Kadenze, a MOOC platform optimized for arts education, brings together educators, artists, and engineers from leading universities across the globe to provide a world-class education in the fields of art and creative technology. Its name is the derived from the western musical term, cadenza, which means an opportunity for artists to test their skills, their creativity, and their imaginations through improvisation.
In a global classroom one can collaborate with your peers, showcase his work, and learn on his own schedule with easy-to-use interactive virtual learning environment.
Would you like to enroll? The Nature of Code course by Daniel Shiffman opens May 4, 2016 and will teach you physics simulation, trigonometry, fractals, cellular automata, self-organization, and genetic algorithms with a focus on object oriented programming using the p5.js.
João Costa’s recent sound installation Adeus reimagines the myth of Orpheus and Eurydice while exploring the flaws of human nature through mechanical means. The piece consists of two metal plates (one brass; one copper) containing musical notation represented by etched dashes. The song is “Valsa de Eurídice” (Eurydice’s Waltz) by Brazilian poet and musician Vinicius de Moraes.
The metal plates are“scanned” by an array of sensors that are attached to two linear actuators, one for each plate. When the system is triggered, both groups of sensors start moving along the plates in sync and play the song. Having reached the end of the plates, the sensors will move backwards and start again. However, since the system is assembled by a human, the array of sensors will slowly begin to move out of sync, altering the overall sound that is played – the assembly is not perfect, mirroring the flaws and entropy inherent to human nature.
The whole auditory mechanism will gradually fall into disorder, but due to the system’s idiosyncrasies, it will recover from that entropy and the sensors will eventually get in sync again, only to launch their descent into chaos. From the moment Orpheus begins his journey back into the mortal world, he is gradually declining into disorder that will culminate with the death of Eurydice. Before this fateful event occurs, however, a liminal space emerges – the moment that precedes his looking back – that Nicolas Bourriaud calls an “interstice.” This small gap in space and time allows for the creation of a domain of exchanges between Orpheus and Eurydice. It is the moment that Orpheus loses beauty, even as he glimpses it, because it is ungraspable (WROE, Ann).
Digital Pragmata is a digital arts and humanities initiative at Virginia Commonwealth University. Its goal is to bring together scholars, students, creators, and everyone interested in seeing the digital arts and humanities flourish, whether in the classroom, the studio, or research. The initiative is run by VCU Libraries in partnership with the Office of Research and Innovation.
Digital pragmata flourish at the nexus of research, teaching, and creativity. They can be textual databases, creative visualizations of information, multimedia explorations, collaboratively annotated maps, and a thousand other projects. How do they fit into a world built on books and scholarly journals? Will these new ways of communicating displace a world made on paper, or will they blend into new forms of scholarly expression that grow from the best of the past? What is truly novel and significant about recent developments in the digital humanities and what are the implications for the humanities in general?
As part of the Digital Solitude program, each year Akademie Schloss Solitude will be awarding a total of 24 months of fellowships to two to four people in 2016 and 2017. The fellowship program is intended for journalists, developers/coders, designers, as well as artists and all other creatives and professionals who work on the development of new digital content and formats. There is a special focus on digital projects in journalism, storytelling, art and cultural mediation, and media art.
The next application period for the Digital Solitude fellowships in 2017 starts on May 1 and runs until June 30, 2016.
Young professionals who have an interest in the content of Akademie Schloss Solitude and its interdisciplinary network and are also pursuing independent digital projects can apply for a fellowship. The program will offer them the space and flexibility to develop new ideas and formats, which will be published on or in connection with the online platform Schlosspost, a content focused online platform in English for the Solitude network. The website is simultaneously an online magazine and artist portfolio and is aimed at a global audience of young artists and those interested in the arts. The age limit for applicants is 35. However, some fellowships will be awarded irrespective of the age of the applicant. Students are not eligible.
Fellows of this program are not bound to the standard residency requirement of spending at least two-thirds of their residency at Akademie Schloss Solitude. The fellowship includes a grant of 1,150 Euros a month (plus a one-time grant for travel costs for the journey to and from Stuttgart from the fellow’s primary place of residence) and a combined apartment/studio, where electricity, water, and heating will be provided free of charge.
Please find all further information in the application form, which can be downloaded here.
Schlosspost also awards the micro-grant »Web Residency« (500 USD). We also encourage applicants for the Web Residencies or already awarded Web Residents to apply for the Digital Solitude fellowship program and vice versa.
The Digital Solitude program with its fellowships and the online platform Schlosspost are supported by the State Ministry of Baden-Wuerttemberg for Science, Research and the Arts.
Harnessing the collective intelligence of plant behaviour, the reEarth project at the Interactive Architecture Lab explores new forms of bio-cooperative interaction between people and nature, within the built environment. While plants lack a nervous system, they can, much like animals, become electro-chemically stimulated by their surrounding environment. Through the study of plant electro-physiology, we have wired their primitive ‘intelligence’ into the control-loop of an autonomous robotic ecosystem. Half garden, half machine – a new cybernetic lifeform – Hortum Machina, B, created by William Victor Camilleri and Danilo Sampaio.
Echoing the architecture of Buckminster Fuller, the geodesic sphere, is both exoskeleton and ecological iconography. Its core of twelve garden modules, each carrying native British species on outwardly-extending linear actuators allow the structure to become mobile by shifting its centre-of-gravity. Electro-physiological sensing of the state of individual plants collectively and democratically controls decision-making of the orientation of the structure and its mobility. In the near future context of driverless cars, autonomous flying vehicles, and seemingly endless other forms of intelligent robotics co-habiting our built environment. Hortum machina B is a speculative urban cyber-gardener.
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.