presentations

Posted on October 27, 2018December 31, 2019 by admin Events, news, presentations, projects, Report

Forensics and rescue in Mediterranean humanitarianism

The EGS seminar this year will continue to pursue the question of refugees, rights, and representation. The struggle for rights and recognition occurs on a battlefield of representations, among other things, and some of the chief actors on that field are humanitarians. “Refugee” is a category for both humanitarian and human rights discourses, and the tension between the two representations of this condition has given rise to a robust critical literature. To claim rights is not the same thing to ask for help; the demand for justice can be very different than the plea for aid. Both discourses, though, make reference to the concept of ‘humanity,’ and both practices increasingly rely on forensic or evidentiary strategies. We will explore critical accounts of humanitarian action and ask about their significance in light of the ongoing criminalization not only of migrants in the Mediterranean and elsewhere, but also of the humanitarians who seek to aid them. Is a new sort of politics of humanitarian action emerging in response to this targeting? We will continue to work with the investigators of Forensic Oceanography (this year Charles Heller will join us) , and we will also meet with humanitarian activists based in Malta.

SESSION 1: EXPELLED FROM HUMANTY ALTOGETHER
Hannah Arendt, “The Decline of the Nation-State and the End of the Rights of Man,” in The Origins of Totalitarianism, World Publishing (1958), 267-302
Jacques Rancière, “Who is the Subject of the Rights of Man?,” South Atlantic Quarterly 103:2-3 (Spring-Summer 2004), 297-310

SESSION 2: CRITIQUE OF HUMANITARIAN REASON
Didier Fassin, “Truth Ordeal” and “Conclusion,” in Humanitarian Reason, U Cal P (2011), 109-129, 243-257
Miriam Ticktin, “The Illness Clause,” in Casualties of Care , U Cal P (2011), 89-127

SESSION 3: FORENSIC OCEANOGRAPHY 1: FROM NON-ASSISTANCE TO DEATH BY RESCUE
Charles Heller and Lorenzo Pezzani, “Case: Left-to-Die Boat” and “Liquid Traces,” in Forensis, Sternberg (2014) , 638-655, 657-684
Heller and Pezzani, “Ebbing and Flowing,” Near Futures Online 1, March 2016
Forensic Oceanography, The Left-to-Die Boat Case (2012): http://www.forensic-architecture.org/case/left-die-boat/
Forensic Oceanography, Death By Rescue (2016): https://deathbyrescue.org/report/narrative/

SESSION 4: FORENSIC OCEANOGRAPHY 2: CRIMINALIZING RESCUE
Amnesty International, Between the Devil and the Deep Blue Sea (2018)
Forensic Oceanography, Blaming the Rescuers (2018):
https://blamingtherescuers.org/
Valentina Zagaria, “When rescue at sea becomes a crime,” Open Democracy (15 September 2018)
https://www.opendemocracy.net/can-europe-make-it/valentina-zagaria/when-rescue-at-sea-becomes-crime-who-tunisian-fishermen-arrested-in-italy-really-a
Giulia Bertoluzzi, “Tunisian fishermen on the front line of migrant tragedy,” Middle East Eye (31 October 2017)
https://www.middleeasteye.net/in-depth/features/fishermen-zarzis-1153799343

SESSION 5: SEMINAR WITH MALTA HUMANITARIAN ACTIVISTS

SESSION 6: RESCUE AS DEPOLITICIZING OR REPOLITICIZING?
Sophie Hinger, “Transformative Trajectories” (interview with Heller and Pezzani), Movements 4, no. 1 (2018), 193-208
Heller and Pezzani, “The Perils of Migration” (October 2018), draft – no circulation
Paolo Cuttitta, “Repoliticization through Search and Rescue”,” Geopolitics 23, no. 3 (July -September 2018), 632-660
Paolo Cuttitta, “Pushing Migrants Back to Libya, Persecuting Rescue NGOs,” Border Criminologies blog (18 April 2018), Parts I and II

IF WE HAVE TIME
Joe Sacco, “The Unwanted,” in Journalism, Jonathan Cape (2012), 107-157
https://www.vqronline.org/vqr-gallery/unwanted-part-1
https://www.vqronline.org/vqr-gallery/unwanted-part-2

Posted on September 9, 2018December 31, 2019 by admin Events, presentations

boattr.uk @Digital Research in the Humanities and Art

Adnan presented the boattr.uk project during the DRHA conference, in form of a paper and as a 360 video installation.

This 360 video installation lets the conference visitor experience the ‘boattr’ project through a VR headset, and access the boattr micro-computer book over any WiFi enabled device. The installation encompasses a photographic triptych showcasing canal life, a seating representing a narrow boat’s bow on which the viewer can sit and immerse into a journey on the narrow boat Quintessence. With the evolution the moving image inserted itself into broader, everyday use, but also extended its patterns of effect and its aesthetical language. Video has become pervasive, importing the principles of “tele-” and “cine-” into the human and social realm, thereby also propelling “image culture” to new heights and intensities. The boattr 360 installation makes use of video as theory, reflecting the structural and qualitative re-evaluation it aims at discussing design and organisational level. In accordance with the qualitatively new situation video is set in, the installation presents a multi-dimensional matrix which constitutes the virtual logical grid of the boattr project. The installation translates online modes into physical matter (micro computer), thereby reflecting on logics of new formats – by rendering a dynamic, open structure, allowing for access to the boattr micro-computer book over the ‘boattr’ WiFi SSID.

The boattr DIY infrastructures offer a unique set of special affordances for local services to the narrow boat community, outside the public Internet: the ownership and control of the whole design process that promotes independence and grass-roots innovation rather than fear of data shadows; the de facto physical proximity of those connected without the need for disclosing private location information, such as GPS coordinates, to third parties; the easy and inclusive access through the use of a local captive portal launched automatically when one joins the network; the option for anonymous interactions; and the materiality of the network itself.

DRHA (Digital Research in the Humanities and Arts) continues to be a key gathering that brings together the creators, users, distributors, and custodians of digital research and resources in the arts, design and humanities to explore the capturing, archiving and communication of complex and creative research processes. DRHA is rapidly expanding in the contemporary global context of arts, sciences, education, communication- and information- economies and the creative industries. DRHA provides a forum for debate across these areas focusing on the interchange between disciplines concerning the use of new technologies relating to knowledge, communication and creative practice. This takes place within a context of rapidly expanding technological infiltration throughout all areas of life, causing changes that are irreversible. It is our belief that certain digital practices both critique and influence the social and political, in as much as they question the very nature of our accepted ideas and belief systems regarding new technologies.

Over recent years DRHA has broadened its field of enquiry from the humanities to include many distinctive disciplines in the arts. Previous conferences at Dartington, Cambridge, Queen’s University Belfast, Brunel University, the University of Nottingham’s Ningbo campus in Shanghai, the University of Winchester, the University of Greenwich, Dublin City University, the University of Brighton and most recently Plymouth University, have welcomed colleagues from many research fields and professional backgrounds, from academia, creative industries and the worlds of performance and fine art. At the same time, DRHA has strived for the provision of intellectual and physical space for cross-disciplinary discussion and ideas generation.

Posted on March 21, 2018December 31, 2019 by admin Events, presentations, reports, research

displaying video as theory and reference system

What’s Visible – the mechanics of i-docs

The interactive timeline

This presentation explores the structural tensions between narrative and navigability
in interactive documentary by focusing on the role of the on-screen timeline.
The challenges of mapping \ onto space extend at least as far back as the Middle
Ages, when historical genealogies appeared in visual forms including branches of a
tree and rivers. However, the timeline as we know it – a straight horizontal line
whose length precisely measures a given duration – only dates as far back as charts
designed by Thomas Jefferys and Joseph Priestley in the mid-17th century
(Rosenberg & Grafton 2010). Over recent decades, the horizontal timeline has
further evolved into a pervasive technological and conceptual framework for the
making and viewing of moving images. From the sequence window of ‘non-linear’
editing software to the play bar of online videos, the horizontal timeline shapes how
we engage with video. It also encapsulates the paradox of interactive documentary:
always just a swipe away, it is metonymic of the hegemony of linear narrative in
contemporary media, yet it also makes possible non-linear navigation through
moving images.

Using examples including the interactive documentary Filming Revolution (Alisa
Lebow, 2015) and the VR artwork Timescrubbing (Rachel Rossin, 2016), this paper
explores different ways in which timelines have informed the structure of interactive
nonfiction, and how they can also be used by film-makers and artists to disrupt linear
narrative. The paper concludes by exploring how the concept of the timeline applies
to virtual reality, and how the gesture-based interactive toolset of VR may make
possible works that follow a predetermined narrative trajectory but still allow real-time
interaction. It does so with reference to research currently being carried out by the
author and VR studio Vrtov on the interactive documentary Cinema Unframed, which
aims to use gesture as a tool for temporal navigation through moving images.

References
Rosenberg, Daniel, and Anthony Grafton. 2010. Cartographies of Time: A History of
the Timeline. Princeton N.J.: Princeton Architectural Press.

after.video: displaying video as theory and reference system

After video culture rose during the 1960s and 70s with portable devices like the Sony Portapak and other consumer grade video recorders it has subsequently undergone the digital shift. With this evolution the moving image inserted itself into broader, everyday use, but also extended it s patterns of effect and its aesthetical language. Movie and television alike have transformed into what is now understood as media culture. Video has become pervasive, importing the principles of “tele-” and “cine-” into the human and social realm, thereby also propelling “image culture” to new heights and intensities.1 YouTube, emblematic of network-and online-video, marks a second transformational step in this medium’s short evolutionary history. The question remains: what comes after YouTube? How might we understand a time when global bandwidth and multiplication of – often mobile – devices as well as moving image formats “re-assemble” both “the social”2, as well as the medium formerly-known-as video itself? What is one supposed to call these continuously re-forming assemblages? Or: how should one name the ubiquitous moving images in times when they are not identifiable any more as discrete video “clips”? Are we witnessing the rise of Post-Video? Extended video? To what extent has the old video frame been broken?

This paper discusses the use of video as theory in the after.video project6, reflecting the structural and qualitative re-evaluation it aims at discussing design and organisational level. In accordance with the qualitatively new situation video is set in, the paper discusses a multi-dimensional matrix which constitutes the virtual logical grid of the after.video project: a matrix of nine conceptual atoms is rendered into a multi-referential video-book that breaks with the idea of linear text. read from left to right, top to bottom, diagonal and in ‘steps’.

Unlike previous experiments with hypertext and interactive databases, after.video attempts to translate online modes into physical matter (micro computer), thereby reflecting logics of new formats otherwise unnoticed. These nine conceptual atoms are then re-combined differently throughout the video-book – by rendering a dynamic, open structure, allowing for access to the after.video book over an ‘after_video’ WiFi SSID.

Posted on November 1, 2017December 31, 2019 by admin news, presentations, relevant projects, research

The Glass Room: Big data, privacy and interactive art

Over 40,000 people visited The Glass Room in London and New York City. Hear how Tactical Tech and Mozilla are using immersive art to inform people about data security and privacy.

The Glass Room is an immersive, hands-on art experience that teaches people about personal data.

During two exhibitions, in New York City and London, over 40,000 people learned about how personal data is gathered, how it’s used, and the myriad types of data companies, governments, organisations and others access. A collaboration between Tactical Tech and Mozilla offers lessons in communicating about technical issues like data and privacy. It also provides insights into innovative public engagement strategies.

For a pedestrian on a busy street of London or New York, The Glass Room is a pop-up “tech store with a twist.” At first glance, it seems to offer the latest in shiny digital consumer products, such as the newest tablet or fitness tracker. But as you go inside, you find there’s nothing for sale. Instead, as you explore you’ll find a selection of art works exploring who is collecting our personal data and why, and what we can do about it.

The Glass Room brings together art, technology and the aesthetics of consumer retail. Visitors are presented with political questions about the data we share online with or without our knowledge. The exhibition creates a welcoming and accessible space that enables visitors to question their own assumptions about their digital lives and data, and to explore difficult and suppressed questions about their online activities.

A Glass Room tour. Photo by David Mirzoeff.

Tactical Tech has partnered with Mozilla to open Glass Room exhibitions in New York and London in the two years since opening “The White Room” in a larger exhibition at the Berlin Haus der Kulturen der Welt.

Following The Glass Room New York, the New York Times reported:

“To move through the Glass Room…was to be reminded of the many ways we unwittingly submit ourselves and one another to unnecessary surveillance, with devastating consequences… I left the Glass Room invigorated by the ways artists are exploring the dark side of our digital footprint.”

Tactical Tech has worked on data and privacy for some years. We’ve seen many public awareness campaigns on data, privacy and surveillance, struggle to make a significant impact.

Putting together the Glass Room, we saw an opportunity to work with artists and their work to lead people outside their comfort zone and test their assumptions. By creating an immersive space we were able to test different forms of engagement through art objects, animations and products visitors could take away, such as our Data Detox Kits.

Data Detox Bar

People interacting at the Data Detox Bar. Photo by David Mirzoeff.

With The Glass Room we hoped we could bring debates and discourse highly prevalent in academia and technology activism to a broader audience. In a sense we hoped to fill the perception gap between niche discussions and issues on technology and popular media depictions of technology, such as Black Mirror, by presenting abstract and often speculative issues as a real-life, tangible, and even tactile, experience.

It turned out to be a timely intervention as large-scale data harvesting conversations enter more mainstream discourse. We challenged the audience’s willingness to engage with a broader and deeper reflection about the “quantified society,” the impact all-pervasive data sharing is having on our public sphere – transport, health, education – as well as on our sense of ourselves.

Following the success of the White Room in Berlin, we worked closely with Mozilla, artists, and designers from an experiential agency to expand and develop the concept to work in a retail context.

In both cities before opening, we launched advertising campaigns on billboards, in subway stations and online.

The exhibit was open for around three weeks in each city and over that period visitor numbers kept growing. By the final weekend in London we had reached our capacity inside and queues formed down the road.

The results: over 40,000 visitors attended, and there has been widespread media coverage, including articles in the New York Times, Channel 4 News, the BBC, New Scientist, Vogue and tech media such as The Verge. Social media activity was also sparked; for example, a Facebook Live event attracted over 47,000 viewers.

Audiences have been diverse. The majority of the visitors were ordinary passersby,who were either drawn in when walking past or heard about the exhibition from word of mouth. We attracted tourists, hipsters on the way to the cinema, families on a day out or simply people wandering in while shopping.

For the exhibits, we partnered with local artists to curate art works to add context and relevance so that the facts about how our personal data is being collected and used could come alive for non-technical visitors. We also installed a “Data Detox Bar” – at the back of the space in New York and right in the centre of the store in London – where people could pick up a “Data Detox Kit,” our easy 8-day guide to a digital makeover. We also created dedicated event spaces where we curated programmes involving activists, technologists, journalists, and some of our partner artists, where their own work around data and privacy was presented and discussed.

Glass Room visitors, 2017.

Glass Room visitors, 2017. Photo by Alistair Alexander.

Critically, for both cities, we recruited and trained a local group of “Ingeniuses” from diverse backgrounds and communities. Many had no experience in technology or privacy but after a four-day training camp, had enough knowledge to give privacy help and advice. They were a constant and welcoming presence in the space, engaging visitors in conversations, providing explanations, and even offering some recommendations when such were sought. They also led workshops, free and open to everyone and to all levels of technical knowledge, with titles such as “WTF – What the Facebook,” “Mastering your Mobile” and “DeGooglize your Life.”

The exhibitions sparked a depth of engagement rarely seen in awareness-raising campaigns. Many visitors stayed for an hour or more; some stayed for an entire day to take free workshops. Lots of people came back for repeat visits, often bringing with them friends or family.

The Glass Room was open for around 3 weeks in both cities and over that period visitor numbers kept growing. By the final weekend in London we had reached our capacity inside and queues formed down the road.

In New York and London visitors filled out over 840 feedback cards. Some typical feedback:

After visiting the Glass Room I feel…

As if I’m finally accessing the vault control room. Shocked, enlightened, provoked.
Happy someone is showing us how our data is being used.
Interested in technology and data. I want to study technology and data. (from an eight-year old youngster)
Glad there is so much research keeping watch on corporate surveillance.
My mind has been opened.
Healthily paranoid.

After visiting the Glass Room I want…

To cleanse my online life and move away from Google.
To know more. It is not about becoming paranoid, it’s about being more prepared.
To get involved in protective steps to recover privacy for all.
To be more creative how I talk to people about privacy and security.
To talk to human beings more than ever.

Child at Glass Room London

A child at interactive Glass Room exhibit in London. Photo by David Mirzoeff.

What we learned

What can be taken away from this project? We think at least these things:

By setting up an exhibition in prime shopping locations, we were able to take issues of data and privacy to where people are, rather than hoping they‘d come to us.

By using art to explore these topics, we were challenging peoples’ assumptions in ways a conventional narrative can never achieve, and we were opening avenues for further enquiry.

By mirroring the design cues of tech stores, we used a visual language that everyone understands, and thus we were able to attract people who might well be put off by an art exhibition.

By taking the issues off line and creating an immersive physical space that was free and open to everyone, we created a public spectacle – an inclusive space where the experience of discovering these curious objects was shared with others, making the whole experience memorable and impactful.

And perhaps most crucially, by having a team of Ingeniuses who were from the local communities, we made the exhibition a vibrant, warm and human space – where visitors always had someone they could talk to.

Challenges

Of course, putting on a project of this scale has its limitations and challenges.

Renting prime retail locations and launching outdoor advertising campaigns doesn’t come cheap and we – like most small non-profits would – needed additional support. We were lucky that Mozilla proved to be the perfect partner. Not only did they have resources to do the project justice, but as the project progressed it became clear that their objectives and values were closely aligned with ours, and they gave us the freedom and support to develop the concept as far as we could.

Even with such an ideal partner though, an exhibition like this can only be temporary and will only reach a limited number of people in a very specific location. So we need to figure out ways of reaching more people, in more places, at substantially less cost.

Easier said than done, but we’re working on it. Over 2017 we developed a portable version of the exhibition, the Glass Room Experience. This kit recreates some of the objects from the main exhibition as 3D cardboard shapes and posters. We trialed this at around 10 events in Europe as we iterated the design. The kit development, production and distribution cost only a fraction of the main exhibition. And it provides small organisations and groups with materials that they can use to help explain these issues to their communities.

Although far smaller, the effect we have achieved on Experience visitors – over 7,000 of them to date – we believe, has been highly positive and has allowed us to take the Glass Room to places and people who would never see the full Glass Room.

The future

We are working again with Mozilla to produce a new edition of the “Internet of Things” that will be distributed to 75 events and organisations around the world in 2018. At the same time, we plan to find “multiplier” organisations that can print, distribute and support dozens of Glass Room Experienceevents themselves – allowing us to reach far beyond what our own capacity would allow.

The Glass Room experience kit development, production and distribution does have a cost, but it is a fraction of the main exhibitions. And crucially, The Experience provides small organisations and groups with materials that they can use to help explain these issues to their communities.

We’ll also be working with larger events and festivals to produce a mobile version of the exhibit, Glass Room Plus, which will be entirely self-funded. And we’ll be looking at developing new versions for schools and young people, libraries and universities, among many other audiences.

We’ll be looking at developing our self-learning resources online, so people can access more structured approaches to improving their online privacy.

We may yet open a major Glass Room pop-up store in another major world city in the future, but for now we’re working on promising avenues that can take Glass Room themes and narratives to yet new places and contexts: a hack lab in Lagos, a conference in Taipei, a crypto-rave in Brazil.

So the Glass Room project continues to evolve and develop. Indeed, it may be coming to you in 2018 – wherever and whoever you are. And if it’s not coming anywhere near, please get in touch – you could be the perfect Glass Room Experience host.

This story was written by Alistair Alexander of Tactical Tech. Alexander helped develop and implement The Glass Room project.

Top photo of Glass Room storefront by Nousha Salimi.

Visit the Glass Room London virtually, in WebVR

This past week, Mozilla and Tactical Tech launched The Glass Room in London. This “store” is actually an exhibition that disrupts how we think about technology and encourages people to make informed choices about their online lives. Now, anyone can experience the exhibit online and in real life.

Like a Black Mirror episode come to life, The Glass Room prompts reflection, experimentation and play. At first glance, it offers the latest in shiny digital consumer products, such as the newest tablet, fitness tracker or facial recognition software. But as visitors go inside, they find there is nothing for sale.

A closer look at the ‘products’ reveals works of art that peek behind the screens and into the hidden world of what happens to user data. The ‘Ingenius’ team is on hand to answer questions raised by the exhibit, engaging the public in conversation and helping them with alternatives, privacy tips and tricks.

This 360° view will take you deep inside the space and allow you to experience the exhibit everyone in London is talking about.

As a pioneer in WebVR technology, Mozilla believes this is an excellent opportunity to make this unique experience available on the web to everyone, everywhere, without the need to install an app or proprietary VR software. You simply click on the link and enjoy.

If you have an Oculus Rift or HTC VIVE, you can click on the VR icon to launch the Glass Room experience in WebVR. You can then immerse yourself in everything The Glass Room has to offer without taking a trip to London. All you need is the latest version of Firefox. WebVR for Firefox is enabled by default on Windows, so simply open the web site and you can explore the virtual Glass Room with your headset and hand controls. Mac users with headsets can download Firefox Nightly for early access to WebVR.

As this revolutionary technology develops, there will be more opportunities to create interactive exhibits, like The Glass Room, in VR that tell immersive stories on the web.

Visit vr.mozilla.org to find more experiences we recommend in WebVR including A- Painter, a VR painting experience. If you’d like to learn more about the history and capabilities of WebVR, check out this Medium post by Sean White.

Posted on October 21, 2017December 31, 2019 by admin news, presentations, research

360º Video and Interactive Storytelling

During Open Fields conference Adnan presented “after.video – displaying video as theory and reference system”:

360º Video and Interactive Storytelling

Aigars CEPLITIS / Luis BRACAMONTES / Adnan HADZI / Arnas ANSKAITIS / Oksana CHEPELYK
Venue: The Art Academy of Latvia

Moderator: Chris HALES

Aigars CEPLITIS. The Tension of Temporal Focalization and Immersivity in 360 Degree 3D Virtual Space

The fundamental raison d’être for the productions of immersive technologies is the attainment of an absolute psychosomatic and physical embodiment. The impasse, however, for audiovisual works shot in 360° space, is that their current schemata as well as their visual configuration oppose the very type of an experience it strives to deploy. To crack the code of narrative design that would render 360° films to offer a truly immersive experience, a number of 360° video prototypes have been created and tested against the backdrop of Seymour Chatman’s narrative as well as Marco Caracciolo’s theories of embodied engagements in order to assess the extent of immersion in a variety of 360° narrative setting, zooming in on summary, scene, omission, pause, and stretch. Such prototype simulation is further followed by testing audiovisual plates whose micronarratives are structured in a rhizomatic pattern. Classical films are edited elliptically, although cut and omission are demarcated in cinema, with cut being an elliptical derivative, and in favor of using freeze frames to pause for a pure description. In 360° cinema, in turn, omission, cut, and pause, do not operate properly; its cinematic preference for here and now creates an inherent resentment to montage. Singulative narrative representations of an event (describing once what happened once) remains the principal core in spherical cinema, with repetitive representations deployed rarely, merely as special effects, or as a patterning device in flashbacks or thought-forming sequences through the post-digital editing style. The repetitive sequences in 360° become particularly disturbing, when their digital content is viewed, using VR optical glasses, instead of desktop computers, and such contrasts answer more fundamental questions as to whether montage is detrimental in 360° film, what types of story material and genre are more suitable for 360° cinema, and how do we gage the level of embodiment. Finally, the residual analysis of the before mentioned prototype simulation brings to the fore the rhizomatic narrative kinetics (the fusion of the six Deleuzoguattarian principles with the classic narrative canons), that should become, de facto, the language of 360°, if the embodiment is to be the key.

Biography. Aigars Ceplītis is the Creative Director of Audiovisual Media Arts Department at RISEBA University, where he teaches Advanced Film Editing Techniques and Film Narratology. He is also a PhD candidate at New Media MPLab, Liepaja University, where he is investigating novel storytelling techniques for 360 degree Cinema. Aigars has been working as a film editor in feature films “The Aunts”, “The Runners”, “A Bit Longer”, “Horizont”, and on 20 TV miniseries “The Secrets of Friday Hotel”. He has formerly served as an office manager and film editor for Randal Kleiser, an established Hollywood director best renown for hits such as “Grease” and “Blue Lagoon”. While in Los Angeles, Aigars headed the program of film and video for disadvantageous children of Los Angeles under the auspices of Stenbeck Family, the owners of MTG. Aigars holds an M.F.A. in Film Directing from California Institute of the Arts and B.A. in Art History from Lawrence University in Wisconsin.

Luis BRACAMONTES. Teleacting the story: User-centered narratives through navigaze in 360º video

This research explores the possibilities of a user-centered narrative strategy for 360º video through a new feature called “navigaze”. Navigaze is a feature introduced by the swedish Startup “SceneThere”, and it allows a controlled level of agency in the storytelling that borderlines between gaming and film. “Teleaction” here is understood from Manovich’s perspective of “acting over distance in real time” as opposed to “telepresence” implying only “seeing at a distance”. Immersive storytelling for Virtual Reality and 360º video presents a new challenge for creators: The dead of the director. At least in the traditional way as seen in other mediums such as theater or film. As its frameless quality and highly active nature demands for a fluid and flexible narrative.
Navigaze allows the user to inhabit a story instead of just witnessing it. By including a space-warp feature reminiscing to Google Street View, users can explore the “virtual worlds” and unravel pieces of the story on their own by gazing at the blue hotspots that transports them to the next location within the same world. Thus, the story constitutes a series of pieces of a puzzle that every person can put together as they want creating a unique narrative experience, similar to Julio Cortázar’s game-changing novel “Hopscotch” (1963).
Focusing on two pieces by SceneThere, “Voices of the Favela” (2016) and “The Borderland” (2017), this research delves into the evolution of storytelling on VR and 360º video and the early stages of the creation of their own narrative language.

Biography. Luis Bracamontes is a narrative designer and writer, specializing in Storytelling for VR and AR. He is an intern in the Virtual Reality start-up, “VRish” in Vienna. And he is currently studying an Erasmus Mundus Joint Master Degree in “Media Arts Cultures”, between Danube University Krems, Aalborg University and the University of Łódź. He has a B.A. in Communication Sciences with a specialization in Marketing and has worked for over 6 years in performing arts and literature. In 2014, he was awarded the “Youth Achievement Award for Art & Culture”, an honorary award given to the most promising and active youths with an outstanding trajectory in art and culture given by the City Hall of Morelia, for the work of his production company “Ala Norte”. Since 2015, he is a member of the Society of Writers of Michoacán (SEMICH). In 2016, he worked as an innovation and marketing consultant in the VIP Fellowship by Scope Group and the Ministry of Finance of Malaysia, in Kuala Lumpur. His recent research includes a paper on hybrid VR Narratives supervised by Oliver Grau, and a research project on post-digital archive experiences supervised by Morten Sondergaard, and presented at the NIME (New Interfaces for Musical Expression) International Conference 2017 in Copenhagen.

Adnan HADZI. after.video – displaying video as theory and reference system

After video culture rose during the 1960s and 70s with portable devices like the Sony Portapak and other consumer grade video recorders it has subsequently undergone the digital shift. With this evolution the moving image inserted itself into broader, everyday use, but also extended it ́s patterns of effect and its aesthetical language. Movie and television alike have transformed into what is now understood as media culture. Video has become pervasive, importing the principles of “tele-” and “cine-” into the human and social realm, thereby also propelling “image culture” to new heights and intensities. YouTube, emblematic of network-and online-video, marks a second transformational step in this medium’s short evolutionary history. The question remains: what comes after YouTube?
This paper discusses the use of video as theory in the after.video project (http://www.metamute.org/shop/openmute-press/after.video), reflecting the structural and qualitative re-evaluation it aims at discussing design and organisational level. In accordance with the qualitatively new situation video is set in, the paper discusses a multi-dimensional matrix which constitutes the virtual logical grid of the after.video project: a matrix of nine conceptual atoms is rendered into a multi-referential video-book that breaks with the idea of linear text. read from left to right, top to bottom, diagonal and in ‘steps’. Unlike previous experiments with hypertext and interactive databases, after.video attempts to translate online modes into physical matter (micro computer), thereby reflecting logics of new formats otherwise unnoticed. These nine conceptual atoms are then re-combined differently throughout the video-book – by rendering a dynamic, open structure, allowing for access to the after.video book over an ‘after_video’ WiFi SSID.

Biography. Dr. Adnan Hadzi has been a regular at Deckspace Media Lab, for the last decade, a period over which he has developed his Goldsmiths PhD, based on his work with Deptford.TV. It is a collaborative video editing service hosted in Deckspace’s racks, based on free and open source software, compiled into a unique suite of blog, cvs, film database and compositing tools. Through Deptford TV and Deckspace TV he maintains a strong profile as practice-led researcher. Directing the Deptford TV project requires an advanced knowledge of current developments in new media art practices and the moving image across different platforms. Adnan runs regular workshops at Deckspace. Deptford.TV / Deckspace.TV is less TV more film production but has tracked the evolution of media toolkits and editing systems such as those included on the excellent PureDyne linux project.
Adnan is co-editing and producing the after.video video book, exploring video as theory, reflecting upon networked video, as it profoundly re-shapes medial patterns (Youtube, citizen journalism, video surveillance etc.). This volume more particularly revolves around a society whose re-assembled image sphere evokes new patterns and politics of visibility, in which networked and digital video produces novel forms of perception, publicity – and even (co-)presence. A thorough multi-faceted critique of media images that takes up perspectives from practitioners, theoreticians, sociologists, programmers, artists and political activists seems essential, presenting a unique publication which reflects upon video theoretically, but attempts to fuse form and content. http://orcid.org/0000-0001-6862-6745

Arnas ANSKAITIS. The Rhetoric of the Alphabet

Through practice and research I aim to reflect on the connections between language, perception, writing and non-writing.
Jacques Derrida wrote in his seminal book Of Grammatology: “Before being its object, writing is the condition of the episteme”. I am curious – to what extent a written text still is (or should be) the condition of knowledge in artistic research? Does artistic research in general belong to and depend on this understanding of science? Would it be possible to do research without writing? How then one could share findings and outcomes of such research with the public and other researchers?
Writing interests me not only in the context of language, but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space? In an attempt to answer the self-imposed question, I have created 3D models of cursive letters and exhibit them as video projections. In each visualization an imaginary writing implement produces an uninterrupted trace – a stroke on the writing plane. On this digitally-simulated stroke – the projection plane – a stream of texts and images is being projected.
I will attempt to combine two sides of artistic research (practice and theory) through writing – a writing system as an art project. Part of the doctoral thesis could be written and presented using this system.

Biography. Arnas Anskaitis (1988) is a visual artist, a lecturer and a PhD student at the Vilnius Academy of Arts. He employs a variety of media in his work, but always starts from a direct dialogue with the site and context in which he is working. His work has been shown at the Riga Photography Biennial (2016); National Art Museum of Ukraine, Kiev (2016); 10th Kaunas Biennale (2015); Contemporary

Oksana CHEPELYK. Virtual Reality and 360-degree Video Interactive Narratology: Ukrainian Case Study.

The aim of this thesis is to present some Ukrainian initiatives developing VR and 360-degree Video Interactive filmmaking: SENSORAMA in Kyiv and MMOne in Odesa. SENSORAMA as AN IMMERSIVE MEDIA LAB of VR reality grow VR | AR ecosystem in Ukraine by supporting talents with infrastructure, education, mentorship and investments.
An interactive documentary «Chornobyl 360», created by the founders of Sensorama Lab, filmed in spherical view of 360 degrees about Chernobyl Nuclear Power Plant, which was the site of Chernobyl disaster in 1986, is now proven to be in demand on the global market. The immersive technologies are used to change human experience in the fields that matter to millions: VR therapy research, healthcare etc. SENSORAMA is based in UNIT.city, a brand new tech park in Kyiv.
The company MMOne from Odesa has created the world’s first three-axis virtual reality simulator, in the form of chair attached to an industrial robot-like arm that moves in response to the action in a video game called Matilda. MMOne hopes the invention takes the global gaming industry in some entirely new directions. The startup debuted Matilda in October 2015 at Paris Game Weeks in France, presenting its device in cooperation with multinational video game developer Ubisoft, which created a racing game especially for Matilda called “Trackmania.” Since the Paris games exhibition, MMOne has had several big companies from the U.S. IT community ask to try out their chair, like Youtube, the Opera Mediaworks, world’s leading mobile advertising platform, Facebook’s Instagram, and Oculus LLC.

Biography. Dr. Oksana Chepelyk is a leading researcher of The New Technologies Department at The Modern Art Research Institute of Ukraine, author of book “The Interaction of Architectural Spaces, Contemporary Art and New Technologies” (2009) and curator of the IFSS, Kiev. Oksana Chepelyk studied at the Art Institute in Kiev, followed a PhD course, Moscow, Amsterdam University, New Media Study Program at the Banff Centre, Canada, Bauhaus Dessau, Germany, Fulbright Research Program at UCLA, USA. She has widely exhibited internationally and has received ArtsLink1997 Award (USA), FilmVideo99 (Italy), EMAF2003 Werklietz Award 2003 (Germany), ArtsLink2007 Award (USA), Artraker Award2013 (UK). Residencies: CIES, CREDAC and Cite International of Arts in Paris (France), MAP, Baltimore (USA), ARTELEKU, San Sebastian (Spain), FACT, Liverpool (UK), Weimar Bauhaus (Germany), SFAI, Santa Fe, NM, (USA), DEAC, Budva (Montenegro). She was awarded with grants: France, Germany, Spain, USA, Canada, England, Sweden and Montenegro. Work has been shown: MOMA, New York; MMA, Zagreb, Croatia; German Historical Museum, Berlin and Munich, Germany; Museum of the Arts History, Vienna, Austria; MCA, Skopje, Macedonia; MJT, LA, USA; Art Arsenal Museum, Kyiv, Ukraine; “DIGITAL MEDIA Valencia”, Spain; MACZUL, Maracaibo, Venezuela, “The File” – Electronic Language International Festival, Sao Paolo, Brazil; XVII LPM 2016 Amsterdam, Netherlands.

Art Centre, Vilnius (2014); 16th Tallinn Print Triennial (2014); National Gallery of Art, Vilnius (2012); Gallery Vartai, Vilnius (2012), and in other projects and exhibitions.

Posted on June 7, 2017 by d.tv Deptford.TV, mazi, news, presentations, projects, regeneration, Report, reports, research, ReSynced

Creeknet XF Symposium

Its been a very hectic few weeks at SPC as we bring focus onto DIY networks of Deptford Creek at the first Creeknet Symposium on 20th and 21st June.

The poster here for you to print and put up in your window, outlines event details which can be found in full on the SPC event listings and at http://deptfordcreek.net

The Creeknet friends have been meeting regularly at venues up and down the creek. We have been exploring the fast changing environment and revisiting access points onto the river, crossing bridges and improving an understanding of local concerns and ambitions. The last of these before summer takes hold is on Monday 12th June at noon, in the Undercurrents gallery inside the Birdsnest pub on Deptford Church Street. We will be collecting together images and stories to publish at the local network Anchorholds, a trail of information points along the creek, so please do come along to contribute your experiences !

Rapid progress was made by the very energetic Hoy Steps clear-up group on Monday 5th June. The huge overgrowth of Buddleia clogging views, was cut down and disposed of in a flurry of action and enthusiasm. The vigorous roots of this plant have got deep into and have damaged the sea wall and will continue to regrow unless more drastic measures to remove remnants are adopted soon, even then they are likely to return!

Wooden pallets stored at street level have been sorted and stacked ready for re-use or removal and the rubbish sheet materials, plastic wrappers and polystyrene are bagged ready for disposal. We return early on Tuesday 13th to complete the clean-up process in preparation for a public viewing during Creeknet Symposium the following week.

Friends of Deptford Creek is a community group set up to support, represent and protect the human, natural and built environment of Deptford Creek, London. How do these two different groups work together? How does the changing landscape affect them? What technologies can help?

Find out by joining us over an exciting two days of public meet ups and workshops to exchange ideas and explore the DIY networks of Deptford Creek<http://deptfordcreek.net/>.

Meet MAZI<http://mazizone.eu/> partners from around Europe, Chat to local community groups, and play with our technology that support local networks and discuss what’s next for Deptford. You can attend all or parts of these events over the two days by registering with Eventbrite here:

Tuesday 21st June 2017
Wednesday 22nd June 2017

For further information please visit this website.

This week starting Monday 12 June, we have a busy schedule to install equipment, complete work and do last minute promotion. (really!). Today we are meeting at the Undercurrents Gallery in the Birdsnest pub to update the mazizone prototype there and meet with local mariners and artists to discuss their network systems. On Tuesday it’s an early Lowtide and 10AM return to the Hoysteps to complete clearup work and prepare for a visit the following week, refreshments provided. After lunch we will be installing bluetooth beacons along the creek to mark out the Anchorhold locations

Wireless Wednesday at http://bit.spc.org this week is dedicated to preparation of print materials for distribution during the Creeknet Symposium so please come along and help out, but please hold off on the broken PC’s for a couple of weeks! On Thursday and Friday, We will be testing the Creeknet Anchoholds app, a guide to the DIY networks of Deptford Creek. If you would like to help out please call for more details as we will be working along the length of the tidal creek from Brookmill Park to the Swing bridge.

http://friends.deptfordcreek.net

Don’t forget to tell us you are attending Creeknet Symposium, not least so we can arrange catering! Please register.

Creeknet meet-up @ Hoy

The MAZI Project is working on an alternative technology, Do-It-Yourself networking, a combination of wireless technology, low-cost hardware, and free/libre/open source software (FLOSS) applications, for building local networks, known as community wireless networks.

Posted on February 9, 2017 by adnan Announcement, Events, ideas, news, presentations, Report, reports, research

Algorave @ Transmediale – ever elusive

This year we took our Digital Media students from Coventry University to an exchange with Digital Media students from Leuphana Unviersity to Berlin, during the Transmediale Festival. A student excursion as a collaboration between Leuphana University, Coventry University and transmediale whereby students from the digital media bachelor programs of both schools can engage with the content of the festival while also having space and time for guided reflection, led by the organising faculty and invited guests, in the period of February 2nd through February 5th, mixing groups of digital media bachelors students from
Leuphana University and Coventry University. The aim will be for students to engage with the festival activities while having moments to reflect theoretically, artistically and technically with the material at hand.

I made a note of the following sessions at Transmediale:

Material Flows: Rafts and Bodies at Sea

Starting from the project Plastic Raft of Lampedusa (by YoHa, 2016–17), featured in the exhibition “alien matter,” this session discusses moments where technical objects such as watercraft and human life becomes inseparable. By dismantling the type of rubber boat used by refugees for crossing the Mediterranean, the project addresses an underexplored space where technical objects and human bodies historically and contemporaneously conjoin and merge into new entities. Placelessness is contrasted with the forms of governance, materials, and technical standards that have the power to hold a body afloat or allow it to drown. It is an extreme metaphor for our relationship to digital technologies, where bodies emerge that are in transversal collaboration with technical objects and the administrative machinery of advanced capitalism. This is not a project that is concerned with the morals of the European migrant crisis, nor is it an attempt to re-invoke the sublime of European aesthetics. This project is about a plastic boat whose journey takes place in the sea’s lack of fixity, the space between different state actors and scales of administrative discipline.

YOHA–PLASTIC RAFT OF LAMPEDUSA
As part of the special exhibition “alien matter” at Haus der Kulturen der Welt, The DAZ (Deutsches Architektur Zentrum) hosts the disassembled rubber raft of _Plastic Raft of Lampedusa_ by artist duo YoHa. In their work, the artists explore the circulation of economic, material, and human flows that have a mutual influence on one another. 2–8 FEBRUARY 2017, DAILY 15:00–20:00 Deutsches Architektur Zentrum DAZ Köpenicker Straße 48/49, 2. courtyard, 10179 Berlin
www.daz.de

TRACING INFORMATION SOCIETY–A TIMELINE
In collaboration with the Technopolitics working group, transmediale presents the exhibition “Tracing Information Society–a Timeline” at neue Gesellschaft für bildende Kunst (nGbK). Technopolitics turns the
exhibition venue into a curated space for knowledge. A twelve-meter-long timeline depicts the development of the Information Society from 1900 until today.

Elemental Machines

The concept of machines generally describes an assemblage of parts assigned to an overall function, designed by a human. Yet, the entwined histories of science, technology, and art are filled with ideas about nature functioning like machines, and of visions where machines become “natural” and organic. These two paths seem to merge as machines increasingly communicate autonomously and operate in fields beyond human perception and influence. Can we devise new perspectives for understanding the elemental machines that now seem to operate contingently within hybrid techno-ecologies like the forces of nature? What are the new aesthetic and political affordances or subjectivities involved in the process of technology becoming environmental?

Becoming Infrastructural – Becoming Environmental

What does the infrastructural and environmental becoming of technology really mean? Which economic, cultural, and geopolitical factors become apparent when we overcome the purposeful dematerialization of media? How can new infrastructural imaginaries, escaping anthropocentrism, embrace a different understanding of the role and impact of technology today? To address these questions, different emerging ecologies and multiple paradigms become the starting point for a keynote conversation. Lisa Parks examines entanglements of the natural with the technological, and presents the unknown use, adoption, and interruption of infrastructural sites by nonhuman species, pointing towards new conceptualizations for their uses beyond the human. Erich Hörl approaches “environmentality” as a new contemporary condition, discussing how within this new “General Ecology,” we must take into account the environmental becoming, not only of technology, but also of power, thinking, and the world itself. The keynote conversation explores the challenges and limitations of this new infrastructural and environmental condition.

Excursion: Ecologies

The event features new artistic research into messy, disperse ecologies, which characterize planetary life, as it is re-constructed in flows of data, capital, and natural resources. In order to make the underlying planetary systems more tangible, the micro- and macro-political will be connected and the problematics of scale are brought to the foreground through the projects Mycelium Network Society and Shift Register.

Mycelium Network Society, a brand new network initiative situated in a post-internet mudland, diverts the pursuit of magic mushroom, from a state of hyper-hallucination to collective fungal consciousness, and investigates the fungi culture, its network capacity to communicate and process information.

Shift Register is a research project investigating how human media, technological and infrastructural activities have marked the earth. It investigates and renders legible the material evidence of human activities on earth, registering these not as indicators of human achievement, but as ambiguous negotiations and signposts of planetary exhaustion.

Friendly Fire: What Is It to Re-think Radical Politics, Today?

In light of recent political events like Brexit and the Trump victory, the Left must re-think its approaches. The rise of Right-wing populism is transforming the arena of conflict, struggle, and antagonism, marking it with increasingly xenophobic and nationalistic politics. How can the Left question and understand this arena anew? Is there an emergent politics, which can design effective forms of organization and confrontational strategies, and extend the logics of political communication? How should the Left reconsider radical agendas and strategies? And how can it effectively adjust trajectory and mobilize forces to confront the increasingly hostile, cynical, and polarized social, economic, and political terrain? Central to this new terrain is a rapid re-articulation of relationships between the masses, communities, movements, infrastructures, and media, both old and new. This panel reflects on the role of digital media in the political field, the data infrastructure of the public sphere, and a politics of re-collectivity that reexamines conflict and struggle as progressive forces in democracy.

This panel is a cooperation between Berliner Gazette and transmediale and launch for the Berliner Gazette annual project FRIENDLY FIRE

Hegemonic Media and Their Opponents

Persistent inequalities continue to prevail on the dark side of today’s powerful media platforms. Companies like Facebook and Google possess the power to shape ideologies, beliefs, and desires by offering a range of services from providing Internet access to supplying infrastructures for the accumulation and organization of information. The panel will discuss emerging forms of digital colonialism while looking into various examples of opposition and resistance. Can we confront the subtle and hidden forms of this new cultural hegemony? Who are (or aren’t) the new digital subalterns? Focal points of discussion include the defeat of Facebook’s Free Basics service in India, the politics of the Google Cultural Institute, and new transcultural forms of resistance.

Immediate & Habitual: The Elusiveness of Mediation

With the increased networking of our digital world, media technologies—once stable apparatuses of communication—have dissolved into new ecologies. Being composed of and affected by human and nonhuman actors, users and machines, fleshy bodies and digital objects, such media ecologies overcome previously conceived separations and dichotomies between culture and technology. How does this ongoing yet unnoticeable shift transform our everyday life? And what renders the processes behind media technology today so elusive? During this keynote conversation, two prominent Media Studies scholars shed light on these questions from different angles. Richard Grusin emphasizes the role of a new immediate, radical, and ubiquitous form of mediation that transcends communication, affecting future-oriented events. Wendy Chun stresses the importance of the habitual character of media technologies today, through which media becomes part of our lives, and in reverse our lives become part of a new technological culture.

Middle Session: The Elemental Middle

As media steadily melt into the environment, they become both more naturalized and estranged in the sense that we understand the way they work less and less. The “Elemental” Middle Session highlights the unnoticeable media we live and work among, focusing equally on their material (technical) properties and their cultural meanings. Rather than relying on the worn-out critical mechanisms of “revealing what lies beneath” or “exposing hidden truths,” the discussion focuses on de-naturalization and re-familiarization. Speakers discuss areas of infrastructural intersection and entanglement, identifying ways in which structures of power reinforce each other through ubiquitous media. What are the “elemental” substrates of contemporary media? Is it helpful or possible to try and reduce a complex ecosystem of human and nonhuman actors to its elementary particles?

Prove You Are Nonhuman

From the time of the famed Turing test until today, humans have engaged with different forms of artificial intelligence, drawing comparison to possibilities of the human brain. The role of the human, capable of complex processes that machines cannot perform, has often been to intervene and secure proper functioning of machine learning systems. In today’s entangled condition, with examples of bots tweeting as humans, filtering and moderating news content, or as high frequency traders defining financial flows, it is increasingly difficult to tell who or what is acting. Is it possible to locate and comprehend the role and function of nonhuman actors? Which old and new approaches are might be of use? What would it take and what would it mean to stop anthropomorphizing computers and obtain a machinic point of view?

Singularities

A singularity is a point in space-time of such unfathomable density that the very nature of reality is brought into question. Associated with elusive black holes and the alien particles that bubble up from quantum foam at their event horizon, the term ‘singularity’ has also been co-opted by cultural theorists and techno-utopianists to describe moments of profound social, ontological, or material transformation—the coming-into-being of new worlds that redefine their own origins. Panelists contend with the idea of singularities and ruptures, tackling transformative promises of populist narratives, and ideological discrepancies that are deeply embedded in art and design practices. By reflecting on Afrofuturism and digital colonialism, they will also question narcissistic singularities of ‘I,’ ‘here,’ and ‘now’, counter the rhetoric of technological utopias, and confound principles of human universality.

Strange Ecologies: From Necropolitics to Reproductive Revolutions

In this keynote conversation Steve Kurtz and Johannes Paul Raether explore the less visible or even unacknowledged territories associated with the politics of death and reproduction in the Capitalocene. The impact of excessive human influence on life and our planet’s environments frame most progressive discussions about ecology today, simultaneously making the world both naturalized and denaturalized. Humans are typically treated as a dangerous alien force upsetting the balance of nature, and a force of reduction in terms of diversity and complexity in nature. At the same time, humans have long known that life and the environment are not balanced, nor do they have any necessary direction or purpose. Situated in the middle of strange ecologies, the challenge is to confront the full spectrum of power mechanisms and politics behind our environmental and evolutionary thinking. Through two talks and a conversation, Steve Kurtz and Johannes Paul Raether address the environment, death, and the practices, ethics, and politics of reproduction, questioning their contradictions and paradoxes.

Thanks to C-Base we had the perfect location for this series of student workshops during the Transmediale Festival. The Program was as follows:

THURSDAY, FEB 3

Presentations by Future Design City Feb 2, 15:00 – 16:00 @ C-Base Towards Urban Interactions The rise of computation embedded into objects, walls, and buildings introduces a new paradigm for the way humans interact with their environments. How will we design the relationship between people and such connected spaces? How might interactive systems scale across everyday human experience? And which new opportunities and challenges could appear, when we imagine future cities as networks of overlapping, dynamic data points?

Bio Andreas Rau
Andreas Rau is an interaction designer, creative coder and jazz pianist based in Berlin. As co-founder of the Institute for Urban Interactions, he researches the interplay of people and their environments in emerging interactive spaces. His concepts and prototypes aim to create meaningful experiences across the physical and digital worlds, always questioning the relationship between the two.
www.andreasrau.eu
www.urbaninteractions.org

Live Code and Live Algorithms – Feb 2, 16:00-18:00 @ C-Base

CTM 2017 – Fear Anger Love Feb 2, 22:00 – 05:00 Berghain/Panoramabar

FRIDAY, FEB 3

ACTIVITIY STREAM A:
TidalCycles Workshop – Feb 3, 12:00-17:00 @ C-Base led by Alex McLean & Alexandra Cardenas

TidalCycles (or Tidal for short) is a language for live coding patterns of events in time. It allows you to make musical patterns with text, describing sequences and ways of transforming and combining them, exploring complex interactions between simple parts. Tidal does not make sound itself, but is designed for use with the SuperDirt synth, and can control other synths over Open Sound Control or MIDI. This workshop will explore the expressive power of the Tidal language as a way of generating and performing musical sequences. Tidal is a very intuitive language, and thus should be accessible to total beginners using the built-in sound material Tidal provides. For those with experience in SuperCollider, you’ll be happy to know that Tidal can be used as a sequencing language for all the sophisticated synths and sample playback mechanisms you’ve created in SuperCollider. https://tidalcycles.org/

PREPARATIONS FOR THE WORKSHOP
It is important that all students attending this workshop bring a laptop and install all the pre-requisite software in advance. This means you need to install Haskell, Atom, SuperCollider (3.7 or later) and
Git.

For installation instructions use the following links:
Installation instructions for Mac Users https://www.youtube.com/watch?v=dJTfGv2sT-w
Installation instructions for all platforms https://tidalcycles.org/getting_started.html

ABOUT THE WORKSHOP LEADERS

Alex McLean (UK) has been active across the digital arts since the year 2000, including live coding music, and software art for which he won the Transmediale award in 2002. Alex co- founded the TOPLAP and Algorave movements, and has collaborated widely including as part of Slub, Canute, aalleexx, and xynaaxmue. He completed his PhD thesis on Programming Languages for the Arts at Goldsmiths London, during which time he initiated the free/open source live coding environment TidalCycles, connecting code and music to create a rich approach to pattern making. Alex is based between Sheffield UK, and the research institute in the Deutsches Museum in Munich, where he uses live coding techniques to explore the ancient thought processes of textile weavers, for the European project PENELOPE lead by Ellen Harlizius-Klück. He releases his solo music as Yaxu on the Computer Club label, including the EP Peak Cut and forthcoming album Spicule. He curates the Festival of Algorithmic and Mechanical Movement, and is co-editing the Oxford Handbook on Algorithmic Music with Roger Dean, due out during 2017. yaxu.org

Alexandra Cardenas (CO) is a composer, programmer, and improviser of music born in Bogotá, Colombia in 1976. She studied composition at the Universidad de Los Andes where she also carried studies in mathematics and classical guitar. Using open source software like SuperCollider and TidalCycles, her work is focused on the exploration of the musicality of code and the algorithmic behavior of music. Alexandra is among the pioneers of live coding in electroacoustic music and part of the forefront of the Algorave scene. Currently, she lives in Berlin, Germany, and is doing her masters in Sound Studies at the Berlin University of the Arts. cargocollective.com/tiemposdelruido

ACTIVITIY STREAM B:
Exhibition Tour – Feb 3, 12:30-17:30

To facilitate reflection, we ask the organisers of transmediale for a spacewhere the students can convene at specific times on a daily basis with the faculty from Coventry and Leuphana, as well as guests invited from the festival roster. For this we would only need a room to convene in at a specific time each day.

The students at Leuphana will have had a course on live coding performance and be able to contextualize and deeply appreciate the artists who perform during the Algorave events put forth in the second proposal of this package.

While the younger group of students from Coventry will be able to experience this event as an expose of what is artistically possible with code. The more advanced students from the Leuphana group will have the option to perform their work during the early slot of the proposed Algorave night.

1 – Critical Constellations of the Audio-Machine in Mexico
Kunstraum, Mariannenplatz 2 12:30

This year’s exhibition takes as its focus the history and current state of electronic music and sound art in Mexico, guiding visitors through the various different musical styles and sound experiments that have emerged in the country since the beginning of the 20th century. Curated by sound researcher Carlos Prieto Acevedo, the exhibition features work by a number of active members of the Mexican sound art community, including Ariel Guzik, Angélica Castelló, Guillermo Galindo, Roberto Morales Manzaneres, Verónica Gerber, Mario de Vega and Carlos Sandoval. Talks and performances featuring Mexican music from the last 20 years as well as reworks and reconstructions of pieces from the beginnings of experimental music in Mexico link the exhibition to a larger international context

2 – Primitives
HAU2, Hallisches Ufer 32 15:00

Alan Warburton’s “Primitives” installation will be on display during the festival week, free of charge, exploring the intersection of entertainment and science using cutting-edge CGI “crowd simulation” software. This technology is normally used in Hollywood blockbuster films to fill out cities, stadiums and battlefields and also by researchers and engineers working in crisis mapping, city planning and events management. Warburton’s AV project explores this simulation software to “liberate the digital crowd” and allow it to live and explore more experimental parameters.

3 – On the Far Side of the Marchlands
Schering Stiftung, Unter den Linden 32-34 16:30

The exhibition “On the Far Side of the Marchlands” at Schering Stiftung explores the potential of radically new topographies through border regions (marchlands) created by the artists, composed from inextricably linked realms of experience, culture, and materiality. The 3D Additivist Cookbook, conceived and edited by Morehshin Allahyari and Daniel Rourke, is the point of departure for the exhibition, bringing together radical projects by over one hundred artists, activists, and theorists.

Algorave – Feb 3, 20:00 - 00:00 @ HKW

Algorave embraces the alien sounds of raves from the past, and introduce alien, futuristic rhythms and beats made through strange, algorithm-aided processes. It’s up to the good people on the dance floor to help the musicians make sense of this unstable situation and do the real creative work in making a great party. These days just about all electronic music is made using software, but with artificial barriers between the people creating the software algorithms and the people making the music. Using systems built for creating algorithmic music and visuals, these barriers are broken down, and musicians are able to compose and work live with their music as intricate processes. Algorithmic music is no new idea, but Algorave focuses on humans making and dancing to music. Algorave musicians don’t pretend their software is being creative, they take responsibility for the music they make, shaping it using whatever means they have. More importantly the focus is not on what the musician is doing, but on the music, and people dancing to it. Organized in collaboration between transmediale, Alex McLean, Alexandra Cardenas and Jonathan Reus, the Algorave at this year’s transmediale is the first event of its kind in Berlin. It is a kind of “coming home”, a celebration of transmediale’s history of supporting the early development of live coding since the early 2000’s, as well as celebrating how far live coding has come as a practice since then. With sets by: Alexandra Cardenas & Camilla Vatne Barratt-Due (CO/NO) | Alex McLean (UK) | coï¿¥ï3⁄∕4¡pt (UK) | La verbena electronica (ES) | Belisha Beacon (BE) | Fredrik Olofsson (DE) (visuals) | Miri Kat (UK) (visuals)

ORGANISERS

Jonathan Reus-Brodsky (Leuphana University, DE)

Jonathan Reus-Brodsky is an American composer-performer whose musical work blends machine aesthetics with free improvisation. In 2009 Jonathan received a Fulbright Fellowship to conduct research into computationally-mediated music systems at the Studio for Electro-Instrumental Music (STEIM) in Amsterdam. Afterwards he worked at STEIM as a curator, research coordinator and educator. He is a founding member of the Instrument Inventors Initiative performative media collective based in The Hague. He is lecturer for Computational and Coded Cultures at Leuphana University, Lüneburg.

Adnan Hadzi (Coventry University, UK)

Adnan Hadzi undertook his practice-based PhD onFLOSSTV – Free, Libre, Open Source Software (FLOSS) within participatory TV hacking Media and Arts Practices’ at Goldsmiths, University of London. Adnan’s research focuses on the influence of digitalization and the new forms of (documentary-) film production, as well as the author’s rights in relation to collective authorship.

Rob Canning (Coventry University, UK)

Rob Canning is a composer and performer with a research focus centred around networked creativity and open working methodologies. His recent work explores possible interplays between performers and network delivered instruction sets; these range from traditional ensemble pieces which utilise browser based net-scores to simultaneous network streamed sonic drifts as in his Streamscape project.

PROFILE OF STUDENT GROUPS

The organizing faculty from Leuphana and Coventry will each bring a group of approximately 25 students to participate in the excursion. Leuphana University, Bachelors Major of Digital Media

The Major of Digital Media bachelors at Leuphana University aims to educate students to have a wholistic view of the digital as it exists in its myriad formations in science, culture and aesthetics. The program originates out of a joint cooperation between the Digital Cultures Research Lab and Institute for Culture and Aesthetics of Digital Media. Students receive a mixed course load from diverse teachers in computer science, history and epistemology of computing, software studies, creative coding, digital art, electronic music, net critique and similar topics. The group attending the excursion will be in their 3 rd year of study in the new digital media major, and have already completed much of the above coursework. The excursion will serve as the culmination of a hands-on seminar on livecoding and computer music.

Coventry University, Digital Media Bachelors
The group of Digital Media students from Coventry will be in their first year of study, and therefore be extremely new to digital cultures and creative use of digital media. We see the pairing of these students with the more advanced group from Leuphana as an ideal informal mentorship situation.

REFLECTION SPACE
In order to facilitate daily theoretical discussions around the experiences of the festival, we ask that transmediale provide a meeting space once per day for the organising faculty and the student groups to convene. The space should provide adequate seating for up to 50 students, a video projector and stereo sound.

ALGORAVE SHOWCASE

SYNOPSIS

We propose an Algorave showcase night as part of transmediale’s activities for 2017 – organized in collaboration between transmediale, Jonathan Reus-Brodsky, Alex McLean and Alexandra Cardenas, artists from the live coding scene who are eager to realize Berlin’s first Algorave as a celebration of transmediale’s history of supporting the early development of live coding since the early 2000’s. Next to the main Algorave club night we also propose a possible mini-symposium and public live coding workshops.

PROPOSAL

We propose an Algorave club night as part of Transmediale’s activities for 2017. The Algorave will be the first event of its kind in Berlin, and will be organized in collaboration between transmediale, live coding pioneer Alex McLean, Mexican live coder/composer Alexandra Cardenas and American live coder/instrumentalist Jonathan Reus-Brodsky. The Algorave showcase at transmediale’s historic 30 year anniversary comes out of a desire to celebrate transmediale’s history of supporting the early
development of live coding since the early 2000’s. In this way, the Algorave at transmediale is a kind of coming home, a celebration of how far live coding has come as a practice and a focal point for thinking where it may go. Along with the club night, we propose a mini-symposium and public workshops around the Genesis and Cultures of live coding.
The students from Leuphana University described in the student excursion proposal of this package will have just had a course on live coding performance and be able to contextualize and deeply appreciate the artists who perform during this event, and hopefully participate as part of an early slot during the club night.

ORGANISERS

Jonathan Reus-Brodsky (Leuphana University, DE)

Jonathan Reus-Brodsky is an American composer-performer whose musical work blends machine aesthetics with free improvisation. In 2009 Jonathan received a Fulbright Fellowship to conduct research into computationally-mediated music systems at the Studio for Electro-Instrumental Music (STEIM) in
Amsterdam. Afterwards he worked at STEIM as a curator, research coordinator and educator. He is a founding member of the Instrument Inventors Initiative performative media collective based in
The Hague, and teaches as lecturer for Computational and Coded Culture at Leuphana University, Lüneburg.

Alexandra Cardenas (MEX/DE)

Alexandra Cardenas is a Colombian composer and improviser based in Berlin, who has followed a path from Western classical composition to improvisation and live electronics. Her recent work has included live coding performance, including performances at the forefront of the Algorave scene.

Alex McLean (UK)

Alex McLean is a software artist, live coding musician and researcher based in Sheffield UK. He is active in the live coding community, including creating the live-coding environment TidalCycles, an co-founding the TOPLAP and Algorave movements. He has performed widely since the year 2000 in several collaborations including Slub with Dave Griffiths and Adrian Ward, Canute with Yeeking (Rephlex), and aalleexx with Alexandra Cardenas. Alex performs solo as Yaxu, releasing music on the Computer Club label, including Peak Cut EP which Bleep.com described as a “.. polyrhythmic and hyperreal strand of techno .. showcased on cuts like Public Life and Cyclic showing that he is not just testing the confines of how music can be consumed but also how genres can sound.” He won the Transmediale Software Art award in 2001, the British Science Association Daphne Oram Award Lecture in 2015, and is sound artist in residence at the Open Data Institute during 2016. He is currently
co-editing the Oxford Handbook on Algorithmic Music with Roger Dean.

ALGORAVE CLUB NIGHT

We propose a club night featuring a showcase of some of the top artists from the Algorave scene, presenting a whole night of live coded electronic dance music and presented in collaboration with
Alexandra Cardenas and Alex McLean . The club night ideally begins early (7pm), with an early slot
for the more advanced students of Leuphana University’s digital media program to perform with
their work from the previous semester’s seminar on live coding. After the early slot we transition
into a full club evening with the featured artists, going late into the night. Leuphana University is
able to contribute towards the fees of the artists, as they will also participate in more intimate
encounters with the students.

VENUE & TECHNICAL REQUIREMENTS

• A medium-sized dance venue with loud stereo sound system
• Multiple projectors & projection screens for visualists and projection of code.
• A long standing-height table where multiple artists can set up simultaneously.
• It will be necessary to have a sound technician for the evening.
ARTIST TRAVEL & FEES
• Leuphana University is able to provide fees for a limited number of invited artists in so far as
they provide guest tutoring/mentorship for the student groups.
• transmediale provides assistance with artist travel and lodging costs.
DOCUMENTATION OF PAST ALGORAVES
Algorave article in Wired
• http://www.wired.co.uk/article/algorave
Algorave at OCCII, Amsterdam
• http://motherboard.vice.com/nl/read/algorave-coden-in-de-club
Algorave at Leeds Digital Festival, 2016
• https://www.youtube.com/watch?v=NTBMHE1Tj48&feature=youtu.be&t=33m11s
Canute at Algorave Karlsruhe 2015
• https://www.youtube.com/watch?v=uAq4BAbvRS4

LONG LIST OF ARTISTS MUSICIANS
• Jonathan Reus-Brodsky (US/NL) + Colin Hacklander (US/DE)
• Alexandra Cardenas (MEX/DE)
• Alex McLean (UK)
• Renick Bell (JP)
• Hlodver Sigurdsson (IS)
• Alberto de Campo (AT/DE)
• Frederik Oloffson (SW)
• Benoit and the Mandelbrots (DE)
• Shelly Knots + Jo Anne = ALGOBABEZ (UK)
• Nick Collins (UK)
• Thor Magnusson (UK)
• The Void* (NL)
• Till Bovermann (DE)
• Luuma (UK)
• Sean Cotterill (UK)
• Calum Gunn (UK)
• Polinski (UK)
• Belisha Beacon (UK)
• Anny (UK)
• Lil data (UK)
VISUALISTS
• Jack Rusher (DE)
• Francesca Sargent (chez) (UK)
• Dan Hett (rituals) (UK)
• Antonio Roberts (hellocatfood) (UK)

ALGORAVE WORKSHOPS AND MINI SYMPOSIUM

Taking advantage of the high caliber of invited artists, we propose the possibility for doing one or two public workshops related to live coding and Algorave. And potentially a small symposium or panel discussion on the Genesis & Cultures of Livecoding. The workshops and mini-symposium follow a successful similar format to those presented in Amsterdam during their Algorave events in 2014. Two workshops from that event, an introduction to SuperCollider and a more advanced workshop of livecoding with live instruments could be presented, as well as a possible workshop on Alex McLean’s Tidal environment, which is beginner friendly and would potentially appeal to a larger public audience.

POTENTIAL WORKSHOPS
• Intro to SuperCollider
• http://www.codedmatters.nl/workshop/learn-basics-sound-synthesis-supercollider/
• SuperCollider & Live Instruments
• http://www.codedmatters.nl/workshop/supercollider-live-instruments/
• Intro to TidalCycles
• http://tidalcycles.org/
• Link to mini-symposium held in Amsterdam
• http://www.codedmatters.nl/workshop/algorave-mini-symposium/
SPACE & TECHNICAL REQUIREMENTS
• A medium-sized workshop space with tables and chairs
• stereo sound system
• projector/screen

Throughout the run of the festival, excursions, and closing weekend, around 180 international thinkers and cultural producers will reframe the question of the role of media today through panels, performances, workshops and screenings.

FESTIVAL 02.–05.02.2017 [1]

transmediale’s new publication _ACROSS & BEYOND – A TRANSMEDIALE READER ON POST-DIGITAL PRACTICES, CONCEPTS, AND INSTITUTIONS_ is out now! This collection of art and theory analyzes today’s post-digital conditions for critical media practices–moving across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art.

In the keynote conversation _Becoming Infrastructural – Becoming Environmental_ (Fri, 03.02.2017, 18:00), LISA PARKS and ERICH HÖRL discuss entanglements between nature and technology, where infrastructural sites are interrupted by nonhuman species and a “General Ecology” of new power
structures emerges.

WENDY CHUN and RICHARD GRUSIN talk about mediation beyond the media and the habitual patterns of immediate communication in the keynote conversation _Immediate & Habitual: The Elusiveness of Mediation_ (Sat, 04.02.2017, 18:00).

In the keynote conversation _Strange Ecologies: From Necropolitics to Reproductive Revolutions_ (Sun, 05.02.2017, 18:00), STEVE KURTZ and JOHANNES PAUL RAETHER explore unacknowledged territories amid the politics of death and ethics of reproduction in the Capitalocene, questioning their
contradictions and paradoxes.

transmediale and CTM Festival [2] will feature _LEXACHAST_, a collaboration between PAN label founder BILL KOULIGAS and futuristic sound design duo AMNESIA SCANNER. The performance introduces a mangled dystopian soundtrack that revolves around generative live-streaming visuals by artist Harm van den Dorpel (Fri, 03.02.2017, 21:00).

Another highlight is the screening of _THE SPRAWL (PROPAGANDA ABOUT PROPAGANDA)_: With their debut feature film, METAHAVEN investigates the role and power of propaganda in the social media age. The film is a paranoid digital trip in which form and content continually influence each
other. The screening is followed by a talk between Metahaven and artist and researcher Susan Schuppli (Sat, 04.02.2017, 21:00). Trailer [3]

Find a list of confirmed participants on our updated website [1]. The full program is soon available. read more [4]

EXHIBITION 02.02.–05.03.2017 [1]

Within the scope of _ever elusive – thirty years of transmediale_, the special exhibition “ALIEN MATTER”, curated by Inke Arns, will be on view at Haus der Kulturen der Welt from 2 February to 5 March 2017.

“Alien matter” refers to man-made, and at the same time, radically different, potentially intelligent matter. It is the outcome of a naturalization of technological artefacts. Environments shaped by technology result in new relationships between man and machine. Technical objects, previously defined merely as objects of utility, have become autonomous agents. Through their ability to learn and network, they challenge the central role of the human subject.

Approximately 20 exhibiting artists from Berlin and around the world will present works about shifts within such power structures, raising questions about the state of our current environment and whether it has already passed the tipping point, becoming “alien matter”. Find the full list of artists and their artworks here [5]. [6]

ACROSS & BEYOND – A transmediale Reader on Post-digital Practices, Concepts, and Institutions

In the upcoming weeks transmediale is publishing a selection of essays of this publication on transmediale/journal [6]. You can already read the introductory essay “Across and Beyond: Post-digital Practices, Concepts, and Institutions” by Ryan Bishop, Kristoffer Gansing and Jussi Parikka here [7].
_across & beyond_ was developed by transmediale and Winchester School of Art, University of Southampton.

Order your copy now or grab it at transmediale 2017 _ever elusive_! read more [8]

Links:
——
[1] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1741&qid=123250
[2] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1742&qid=123250
[3] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1743&qid=123250
[4] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1744&qid=123250
[5] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1745&qid=123250
[6] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1746&qid=123250
[7] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1747&qid=123250
[8] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1748&qid=123250
[9] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1749&qid=123250
[10] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1750&qid=123250
[11] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1751&qid=123250
[12] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1752&qid=123250
[13] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1753&qid=123250
[14] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1754&qid=123250
[15] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1755&qid=123250
[16] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1756&qid=123250
[17] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1757&qid=123250
[18] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1758&qid=123250
[19] https://spot.transmediale.de/civicrm/mailing/optout?reset=1&jid=2081&qid=123250&h=0f7a801e00d63ed2

Posted on September 25, 2016 by adnan Announcement, news, presentations, publications, Report, reports, research

after.video at the indefinite vision symposium @ whitechappel art gallery

after.video will be presented during the indefinite vision
symposium @ whitechappel art gallery, see:
http://www.whitechapelgallery.org/events/indefinite-visions/ (before the
symposium during a workshop on methodologies – see schedule below ->
after.video is in the 4-5.30pm slot)

WORKSHOP: THE AUDIOVISUAL ESSAY WHITECHAPEL GALLERY, LONDON

WEDNESDAY 22nd JUNE

11.30am-1pm. Forms
Themes:
Audiovisual essay forms (close analysis, artistic/poetic montage,
supercut/thematic montage, ‘interstitial’).
Techniques: temporal manipulation, overlays, split-screen, voice-over
Audiovisual essays as supplements to written scholarship and as core
methodology.
Questions:
What types of scholarship are audiovisual essays suited (and not suited) to?
What more could audiovisual essay achieve critically and aesthetically?
11.30-11.45. Presentation: Kevin B. Lee on the current state of the art
11.45-12. Presentation: TBC
12-12.30. Break-out discussions
12.30-1. Group discussion

1pm-2pm. Lunch

2pm-3.30pm. Contexts
Themes:
Role within film journalism, as a critical tool
Role within teaching, as a heuristic tool
Relationship with film-making (‘theory’ vs ‘practice’)
Relationship with artists’ film and video
Questions
How to further incorporate audiovisual essays into mainstream scholarship
via academic legitimation (e.g. increasing publishing opportunities)?
via refinement of the form and its methodologies?
via databasing?
How does the audiovisual essay fit within current copyright law in the
UK and beyond?
Do different distribution models (e.g. peer-reviewed, ‘self-published’,
programmed by cultural gatekeepers) suit different kinds of audiovisual
work?
2.30-2.45. Presentation: Catherine Grant on videographic film studies
and academic publishing
2.45-3. Presentation: David Rodowick on negotiating film theory and film
practice
3-3.30. Break-out discussions
3.30-4. Group discussion

3.30pm-4.00pm. Break

4.00pm-5.30pm. Methodologies
Themes
Terminology (video essay, audiovisual essay, videographic film studies,
digital film studies)
Alternative technologies and methodologies:
Quantitative:
data analysis (e.g. cinemetrics, ECGs and eye tracking)
visualisation – e.g. Volumetric Cinema, Software Studies Initiative
Qualitative:
Annotation (e.g. Popcorn.js, ANVIL, Lignes de Temps)
Creative:
Critical media art (e.g. after.video)
Interactive documentary
Questions
How can audiovisual essay production be connected to adjacent, less
prevalent, digital humanities activities?
What can be learnt from the use of digital technologies in other
humanities disciplines?
What models of collaboration could help audiovisual film scholarship
develop in scope, complexity, and impact?
4.30-4.45. Presentation: David Verdeure on adjacent methodologies
4.45-5. Presentation: Richard Misek on adjacent technologies
5-5.30. Break-out discussions (open)
5.30-6. Group discussion

Viewable during breaks:
Don’t Look Now: paradoxes of suture (interactive video on Mac laptop)
After.Video Assemblages (videos on Raspberry Pi)
Notes on Blindness: Into Darkness (VR experience, at Close Up Film Centre)

Posted on May 5, 2016 by adnan Events, news, presentations, projects, publications, Report, reports, research

after.video @ LibreGraphics

Adnan presented the after.video project at the LibreGraphics conference.

after.video is a new online service which will be making available a series of variably aged video presentations which cover a collection of topics. What it represents then is a repackaging (Assemblages) of material from a variety of sources, presumably professionally edited and augmented. If you visit their website, you see they are not quite operational, and that this is a paid subscription service.

Now in its 11th year, the international Libre Graphics Meeting turns its focus for 2016 to the theme “Other Dimensions”, encompassing time-based media and the third dimension, new additions to LGM’s established focus on graphics.

From its first edition in 2006, held in Lyon, France, Libre Graphics Meeting has been a locus for software contributors, artists, designers, and users to come together and share their knowledge and to experience camaraderie. This year will see four days of presentations, talks, hacking sessions, workshops, and meetings.

Prominent software projects such as GIMP, Inkscape, Scribus, GNOME, and others will come together to demonstrate the progress on their projects and to discuss them within the context of the larger Libre Graphics community. LGM 2016 will play host to animators, architects, artists, book designers, cartographers, developers, documenters, educators, engravers, graphic designers, git visualizers, hackers, photographers, rasterizers, reverse engineers, tool makers, type designers, and video archivers (among others!).

The 2016 edition of LGM will have a full program of workshops, presentations and talks across the entire spectrum of Free/Libre and Open Source graphics projects and communities. The full program can be found online http://libregraphicsmeeting.org/2016/wp/wp-content/uploads/2016/03/LGM2016program.pdf

With a great after party: Autonomous Tech Fetish & also check out Lara’s project dataunion.

The next LibreGraphics meeting will be in Rio De Jaineiro.

Posted on March 11, 2016 by adnan Events, news, presentations, projects

Nervous Systems

!Mediengruppe Bitnik exhibits the Assange Room at HKW.

Can our inner thoughts be transmitted by our eye movements? Can our future actions be predicted by our current behavior? Julien Prévieux’s film Patterns of Life enacts more than a century of evolving technologies in tracking human behavior, from reorganizing the factory floor to today’s “activity-based intelligence” in the “war on terror.” This is but one example from over 30 works tracing the inversions that mark the relationship between man and machine. Co-curated by Stephanie Hankey and Marek Tuszynski from the Tactical Technology Collective and Anselm Franke the exhibition showcases a range of reflections on our quantified society and the processes of self-quantification. Historical artworks call for a reinterpretation of early conceptual art’s concern with quantification, its “aesthetics of bureaucracy,” and the deconstruction of the self in light of current data- collection. The exhibition includes contributions by media historians and writers, reconstructing the history and the present rise of data-technologies and portraying the world they bring about. A live installation—conceived by Tactical Tech—offers an active space in which visitors can explore their own digital traces. This White Room combines selected artworks, digital products, investigations, and activist projects with discussions, consultations, and demos exploring the devices we use every day, and how we can regain some control over our data.

D.TV

D.TV

after.television

presentations

Forensics and rescue in Mediterranean humanitarianism

boattr.uk @Digital Research in the Humanities and Art

displaying video as theory and reference system

What’s Visible – the mechanics of i-docs

The Glass Room: Big data, privacy and interactive art

What we learned

Challenges

The future

Visit the Glass Room London virtually, in WebVR

360º Video and Interactive Storytelling

360º Video and Interactive Storytelling

Creeknet XF Symposium

Algorave @ Transmediale – ever elusive

after.video at the indefinite vision symposium @ whitechappel art gallery

after.video @ LibreGraphics

Nervous Systems