Stadsmuziek (City Music) makes you tune in to the ensemble-playing that is environmental planning.
The tall buildings in the city centre have a heavy touch; the low-rise villas to the South create considerably gentler sounds. Akko Goldenbeld has a very personal way of looking at, or rather listening to, the city. He has created a scale model of Eindhoven and assigned it the role of sound recorder; the buildings create the score. Placed on a revolving wooden cylinder the buildings set little hammers in motion that play the keys of a piano. And turning and turning, the city makes its voice heard: from loud to soft, long to short, high-pitched to low, translating the urban developers’ three-dimensional reality into an aural experience.
The method breathtakingly eludes tonal center in the style of early 20th-century composers such as Arnold Schoenberg, Igor Stravinsky, and Edgard Varèse.
Every two years, the Trans-Media-Akademie Hellerau (TMA) and their partners write out the international CYNETART Competition. The historically important Festspielhaus HELLERAU – European Centre for the Arts, Dresden offers the CYNETART international festival for computer based art an extraordinary venue for public presentations and the performance of inter- and trans-disciplinary media art investigations.
You’re invited to propose your installation, sculpture and performance projects, expanded media works, AV concerts or net art projects. All award-winning works will be presented in the exhibition of CYNETART Festival. An international jury selects the project submissions for the award of the CYNETART Competition.
2016 marks the 20th anniversary of the CYNETART international festival for computer based art in November 10th – 16th is held at its main venue HELLERAU – European Centre for the Arts, Dresden and many satellite venues around the city. 20 years of CYNETART festival is the reflection of the zeitgeist, the presentation of artistic quality and an invitation to the audience to discover something new.
Concept for CYNETART 2016 explores what is the unique substance and justification of the term new media art. The discourse of the creative industry today will be obsolete tomorrow. Hence, artists working with new technology are presented with a recurrent dilemma. Ever progressing, this technology is a tremendous area to explore but could be a form of entrapment as well. Seemingly compelling at its time of premiere, many of these types of works may outlive their temporary quality as obsolete as their accompanying discourses. One way to address these aesthetic dilemmas is to explore technology addressing and breaking its core: its inherent boundaries, instead of promoting the promise or more common expectations of the industry. Craft is as essential as intuition, and it is this embodied process that leads to uncanny work.
The focus for this year’s theme wishes to extend our ambitions beyond just visualizing the “new knowing” or responding to topical subjects. It is a common misunderstanding to assume that a work of art is already relevant just because its topic is. A creation is not already art because it is “interesting” and art it is not harmless. As CYNETART jury states, art with new media is – like every form of art – about Enigma not about NVIDIA.
Interaction Design, Human Computer Interaction, Smart Materials, Emotional Machines, Interactive Interfaces, Interactive Cinema, Digital Design or Art and Robotics will meet at Technarte Bilbao 2016 on May 19 & 20, 2016.
Technarte is a conference where international artists and technologists show the most innovative artistic disciplines that use the technology as means of creation. This union between Art and Technology generates new reconnaissance fields, like Nano-art, 3D Printing, interactive installations, Art & Robotics, Bio-art, immersive 3D development, Mobile Art, smart materials and hyper-augmented reality, among others.
The main goal of Technarte is to present the technological developments which facilitate the full expression of the modern art, and to be a forum of discussion and reflection around the existent convergence between art and technology. The cutting-edge technological innovations provide infinitive possibilities for the artist, and the technological society uses the creativity of the artists as a way of inspiration for new technological projects.
Over recent years tiny automated and nonsensical beings have infiltrated our daily life via twitter and email. They have taken delight in agitation by imitating human behaviours – from telling jokes to online-dating. These small computer programmes are called bots (derived from the word robot) and their repetitive and often simple actions have brought fun to – and often poked fun at – the Internet platforms that now mediate our lives.
This weekend of workshops, labs and bot showcases will be a chance to meet pioneers of the bot making community, gain an insight into their practices and also uncover the darker side of these computer programmes. Bot creators come in many different guises and our weekend will feature artists, whistleblowers, developers, gamers, comedians, thinkers and inventors from this global micro-community.
In the showcase discover more about bot behaviours and their creative potential plus how these are connected to histories in automata and movements such as Dada and Fluxus. It will be a unique opportunity to get hands-on with bot inventions and prototypes as they are being created.
Talks and presentations will take the form of the Disruption Network Lab: Bots curated by Tatiana Bazzichelli. This is an ongoing platform of events where artists, hackers, networkers, whistleblowers and critical thinkers enter into a dialogue. This keynote and panel discussion will consider and interrogate the political and artistic potential emerging from the relationship between surveillance and the use of bots. Alongside the weekend of events we will release a programme of bot works online.
Join Abandon Normal Devices for a free weekend of bot inspired performance, workshops, debates and events. Discover how computers are getting better at thinking like us and how they are exposing the cracks in the inner workings of the internet.
The programme is co-curated with Matthew Plummer-Fernandez, a British-Colombian artist based in London known for 3D printed sculpture, bots and the popular blog Algopop.
The Art of Bots will take place in the River Rooms situated in the New Wing of Somerset House (London, UK). For information on and directions to Somerset House, you can visit AND dedicated venue page.
After almost 400 years, a new portrait ‘by Rembrandt’ was unveiled in Amsterdam. The portrait was created by art historians and technicians using data and facial recognition techniques from 346 of Rembrandt’s paintings.
ING, a sponsor of the Rijksmuseum, contributed to the project along with several other businesses including advertising agency J Walter Thompson, Microsoft and advisors from Delft University of Technology (TU Delft), The Mauritshuis and Museum Het Rembrandthuis. The work of art took almost 18 months to complete, consists of 148 billion pixels and was printed in 3D.
The first step in the project was to study the works of Rembrandt to establish an extensive database. The analysis showed that the new portrait should be one of a Caucasian male, between 30 and 40 years old, someone with facial hair and wearing dark clothing.
After this, the subject’s features were generated in the style of Rembrandt. A facial recognition algorithm identified and classified the most typical geometric patterns used by Rembrandt to paint human features. It then used the learned principles to replicate the style and generate new facial features for the painting.
Next, these individual features were assembled into a fully formed face and bust according to Rembrandt’s use of proportions. With the help of TU Delft, a height map was created to identify patterns on the surface of canvases. By transforming pixel data into height data, the computer could mimic the brushstrokes used by Rembrandt.
Finally, to bring the painting to life, an advanced 3D printer that is specially designed to make high end reproductions of existing artwork was used. In the end, 13 layers of UV-ink were printed, one on top of the other, to create a realistic painting texture.
All this has resulted in a work of art that portrays the power and the beauty of data and technology and that will fuel the conversation about where innovation can take us.
LINEShttp://llllllll.co/ is a gathering place for discussion about sound, process, and technology. To foster the exchange of ideas: an in-depth response to a newly discovered album, or a possible solution to a common programming/patching issue, or a curious use of toasted pumpkin seeds and mango.
LINES is supported by monome.org. The monome community has brought together mostly people enthusiastic about grids. Yet much of the content generated has had a valuable, much broader appeal, and they would like to invite a greater audience beyond the (lovingly) grid-minded.
The new forum software: discourse contains modern facilities for community building and information sorting. It’s fast, it’s mobile, and it has excellent searchability. Well-designed community self-moderation is key. Categories outside of your interest can be easily muted.
In the end, LINES is a place will be determined by those who choose to use it.
The Electroni[k] organization launches a call for submissions for the next edition of Maintenant festival that will take place in October 2016 in Rennes. Propose an innovative project linking art and new technologies, to live insolites and poetics experiencies!
an explaining note presenting the project (1 or 2 pages)
artworks (sketches, drawings, photos, videos…)
material needs (production budget, rider…)
every other features helping with the understanding of the project
Call is open until May 10, 2016.
Since 2001, the Electroni[k] organization has been exploring cross-fields, pushing borders, breaking the rules of artistic propositions and locations to link creations and audience. Electroni[k] focuses on opening emerging cultures to the publics, particularly innovative and multi-disciplinary projects: contemporary art, graphic design, digital art, electronic, contemporary or electro-acoustic music for instance. Every year, Electroni[k] invites various artists for Maintenant festival to present exhibitions, installations, interactive setups, concerts, performances, workshops, conferences… and works with 60 artists or collective from the Rennes area, Brittany but also on a national and international scale.
Maintenant is a hybrid festival, a multi-disciplinary event that links ambitious artistic propositions and curious publics around « Arts, Musics & Technologies ». Maintenant has been thought as a snapshot of the contemporary artistic creation ; a poetic exploration of the city guided by innovative experiences, accessible to everyone in the public space and more than 25 different venues in Rennes.
Sound Development City is a three-week expedition to two annually changing cities for artists from all disciplines and from around the world. The 5th edition takes place in Madrid and Casablanca from September 6 through 25, 2016.
During the expeditions, the participating artists, an expedition writer and the team feed the website and build an ever growing archive of artistic fragments, research documents and fleeting encounters.
Sound Development is a non-commercial, independent and privately funded cultural initiative based in Zurich. It is a platform for promotion of, networking of and exchange between artistic and cultural creators. We’re interested in alternative forms of art and cultural promotion as well as in how creative endeavors can be supported.
The tenth edition of L.E.V. will be held on 28th, 29th, 30th and April 1st of May across the different spaces of the Laboral Ciudad de la Cultura project (Laboral City of the Culture), and other venues in Gijon, Spain.
L.E.V. stands for Laboratorio de Electrónica Visual or, in English, Laboratory of Visual Electronics, is the International Festival of Audiovisual Creation of Gijón. A project that tries to show a panoramic and eclectic vision of the ample spectrum of current genres that come from connecting visual arts and electronic music.
A physical and ephemeral space, concerned specifically with four themes: the natural synergy between image and sound, the live presentation, the relationship established between audience, artist connection and public space, and the new artistic tendences that constantly emerge on a global level.
L.E.V., co-produced by Principado de Asturias Goverment, the Gijón City Council, LABoral’s Centre of Art and Industrial Creation and Datatron 0x3F, honors by its acronym to Lev Thermen.
Arts@CERN has flourished since its creation in 2011, binding arts, science and technology to contribute to a fast growing knowledge-based culture. They are pleased to announce the COLLIDE International Award, a major international residency programme and a new collaboration between CERN and FACT (Foundation for Art and Creative Technology, Liverpool).
COLLIDE International Award is a unique opportunity for artists to spend dedicated time in one of the most important laboratories in the world, where crucial questions about nature are addressed. COLLIDE aims to encourage curiosity, offering experimental and open-minded artists an extraordinary framework to inspire creativity both within the sciences and the humanities. Ultimately, COLLIDE proposes to transform the way art and science encounters are understood, and to challenge new modes of dialogue and enquiry.
As the cradle of the World Wide Web and home of the Large Hadron Collider (LHC), CERN is an eminent centre of science and technology with great relevance in the culture of today. As an international centre of excellence in these fields, CERN is an inspirational place for artists, designers and creators of any kind to explore and extend their research in the fascinating world of particle physics.
FACT (Foundation for Art and Creative Technology) is the UK’s leading media arts centre based in Liverpool, bringing people, art and technology together. FACT harnesses the power of creative technology to inspire and enrich lives through a wide ranging programme of exhibitions, research and innovation, and community-led projects. FACTLab is FACT’s experimental laboratory, a collaborative environment for interdisciplinary practice-based research and production operating at the crossroads between art, science and technology.
The competition is open to artists of any nationality or age. Their proposal should reflect upon encounters between art and science, and offer challenging methods of collaboration with CERN scientists. The scope of this proposal should also consider a second developmental phase at FACT, where the artists will have the opportunity to expand their research and test its applications through FACTLab’s facilities and engagement with a wide range of communities. The ultimate goal for the residency will be the research and development of new concepts in laboratory contexts.
The Jury of this edition is composed of a panel of experts including Monica Bello, Head of Arts@CERN, Geneva (Switzerland); Patrick Gyger, Director of Le Lieu Unique, Nantes (France); Tara Shears, Physicist at LHCb, CERN (Geneva) and at University of Liverpool (United Kingdom); Mike Stubbs, Director of FACT, Liverpool and Professor at Liverpool John Moores University (United Kingdom).
Artists intending to apply shall submit a proposal adhering to the criteria of the call. The proposal should describe, in detail, the project that the artist intends to undertake during the residency at CERN and FACT. The proposal should be accompanied by a filmed statement (no longer than five minutes), defending the relevance of the intended project.
The Costume Institute’s spring 2016 exhibition, presented in the Museum’s Robert Lehman Wing at the Meth Fifth Avenue, will explore how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.
With more than 120 ensembles dating from the early 20th century to the present, the exhibition will address the founding of the haute couture in the 19th century, when the sewing machine was invented, and the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of mass production. It will explore this ongoing dichotomy, in which hand and machine are presented as discordant tools in the creative process, and question the relationship and distinction between haute couture and ready-to-wear.
The Robert Lehman Wing galleries on the Museum’s first floor and ground level will present a series of case studies to unravel the hand/machine conundrum. At the center will be an installation of toiles and prototypes presented as garments in the making or “monuments to ideas.” Emanating from this presentation will be a series of rooms based on traditional métiers of the haute couture, including embroidery, featherwork, artificial flowers, pleating, lacework, and leatherwork, which will be presented alongside versions that incorporate innovative processes, such as 3D printing, computer modeling, bonding and laminating, laser cutting, and ultrasonic welding. A room dedicated to the ateliers of tailoring and dressmaking will reflect the traditional division of a maison de couture.
Manus X Machina will be on display May 5 – August 14, 2016. Find out more with #ManusxMachina.
Through this mapping, the researchers can build an archive of a building’s sound, with all its nuances, echoes, and ricochets, that could survive even if the building fell. If the chanters sang in a studio, their song could be processed to have the shape of a particular space, their voices given a different resonance just as the monks would have had in the fourth century. And this is a technique that could be applied to any historic building, whether church or arena or theater. Chris Kyriakakis says on the podcast: “It’s the beginning of creating museums of history, visual and audible, stamps of what these places were like.”