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Cryptorave #10 @HEK

As part of the exhibition Swiss Media Art: !Mediengruppe Bitnik, Fragmentin, Lauren Huret – Pax Art Awards 2018 a Cryptorave will take place at HeK; a dance party that combines crypto currencies and live action roleplaying games.

!Mediengruppe Bitnik, Omsk Social Club, Knoth & Renner, Cryptorave #10, 2019

Recently, !Mediengruppe Bitnik – Carmen Weisskopf and Domagoj Smoljo – developed Cryptoraves in collaboration with Omsk Social Club: performative events including live action role-playing games, dance parties and crypto currencies. Visitors are invited to take part in the participative performance by registering on the Cryptorave website and allowing their computer to mine the anonymous crypto currency Monero in order to unlock information about the party and the role to be played. By joining their computing power, the participating community collectively generates value to enable the autonomous dance party experience. Through the online mining process, participants unlock their LARP identity, the Cryptorave reader and finally their entry ticket to the rave.

Mine your ticket and unlock information on the party here: http://0b673cce.xyz

The acts Ven3mo (CH), Primitive Art (IT), Crystallmess (FR) and Suutoo (GB) will play live at the Cryptorave.

Ven’3mo is a Geneva-based multidisciplinary artist, DJ and researcher. She plays with sound in order to explore notions of hybridisation and mutation – looking at music as a vector for transformation and deconstruction. Her sets are not subject to one genre and are filled with different textures and narratives.

Primitive Art is an Italian experimental music band founded in 2011 by the collaboration of Matteo Pit and Jim C. Nedd. Digital soundscapes provide the arena for timbres, melodies, verses and spoken words to crash into one another. Within the haze, the duo winds up its chaotic energy, channeling their intimate songs in strange territories.

Through the medium of DJing, Crystallmess concentrates on the analysis of so-called „subcultures“ and the influence of black diasporas. Through the multiplication of references to dancehall, soca, logobi and hip-hop, Crystallmess manifests the importance of these currents in the formation of new musical territories. Her expressive sets decolonise club culture, inviting us to rethink the future.

Multi-disciplinary artist and musician Suutoo creates soundscapes both harmonious and discordant. Utilising fantasy as a weapon of choice, Suutoo destroys the gods you thought you worshipped and lets you swallow light.

Black Mirror Special on ARTE.TV about crypto raves.

Amnesia Scanner

Rave Culture on Block Chain

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SAROBMED

Upon conclusion of the pilot phase, documenting human rights violations occurring at sea during SAR or interdiction events in the period 2015-2018, following a successful launch of the SAROBMED website, including at the LIBE Hearing of 27 November 2018, and considering the urgency of events unfolding in the Mediterranean, the situation in Libya, and the project of a FRONTEX reform and disembarkation platforms gaining support at EU political and policy level, SAROBMED partners meet to assess results so far and determine the next stage of collaboration. This meeting will allow a reflection on the work undertaken and the changes necessary to adapt to the new circumstances, where SAR NGOs can hardly operate and where a conversion of rescue into monitoring activities of
interdictions and pull backs at the EU’s external maritime borders seems the main way to go. The meeting will serve to review the incident template report, assess the SAROBMED App currently being developed by our Brunel partners, adapt the data categories of recorded information, agree on SOPs that are safe and in compliance with the relevant legal standards, and collectively reflect on the way forward.

OUR MISSION

Migrant deaths are rising despite increased operational presence at sea. Proactive Search and Rescue (SAR) operations are being replaced by security missions by coastal states. Allegations of human rights violations against boat migrants and NGO vessels and personnel are multiplying and humanitarian assistance is being conflated with the crimes of smuggling and trafficking.

Currently no monitoring system exists for SAR and the measures adopted in this regard have been ineffective. Such scenario makes SAROBMED initiative all the more necessary, as our mission is to raise awareness among stakeholders, policy makers and the general public.

In order to carry out our mission, SAROBMED would set up an independent, research-led observatory of search and rescue (SAR) and interdiction incidents, through a secured digital environment for the collection, storage, exchange, and dissemination of reliable data regarding human rights violations in the Mediterranean.

 OUR ORGANISATION

 SAROBMED: The Search and Rescue Observatory for the Mediterranean is an international, multi-disciplinary consortium of independent researchers, civil society groups, and other organisations working in the field of cross-border maritime migration, either on the ground, or through advocacy, research and/or strategic litigation.

The key purpose of SAROBMED is to set up an independent, research-led observatory of search and rescue (SAR) and interdiction incidents, through the collection, analysis and dissemination of reliable data regarding human rights violations in the Mediterranean.

Members of the Observatory record and report incidents occurring at sea to the SAROBMED who processes, stores, and analyses the data. Analysing and systematising new data sources feeds into evidence-based research, tracking trends, identifying best practices, and fostering knowledge exchange between partners. This collaborative process supports cooperation, optimizing responses in cases of victimisation and/or prosecution of survivors and/or their helpers. NGO partners are also the main end-users of SAROBMED results, which support evidence-based advocacy, strategic litigation, and research-led lobbying and campaigning. Researchers, from their part, have the opportunity to gather and compile this new dataset, conduct ground-breaking, cross-disciplinary research, and impact realities beyond academia, helping to generate a counter-narrative challenging prevailing discourse and raising public awareness.

OUR VISION

SAROBMED’s mission is pursued through the four inter-dependent legs of the project:

  1. Data collection and dissemination of first-hand information of incidents occurring at sea published online
  2. Operational cooperation and coordination between members to maintain high-quality SAR
  3. Policy-relevant research and targeted advocacy action
  4. Strategic litigation of key cases to promote legal change
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Immersive Lab workshop @HEK

Adnan Hadzi took part in the immersive lab workshop @HEK. The ‘Immersive Lab’ is an artistic and technological research project of the Institute of Computer Music and Sound Technology at the Zurich University of the Arts. It is a media space that integrates panoramic video, surround audio with full touch interaction on the entire screen surface. The ‘Immersive Lab’ provides a platform for a catalogue of artistic works that are specifically tailored to the unique situation that this configuration offers. These works articulate the relationship between immersive media and direct interaction. It functions both as a space for experimental learning and creation and as a permanent audiovisual installation for the general public, showing finished pieces in a self-explanatory way.This installation as a platform is the fruit of several years of investigation and artistic creation. The term Immersion is used in a broader sense. Apart from spatial envelopment by image and sound, additional levels of immersions are generated for the visitors: they enter into a dedicated physical space, direct tactile interaction on the panoramic surface enhances their personal engagement, and finally within the shared space arise group behaviour and social interactions. Such an extended form of immersion provides a multi-faceted experience.The compositions can be collaboratively created and combine visual and sonic material with generative and algorithmic methods. The artistic approach focuses on real-time pieces that react to visitor interaction and that take advantage of the panoramic nature of the installation.

Different forms of engagement are possible within the installation. The audience can freely explore the works and experience different types of perceptions. Artists can experiment with the development of compositional strategies for working with different senses and artistic domains. The installation exposes foundational aspects of immersion such as spatial and multi-sensory perception, which provide interesting topics for investigation.Work in the ‘Immersive Lab’ happens in different phases, activities, and addresses different people. In a teaching context, in general, any student can visit the lab in guided tours. Students majoring in electronic music or media arts, however, are invited to actively learn by exploring the inner workings of existing pieces. Artists and advanced students have the opportunity to become involved more intensely by creating entirely new pieces. For this, the ICST offers to share its experience, methods, and tools for development and realization of ideas for this particular media space. Finally, in the exhibition context, general audiences are invited to experience the catalogue of works.

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OFFSHORE TOUR OPERATOR

We organised a remote walk through Victoria, Gozo.

The Great Offshore (Le Grand Large) is a documentary artwork, that invites us to a journey into the depth of the offshore industry.

The work gathers together documents, narratives, photographs and objects, collected during several trips in some of the most notorious tax havens : Dublin, the City of London, Zürich and Pfäffikon, Switzerland, Vaduz, Liechtenstein, the Channel Islands, Jersey & Guernsey, Wilmington Delaware, the Bahamas, the Cayman Islands, Malta, Cyprus, Amsterdam, Luxembourg.

The various documents brought back from those exploratory travels are agenced like an encyclopedia, that seeks to index and underlign the infrastructural aspects of the tax evasion industry, that is lying at the heart of the neoliberal machinery.

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boattr.uk @IS&T International Symposium on Electronic Imaging

Adnan presented the boattr project during the EI 2019 conference.

Founded in 1947, the Society for Imaging Science and Technology (imaging.org) is a professional international organization dedicated to keeping members and others apprised of the latest scientific and technological developments in the field of imaging through conferences, educational programs, publications, and its website.

IS&T encompasses all aspects of imaging science, with particular emphasis on digital printing, electronic imaging, color science, image preservation, photofinishing, pre-press technologies, hybrid imaging systems, and silver halide research.

History

In 1947 a group of 81 researchers from the National Archives, US Navy, National Bureau of Standards, Signal Corp Engineering Laboratory, Massachusetts Institute of Technology, Georgetown University, Bell & Howell Co., and Eastman Kodak Co.—to name a few—worked together to form the Society of Photographic Engineers. The goal was to establish a society to concentrate on publishing scientific papers in the area of photographic engineering. Before this, papers where published in a multitude of publications mixed with other papers of various non-related material. The membership more then doubled before 1950. The first issue of “Photographic Engineering” was published in January 1950.

As a result of “Photographic Engineering”, the newly formed Society was able to bring in 18 corporate members, including Bell & Howell Co., Eastman Kodak Co., Bausch & Lomb Optical, Graflex Inc., and Kollmorgan Optical. By the end of 1950 the Society had 33 corporate and more than 270 individual members.

The Society of Photographic Engineers changed it’s name in April 1957 to the Society of Photographic Scientists and Engineers (SPSE). Shortly thereafter the first issue of the “Journal of Photographic Scientists and Engineers” was published. On Jan. 29, 1992, the name of the Society was changed to the Society for Imaging Science and Technology (IS&T).

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Fourtoni: An AR Sculpture

Fourtoni is an Augmented Reality sculpture that makes use of audience eye tracking data in order to recreate a fourth Triton from the existing three tritons in Vincent Apap’s Triton Fountain located in Triton Square, Valletta.

The virtual sculpture was launched on an Android platform on 28 September 2018 as part of the Science in the City Festival 2018. Fourtoni is a collaboration between Matthew Attard and Matthew Galea from the Department of Digital Arts, together with Dr Vanessa Camilleri from the Department of Artificial Intelligence.

The virtual sculpture’s content was driven by research concerning the combination of the cortical homunculus representation of our body in our brain, and eye-tracking results involving free gazing. This aspect of the project was discussed with Prof. Ian Thornton from the Department of Cognitive Sciences.
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35c3 highlights

“Das ist unser Haus!” from SEELAND Medienkooperative on Vimeo.

The 25C3 highlights:

Lecture: Opening Event
Lecture: Locked up science & Projekt Deal
Open Infrastructure Orbit Vortrags-Arena & OIO social
Lecture: Mind the Trap: Die Netzpolitik der AfD im Bundestag
Lecture: Frontex: Der europäische Grenzgeheimdienst
Lecture: Updates von der europäischen Außengrenze
Lecture: Censored Planet: a Global Censorship Observatory
Lecture: How does the Internet work?
Lecture: Scuttlebutt
Lecture: Introduction to Deep Learning
Lecture: Digital Airwaves
Lecture: Citzens or subjects? The battle to control our bodies, speech and communications
Lecture: Transmission Control Protocol
Lecture: Afroroutes: Africa Elsewhere
Theater/performance: A la recherche de l’information perdue
Lecture: Tactical Embodiment
Lecture: It Always Feels Like the Five Eyes Are Watching You
Lecture: Hacking Ecology
Lecture: Inside the Fake Science Factories
Lecture: C2X: The television will not be revolutionized
Lecture: The Urban Organism
Lecture: Reality Check! Basel/Lagos?? In virtual reality?
Lecture: The Surveillance State limited by acts of courage and conscience
Lecture: Theater und Quantenzeitalter
Lecture: Wind: Off-Grid Services for Everyday People
Lecture: Smart Home – Smart Hack
Lecture: How to teach programming to your loved ones
Lecture: The good, the strange and the ugly in 2018 art &tech
Theater/performance: Never Forgetti
Lecture: The Enemy
Lecture: Computer, die über Asyl (mit)entscheiden
Lecture: Analyze the Facebook algorithm and reclaim data sovereignty
Lecture: Attacking end-to-end email encryption
Lecture: Schweiz: Netzpolitik zwischen Bodensee und Matterhorn
Lecture: The Ghost in the Machine
Lecture: The Layman’s Guide to Zero-Day Engineering
Lecture: DISNOVATION.ORG & tracery & movim
Lecture: Die EU und ihre Institutionen
Lecture: What is Good Technology?
Theater/performance: Mondnacht
Lecture: Meine Abenteuer im EU-Parlament
Film: All Creatures Welcome & All Creatures Welcome
Generative Art with Paper.js
Wie aus einer Wette ein Kiosk System für den Raspi wurde
Programmieren mit der Maus
Exploiting PS4 Video Apps
Neusprech Crashkurs
Lecture: From Zero to Zero Day
Lecture: Internet, the Business Side
Lecture: Transhuman Expression
Lecture: Best of Informationsfreiheit
Lecture: The Critical Making Movement
Lecture: MicroPython – Python for Microcontrollers
Lecture: Planes and Ships and Saving Lives
Lecture: Archäologische Studien im Datenmüll
Lecture: Matrix, the current status and year to date
Lecture: Domain Name System
Lecture: Die Häuser denen, die darin wohnen & das ist unser haus
Lecture: Web-based Cryptojacking in the Wild
Lecture: Mehr schlecht als Recht: Grauzone Sicherheitsforschung
Lecture: Freedom needs fighters!
Lecture: A Blockchain Picture Book
Lecture: Butterbrotdosen-Smartphone
Theater/performance: A WebPage in Three Acts
Lecture: Media Disruption Led By The Blind
Lecture: Desinformation und Fake News – Bekämpfung und Verifizierung leicht gemacht
Lecture: Internet of Dongs
Lecture: Circumventing video identification using augmented reality
Lecture: The foodsaving grassroots movement
Lecture: #afdwegbassen: Protest, (Club-)Kultur und antifaschistischer Widerstand
Lecture: Repair-Cafés
Lecture: Hebocon
Other: Chaos Communication Slam
Lecture: Hacking how we see
Lecture: Are machines feminine?
Lecture: Radical Digital Painting
Lecture: Microtargeting und Manipulation
Lecture: Court in the Akten
Lecture: Dissecting Broadcom Bluetooth
Lecture: Cat & Mouse: Evading the Censors in 2018
Lecture: Augmented Reality: Bridging the gap between the physical and the digital world
Lecture: Kickstart the Chaos: Hackerspace gründen für Anfänger

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DSI FAIR 2018 // Digital transformation for a better society

The ambition of the DSI Fair 2018 is to create a space for all these players to gather and align on priorities and key directions shaping the European research and innovation agenda.

The DSI Fair 2018 will offer a rich program featuring an international conference, focused workshops, networking and hands-on sessions. The line-up of speakers includes experts and practitioners, as well as policy makers and civil society players.

This event will specifically provide opportunities to discuss how initiatives tackling social and environmental challenges in Europe and beyond are at the core of realising a more secure, trusted, inclusive and participatory Next Generation Internet. It will also provide the opportunity to promote how a number of advanced technologies (blockchains, decentralised data protection, artificial intelligence, etc.) and EC-driven initiatives, like the 5MEuro blockhain Prize, can help realising a more secure and trusted Digital Single Market.

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Deep Shelter

The conceptual basis for Deep Shelter Project Project (DSP), a project by Pamela Baldacchino, is based on a simple framework – that of reflection, relation and revelation (of meaning). This allows one to analyse the experience of illness, hospitalisation and care, as well as, relate this to the visual art process.

The Deep Shelter Project brings together research within the Psychological Support Services at Sir Anthony Mamo Oncology Centre, sensory workshops with cancer survivors and artist workshops for the creation and donation of artworks to clinical hospital spaces.

The Deep Shelter Project is supported through the Malta Arts Fund managed by Arts Council Malta.

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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.