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.

In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.

• Option 2 is to revaluate and recommunicate the value of the digital experience, and set up platforms that give organisations the option to charge.

Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.

Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.


Case Study: Fulldome Festival

The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.

Case Study: Mutek San Francisco, Nexus Experience

Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event


Demystifying the digital process (and budget).

Digital arts experiences are impactful and memorable no matter what their size, from single exhibition displays through to city-wide festivals. While they can be huge and expensive, often a digital intervention is as cost-effective as a live experience due to the flexibility of the format, recouping investment costs over a far longer lifespan.

For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:

• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.

• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.

• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.

• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.

• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.

• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.


Case Study: 400 Conejos.

As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.

Attendees received a complimentary drink of mezcal prior entering the dome, and once inside they discovered the mezcal making process through an immersive, colour-filled experience using animations and 360 video.

  • Medusa Lab - 400 Conejos - Audiovisual Artwork
  • Medusa Lab - 400 Conejos - Audiovisual Artist


Case Study: Pinata Tweet.

Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.

The interactive piñatas are controlled via Twitter messages sent by the audience. Every tweet contained #TridentSensesPinata, which activated a device that inflated the piñata. As messages accumulated, eventually the piñata exploded over the audience!

  • MID - Pinata Tweets - Audiovisual Artists
  • MID - Pinata Tweets - Audiovisual Artwork



Audiovisual City and The Revels Office plan to now work together.

We aim to connect arts organisations with digital artists and commercial partners, creating inspirational and viable projects in a time of pandemic.

Together we will champion the skills, value and authenticity that digital art and digital tools can bring those looking to find new audiences and new revenue. Get in touch to discuss how these ideas could be applied to your own organisation – hello@therevelsoffice.co.uk

This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.

BUY US A COFFEE?BUY US A COFFEE?

The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.

KUFLEX

Par : Marco Savo

A Russian studio of interactive audiovisual art.

Kuflex Lab is formed by audiovisual artists exploring the newest ways of using video, sound and light, tracking technology and generative graphics to allow viewers to dive into that digital space and feel it to the fullest.

Kuflex large-scale interactive installations dismantle stereotypes of sensory perception. Immersive effect switches off rational evaluative perception and provokes spontaneous emotions of inner child.

A small team creates magic installations and art projects, exploring mechanisms of interaction and inter-influence of inter-subjective reality and its digital projection.

Interacting with constantly changing projection, the viewer enters meditative state, turns from a passive observer into a co-creator. Thus, in “Symbiosis” installation the viewer literally merges with the alien creature, becoming a digital avatar that can be controlled by him or her. 

Installations by Kuflex have been featured in many Russian and foreign exhibitions, festivals, museums, science and education centers in Moscow, Saint-Petersburg, Yekaterinburg, Krasnoyarsk, Tyumen, Abrau-Dyurso, Netanya (Israel), Antalya (Turkey), Athens (Greece, ADAF), Las-Vegas (USA, CES), Beijing (China,China Science and Technology Museum), Manila (Philippines) and others.

Since 2018 the studio has been working on Kusmos software system for interactive visual content of online home concerts. In April 2020 it started  developing Kusmos live version thus turning any stream from home into a fantastic 3D show.

Contact

Website

Facebook| Instagram | Vimeo | YouTube

BUY US A COFFEE?BUY US A COFFEE?

The post KUFLEX appeared first on Audiovisualcity.

Lisa Park

Lisa Park is a multidisciplinary artist based in New York and South Korea.

She is best known for her works with biofeedback devices, such as heart rate and brainwave sensors to express invisible biological signals and emotions as auditory and visual representations.

In creating art installations and performances using sensor technology, she strives to explore the importance of human relationships and connections.

Park is a recipient of the New York Foundation for the Arts Fellowship. Her works have been featured by Art21, Artnet, The Creators Project, New York Times magazine, Wired, PBS, Time Out NY, the New York Post, and through many other media outlets.

She received BFA in Fine Arts at Art Center College of Design and her Masters from the Interactive Telecommunications Program at New York University’s Tisch School of the Arts.

One of her interactive audiovisual installations left us particularly fascinated: “Blooming”.

It highlights the importance of human presence and physical connection in our lives. It cannot be bloomed alone and is only bloomed by the relationship between people. As a response to participants’ skin- to – skin contacts, heart rate, and gestures, “Blooming” blossoms according to their intimacy. As audience members hold hands or embrace , the digital Cherry tree flowers bloom and scatter.

Contact

Website

Facebook | Instagram | Vimeo

BUY US A COFFEE?BUY US A COFFEE?

The post Lisa Park appeared first on Audiovisualcity.

Creating an Industry Standard for a Payment Terminal through Cross-Value Innovation with a Payment Processor

Looking toward 2020 and beyond, the Japanese government has embarked on an initiative to align credit card payment security in Japan with international standards. Multifunctional Retail PINPAD JT-R600 series was developed to respond to this social issue by realizing secure cashless payments. Panaso...

MEDUSA LAB

Par : Marco Savo

MEDUSA LAB is a company specialized in the development of creative concepts applied to arts, entertainment and communication to create unique experiences through technological innovation.

The Mexican company is formed by audiovisual artists developing sensorial experiences through interactive and immersive installations, videomapping, Virtual Reality, Augmented Reality and 360 Video.

They combine digital media with other artistic disciplines such as music, dance, theatre and performance.

Medusa Lab took part of many national and international event such as Venice Biennale of Architecture 2014, Mediaxion, Live Performers Meeting and Circuito Electrovisiones.

Contact

Website

Facebook | Twitter | Instagram | Vimeo | Youtube

BUY US A COFFEE?BUY US A COFFEE?

The post MEDUSA LAB appeared first on Audiovisualcity.

MUTEK SF: NEXUS Experience

Par : Marco Savo

ONLINE, 23 – 24 May 2020

A digital gathering organized by Mutek San Francisco with NEXUS Experience.

The audiovisual event celebrates world-famous digital culture, experimental electronic music and films. It debuts online this year to respond to the current restriction on public events

MUTEK SF – NEXUS Experience is free to join. Donations are welcome as all proceedings will go directly to the artists.

The online festival has worldwide support from the international MUTEK network.

Contact

Website

Facebook | Twitter | Youtube | Instagram

The post MUTEK SF: NEXUS Experience appeared first on Audiovisualcity.

Delight Lab

Par : Marco Savo

Delight Lab is an audiovisual design and experimentation studio pivoting around the concepts of video, light and space.

Established in 2009, covering a variety of projects such as large-scale videomapping projections on architecture, museology audiovisual installations, audiovisual stage design for performing arts, audiovisual content for commercial events, and audio-reactive visuals for live shows among other things.

The origin of Delight Lab goes back when two brothers decided to make projects together at the university: Germán (Design) and Andrea (Art and Aesthetics).

Both audiovisual artists had developed investigations and experimentation with light, the phantasmagoria, the video-projection and the intervention of spaces. All different experiments culminated in a projection mapping on the facade of The Contemporary Art museum of Santiago.

This projection realized in January, 2009 was one of the first mapping projections in Chile. This milestone opened the way to further investigation, artistic and technological experimentation, interdisciplinary exchange and cultural management. These values are still present in every project carried out by the duo.

Contact

Website

Facebook | Twitter | Vimeo | Instagram

The post Delight Lab appeared first on Audiovisualcity.

Facelessmen – Spotlight Bucharest 2018

Par : Radu Ignat

Videomapping on 3 meters metal mask at Spotlight Bucharest Festival.

The post Facelessmen – Spotlight Bucharest 2018 appeared first on Video Mapping Blog.

Carousel

In the colours of the old-fashioned carnivale and traditional Dutch imagery, video projections rotate around the carousel. Sometimes they move exactly with the carousel, and sometimes they turn the other way around. With synchronised lights, smoke en sound effects this carousel becomes more than just a regular fairground attraction. A magical and spectacular image, in an experience for all ages.

 

Concept and video mapping by Beeldjutters.

Carousel by Camping De Lievelinge.

www.beeldjutters.nl

The post Carousel appeared first on Video Mapping Blog.

⁣ ⁣⁣ ⁣#repost @mrlupin⁣ ⁣__________________⁣ ⁣⁣ ⁣Great time...




⁣⁣
⁣#repost @mrlupin⁣
⁣__________________⁣
⁣⁣
⁣Great time collaborating with Darren at 101 residency Repost @d_johns_⁣
⁣・・・⁣
⁣Recent experiments for solo work #lockdown #visualart #installationart #solodance #performance #monochromatic #scifiart #darrenjohnston #arrayuk. •⁣
⁣•⁣
⁣Tech : reseaches using #millumin
https://www.instagram.com/p/CANXVEnJNEp/?igshid=1qx28ezd8a53p

Rapid and Accurate Facial Recognition: Even Faces Covered by Sunglasses or a Mouth Mask

Facial Recognition Server Software FacePRO pairs intelligent surveillance cameras with deep learning technology utilizing artificial intelligence (AI). It provides highly accurate high-speed facial recognition, by comparing captured images of people's faces with images stored in a database. At the ...

L.E.V. Festival

Par : Marco Savo
LEV-festival-Audiovisual-Events

Gijon, September 10 –  13 2020

L.E.V. (Laboratorio de Electrónica Visual) is a platform specialized in the production and promotion of electronic sound creations, and its relationship with visual arts. It was a European pioneer in this field, and since more than 13 years ago, it tries to converge the natural synergy between image and sound, and the new artistic trends, making special emphasis on live actions.

LEV develops the L.E.V. Festival (in Gijón) and specific, de-localized shows called LEVents. Through both proceedings, the platform reaches its goal: to provide an eclectic, panoramic vision of the current state of creation and all its connections, in an ever-evolving environment.

That is why LEV focuses its work both on international artists that are leaders in audiovisual creativity and local artists, both pioneers and new talents.

L.E.V. is a co-production between the Principado de Asturias Government, the Gijón City Council and LABoral Art and Industrial Creation Centre and it was designed and conceived by the Asturian collective Datatrón. The festival honors by its acronym to Lev Thermen (Russian scientist father of the present-day synthesizers).

Laboral, Camino de los Prados 121,

Gijon, Spain

Contact

Website

Facebook | Twitter | Vimeo | Instagram

The post L.E.V. Festival appeared first on Audiovisualcity.

Mónica Rikić

We present the new media artist, Mónica Rikić, whose work focuses on code, electronics and non-digital objects to create interactive projects often framed as experimental games.

Her interest lies in the social impact of technology, human-machine-human coexistence and the reappropriation of technological systems to rethink them through art. From educational approaches to sociological experimentation, her projects propose new ways of interacting with the digital environment that surrounds us.

She’s participated in festivals such as Arts Electronica, Sónar and FILE, among others. She’s been awarded at Japan Media Arts Festival, AMAZE Berlin, Margaret Guthman Musical Instrument Competition (Atlanta) and with a BBVA Foundation Leonardo grant to work on a research project about robots and social interactions.

She has also done artistic residencies at TAGin Montreal, QUT- The Cube in Australia, Platohedro in Medellin and Medialab Prado in Madrid.

Currently she’s part of two Creative Europe projects: Contested Desires and ARTificial IntelligenceLab.

We encourage you to see her webpage to know more about different projects that connect humans with technology.

Contact

Website

Facebook | Instagram | Vimeo

The post Mónica Rikić appeared first on Audiovisualcity.

Genius Loci Weimar

Par : Marco Savo

04 – 06 September 2020, Weimar

MAKE WALLS TALK!

The international GENIUS LOCI WEIMAR Festival for audiovisual projections was launched in 2012 as part of the ‘Weimar Summer’ initiative.

Optimally located in this city of poets, musicians and thinkers, as well as the birthplace of the Bauhaus movement, the festival has become an important cultural event for Thuringia, and is now in its ninth edition.

Through the technique of videomapping, Genius Loci Weimar redefines historical buildings and renders history and architecture as tangible for visitors. Every year, three new buildings and structures in and around the city of Weimar are chosen to become a part of the competition and festival.

The winning concept submissions, which must be in a medial narrative form, expressed at the highest technical level through the art of projection mapping, are developed and produced for one of the selected competition facades. Alongside the classic projections, an additional facade represents an interface with the media architecture in the form of a permanent installation. 

2020 is set to be a significant year for Germany, with jubilees and anniversaries that could hardly be more contrasting. The “Year of Music 2020” is celebrating Ludwig van Beethoven, Franz Liszt and numerous other composers whose great works could not have been created without the acclaim and support that they enjoyed in Germany.

For this year’s edition of the festival, GLW is expressly encouraging makers of short films, motion graphic artists and video and film artists of all backgrounds and genres to apply for the selected locations through the medium of their disparate visual aesthetics, animation techniques and narrative concepts.

MXPerience gUG / Goetheplatz 9b / D-99423 Weimar

Contact

Website

Facebook | Twitter | Instagram | Vimeo

The post Genius Loci Weimar appeared first on Audiovisualcity.

FIBER Festival

Par : Marco Savo

Amsterdam, 24 – 27 September 2020

FIBER Festival is an Amsterdam based festival for audio-visual art, digital culture and electronic music.

With the program – which consists of multi-sensory art, performances and in-depth lectures – FIBER presents emerging art practices that offer alternative perspectives on our 21st century society.

With the festival theme of Instability the festival explores new ways of adapting to an age of planetary and societal changes. What opportunities are open to artistic making and thinking to contribute to this transformation?

Our living environment is often presented to us as stable and unquestionable. Landscapes, borders and technological infrastructures are considered static entities. Yet current crises now force us to transform the way we relate to our ecological surroundings. Extreme weather, droughts, wildfires and viruses are forces of nature that tear apart our modern way of living with far-reaching consequences.

The festival aims to seek artistic narratives, skills and sensibilities to prepare us for an alternative life in a period of uncertainty and radical instability.

FIBER Festival

Amsterdam, Netherlands

info@fiberfestival.nl

Contact

FIBER

Facebook | Twitter | Instagram | Vimeo

The post FIBER Festival appeared first on Audiovisualcity.

teamLab

Par : Marco Savo

teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world.

teamLab aims to explore the relationship between the self and the world and new perceptions through art. In order to understand the world around them, people separate it into independent entities with perceived boundaries between them.

teamLab seeks to transcend these boundaries in our perception of the world, of the relationship between the self and the world, and of the continuity of time. Everything exists in a long, fragile yet miraculous, borderless continuity of life.

teamLab’s works are in the permanent collection of the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; National Gallery of Victoria, Melbourne; and Amos Rex, Helsinki.

Contact

Website

Facebook | Twitter | Instagram | Youtube

The post teamLab appeared first on Audiovisualcity.

Huge Ventilation Fans Just Like an Airliner's Engines: Understanding the Ventilation System Essential for a Safe Tunnel Environment

The Yamatogawa Route, measuring approximately 10 km in total length, fully opened in March 2020, connecting between Sakai City and Matsubara City in Osaka. Panasonic constructed the tunnel ventilation facilities for this route. Panasonic delivered more products than any other project of this kind i...

Yannick Jacquet

Par : Marco Savo

Yannick Jacquet has spent ten years developing an visual arts project exploring how to reverse the deterioration inherent in our exchanges with the world.

His process of visual creation draws on structural elements as disparate as the architecture of the Centre Pompidou-Metz and a Ravel string quartet. While the precise stratagem may vary, from the spectacular to the intimate, each undertaking is always rooted in the concept of resilience.

This is art haunted by a discourse on the end of time. Jacquet makes no mystery of it. He invokes parallels with the Belgian artist Berlinde de Bruyckere’s work on mutations in living matter, the Japanese Ryoichi Kurokawa‘s stellar visions, and his fellow Swiss artist Jean Tinguely’s sardonic laugh and his 1960s machines designed to self-destruct.

Born in Geneva in 1980, Yannick Jacquet lives and works in Brussels. His work was presented at Contemporary art events, museums & galleries, in Paris, Moscow, Tokyo, Brussels, Montreal and Taiwan. He has received awards at the Milan Design Week and the collector’s prize at Brussels Slick Art Fair.

His regular collaborations with different artists lead him to the Mécaniques Discursives work-in-progress, developed with the printmaker Fred Penelle, a project that is frequently exhibited in Europe and Asia. He is one of the founders of the Antivj visual label.

Contact

Website

Facebook |Vimeo | Instagram

The post Yannick Jacquet appeared first on Audiovisualcity.

Creativity in Quarantine by Boris Chimp 504



Time in quarantine seems to have developed into a huge focus on creative minds, with more online festivals and artistic projects than you can shake a stick at. At Audiovisual City, we’ve been taking advantage of the time to network with artists and discover more projects than ever. We got in touch with Miguel and Rodrigo AKA Boris Chimp 504 through the audiovisual network #supportvisualists, and were particularly keen to learn more about their experiences, experimentations and creations during the quarantine so far…

1. You guys are based in Portugal. How is the situation there at the moment and how have you been affected professionally, as audiovisual artists?

We had some shows and projects cancelled or postponed, not only with Boris Chimp 504 as with other parallel projects. In the case of Boris Chimp 504 we started presenting a new AV Show – Vanishing Quasars – last September and had some nice shows in the end of 2019 Electro Alternative (Toulouse), Fotonica (Roma), Criatek (Aveiro), 948 Merkatua (Pamplona) and we were hoping to tour the show around in 2020. But now with these situation, everything is on standby, and we are unsure about when we’ll be able to get back on stage.
R: In my particular case I also teach at the university (and are running the classes on videoconference), so I am able to have a fixed income. But many Portuguese artists/technicians/AV/…. who work as freelancers or project based in the cultural, events, music and AV scene are struggling as everything has stopped right now, and many are left with zero income for an unpredictable amount of time.
M: Luckily I have some savings (ah ah) and the government gives some financial help to “independent workers” [autónomos in Spanish] but I’m still working (at a much lower rhythm) on projects that hopefully will happen when this situation ends.

2. As an audiovisual collective, you usually collaborate together in a physical space. How has your way of working changed in the current situation?

In our case, our way of working has not changed much, as we live in different cities (Porto, Faro). So working remotely is our normal way of working: making video calls, changing emails with ideas, sending audio/video files back and forth, etc… The project started when we were both living in Barcelona, and then we were working in the same physical space and developed some nice working and communication skills between us. When eventually we came back to our hometowns, we managed to change that on a virtual basis, although we frequently travel between Faro and Porto, and also so every time we have any kind of presentation we use that time fully for rehearsing, test stuff, etc… Right now it looks like we won’t be travelling soon, so this gives us more time to work on audiovisual content, than when we are touring.

“Boris has been travelling through deep space, crossing interstellar clouds of dust, star clusters and infinite planetary systems. It is not clear where he is now in the space-time continuum, his last transmission with Vladivostok Space Center was the following set of AV explorations from the deep space.” 

3. What things have you learned as a result of the quarantine and what would be your message to other AV artists around the world about how to manage the situation in order to prepare for the future?

R: In the beginning I thought that I would be super-productive during these days, and spend days coding and creating visuals, learning new stuff, but in fact it is super difficult to concentrate, as I am constantly checking the Covid19-news social media etc. So my artistic productivity is really low. Also I ended spending even more time in front of the computer, which is not good, as after some hours I start to get dizzy, tired and without patience to create anything. On the other hand I have been really enjoying cooking, speeding time in the kitchen and try new dishes (maybe because I am not looking at screens.). So my advices would be: low your productivity expectations, avoid check the news all the time (maybe only 1 time a day to keep track of the situation). And manage your screen time, avoid spend all day in front of the computer.

M: In my case I have a small toddler home to keep me busy, so soon I realised it would be much more difficult to work (at home) than before. After accepting the facts, I work with a different pace now, enjoy time with my family and try to watch the minimum news possible about Covid-19. I’m still aware and not disconnected of all around but I think it’s wise to try to keep a “safety distance” from getting overwhelmed. I would say that more than trying this moment to work more (and get stressed about it), maybe this is a time to slow down and accept it. Sooner or later we’ll all gonna go back to crazy schedules so we better enjoy while we can.

To find out more about Boris Chimp 504, see their artist page

The post Creativity in Quarantine by Boris Chimp 504 appeared first on Audiovisualcity.

Light Move Festival Open Call 2020

Par : Marco Savo

DEADLINE: 15 APRIL 2020

The international Call for Concepts for the 10th edition of „Festival of Kinetic Art of Light” Light.Move.Festival. is still open for submission!

LMF is looking for the artistic works that will unconventionally change the existing space of the city. Large-format projections on facades of urban buildings, light installations or interdisciplinary projects.

Present your work in an open urban space to hundreds of thousands of visitors of the festival of lights in Łódź!

The theme of 10th Light.Move.Festival. is: FUTURE

The call is divided into three categories:

  1. Large-scale projections (2D/3D mapping, animation, light shows)
  2. Art in public spaces (light installations, interactive projects, performing arts)
  3. Debut/Experiment

READ MORE AND APPLY

The post Light Move Festival Open Call 2020 appeared first on Audiovisualcity.

❌