LACMA Call for Art + Technology Proposals

Jonathon Keats at LACMA researching the intersection of neuroscience and design © Sandro Del Rosario

The Art + Technology Lab at LACMA has released a new call for artist proposals. The reponse from artists and art collectives all over the world throughout the first two years of the program has been amazing, allowing LACMA to share an ongoing array of works in progress and artist talks with our public, as the artists who receive grants through the program work alongside museum’s technical advisors to accomplish ever-evolving experimental works of art.

The purpose of the Art + Technology Lab is to nurture new work with financial and in-kind support for projects that engage emerging technology and contribute to public dialogue about technology and culture. In addition to the grant, the artists gain advice and in-kind support from the museum and its advisors from Hyundai, Accenture, NVIDIA, DAQRI, SpaceX, Google, Gensler, and independent artists and academics.

Applications are due February 24, 2016 by 11:59 p.m. All proposals must be submitted via the online portal. Questions about the program or the application process may be directed to lab@lacma.org.

Future Emerging Art and Technology Open Call

Future and Emerging Technologies (FET) push the boundaries of human knowledge. Unconventional ways of thinking and creativity open novel and visionary fields of research that radically shift. The project aims to bring together artists and FET projects using best practice methods to create high-impact collaborative outcomes including the production of new artworks, major exhibitions, media campaigns, and socially engaged events including festivals, debates and participatory workshops.

Six leading international artists will be hosted within FET projects through fully funded embedded residencies. Through in-depth collaborations with researchers and reflecting on the projects, the artists will explore, engage and communicate these new areas of research to reach the widest possible audiences, opening up societal discussions, raising awareness and enhancing take-up of radically new technologies.

Whether you are an artist with a keen interest in new technologies and experience in working collaboratively across technological and/or scientific disciplines, or you are working on a FET project and are interested in hosting an artist to gain novel perspectives and increase the visibility of your project results, you can apply for the FEAT residency programme with the deadline of January 31, 2016. Read the call for expressions of interest & guidelines and apply at http://featart.eu/.

NeuralTalk and Walk from Kyle McDonald

Kyle McDonald is an artist who works in the open with code. He is a contributor to arts-engineering toolkits like openFrameworks, and spends a significant amount of time building tools that allow artists to use new algorithms in creative ways.

His recent experiment was to modify Andrej Karpathy’s “NeuralTalk” code to run from a webcam feed. McDonald recorded this live while walking near the bridge at Damstraat and Oudezijds Voorburgwal in Amsterdam, while visiting for IDFA DocLab.

NeuralTalk is trained on the MS COCO dataset, which guides the kind of captions that are generated mscoco.org/dataset/#captions-challenge2015 MS COCO contains 100k image-caption pairs covering a wide variety of situations. But in a brief walk, you will really only run into a few of those situations.

All processing is done on McDonald’s 2013 MacBook Pro with the NVIDIA 750M and only 2GB of GPU memory. The artist’s walking around with his laptop open pointing it at things, hence the shaky footage and people staring at themselves. The openFrameworks code for streaming the webcam and reading from disk is available at gist.github.com/kylemcdonald/b02edbc33942a85856c8

A New Field of Art: Composing and Storytelling with Scents

One of the innovative projects recently funded on Kickstarter has gained our particular attention: The OSMODRAMA Festival in Berlin could be a revolution. It promises storytelling with scents and scent sequences as stand-alones and in conjunction with music, dance, spoken word, theatre, cinema and opera.

The Osmodrama Festival is the first ever time-based scent-art gathering. It will present a series of events with science and art to the public. The base and prerequisite of this event is a perfectly installed Smeller 2.0 venue. The festival will take place in Radialsystem V Berlin, a space for innovative arts and ideas and coincides with the 10th anniversary celebrations of this acclaimed art venue in Summer 2016.

It always is with really new media: film in the old days or photography, the telephone, video … people were afraid in the beginning. They did not think that it was possible or thought it wouldn’t add anything useful to the existing media. When these fears are overcome, new forms of expression become indispensable.

The instrument Smeller 2.0, the digital scent organ was invented by Wolfgang Georgsdorf. With the prototype he developed and built with his team, we can finally play and perform smells in sequences of every length: time-based, controlled, without blurring or lingering. Smeller 2.0 has been successfully tried and tested in a large exhibition for three months in Austria. It is overdue to share the extensive cultural potentials of this innovation in arts and media.

Smeller 2.0 is a mighty machine, operated to blend and play thousands of smells from 64 channels with electronic precision. The smells of Smeller are real. They point to places and times of the world as if we paint invisible and silent theatre, drama and big pictures into our imagination and into the space. In that sense Smeller is truly a time and space shuttle.

The OSMODRAMA Festival’s development can be tracked at http://kck.st/1OQ5dWK

Resonate 2016 Announced – Early-Bird Tickets Now Available!

Resonate 2016 Announcement

Resonate festival in Belgrade is back for another year bringing artists together to drive a forward-looking debate on the position of technology in art and culture. ‘Early Bird’ tickets are now on sale. Hurry up and get yours!

The fifth edition of Resonate festival is taking place in Belgrade between 12th – 16th April 2016.

Resonate Conference (14th-16th April) offers eight 1-Day Workshops (free to ticket holders – per application), four 3-Day Workshops (11th – 13th April), over 20 lectures, more than 10 Project Talks (Q&A), Panel Discussions, Screenings and access to our closing party with A/V performances and DJs.

Resonate Live (12th-16th April) features 15+ Music Performances, 10+ Lectures, 3+ Workshops (free to ticket holders – per application) and Panel Discussions + access to our closing party.

Confirmed Conference Participants for 2016 include:
Nicholas Felton, Moment Factory, Chris Sugrue, Jürg Lehni, Alex Evans (Media Molecule), Romain Tardy, Atau Tanaka, Theo Watson, Daniel Hirschmann, Phoenix Perry, Rebecca Fiebrink, Artists & Engineers, Ishac Bertran, Bethany Koby (Technology Will Save Us), Darran Anderson, Andreas Müller, Karsten Schmidt, Neil Mendoza, Darsha Hewitt, Jonathan Wohl, Random Studio, Pe Lang, James Auger, Shane Walter, onedotzero, Jakob Bak (CIID), Dennis P Paul (HfK), Joreg (vvvv), Cathrine Kramer, Domestic Data Streamers, Playmodes and many more.

Tickets On Sale Now – Hurry up and get your Early-Bird. Limited available: resonate.io/2016/tickets

Call for applications Rijksakademie van beeldende kunsten 2017 Residency

The Rijksakademie van beeldende kunsten (Amsterdam) is an international residency program which provides time and space for research, experiment and production. We offer emerging professional artists from both the Netherlands and abroad an opportunity to develop their work and ideas at the highest level.

Resident artists work in an individual studio in the former Cavalry Barracks, surrounded by approximately 50 peers from all over the world. Ongoing dialogues take place with a group of prominent artists, theoreticians and professionals from other disciplines connected to the Rijksakademie as advisors. Ideas can be developed in cooperation with technical specialists in well-equipped technical workshops, and interdisciplinary cross-overs are encouraged. Furthermore, there is a theory workshop offering a specialized art library and (historical) collections focus. Presentation of work and connections to an international network form a part of the two-year residency program.

Every year, about 25 studios become available. The residency lasts one year but can be extended to two. You can apply for the 2017 residency by completing the online application form beginning January 1, 2016.

Mechanical Curiosities: Musical, Clockwork, Animated Mechanisms from the 17th – 19th Centuries in the State Hermitage Collection

On 9 December 2015, the exhibition Mechanical Curiosities. Musical, Clockwork, Animated Mechanisms from the 17th–19th Centuries in the State Hermitage Collection opened in the Blue Bedchamber of the Winter Palace, the State Hermitage Museum.

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The display features devices with a whole variety of purposes – timepieces and musical mechanisms, unique pieces of furniture with secrets and examples of the jeweller’s art. Created in Western Europe and Russia in the 17th–19th centuries, they reflect not only the level of technical progress in their time, but also fashionable pastimes, the ambitions and imagination of those who commissioned and created them.

The exhibition presents works by Western European and Russian practitioners of decorative and applied art, including masterpieces by celebrated mechanics of the past – James Cox (1723–1800), Pierre Jaquet Droz (1721–1790), David Roentgen (1743–1807). Peter Kinzing (1745–1816) and Ivan Petrovich Kulibin (1735–1818) – as well as pieces whose creators are unknown. Many of the items are being displayed publicly for the first time.

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The earliest examples of mechanical devices included in the exhibition date from the 17th century. They are German table clocks in the form of animals and a silver toy carriage made by mechanics in Augsburg and Nuremberg.
Craftsmen of the 18th-century age of the Rococo and Enlightenment produced marvels of mechanical art, demonstrating the triumph of reason over the organic world. One of the most famous gems of that time is the Peacock Clock on display in the Pavilion Hall of the Small Hermitage. It was the work of the English 18th-century jeweller and mechanic James Cox. The exhibition features table clocks and pocket watches made by Cox and his compatriot Peter Torckler.

Mechanical Curiosities: Musical, Clockwork, Animated Mechanisms from the 17th – 19th Centuries open from December 10, 2015 until April 3, 2016. Visit the exhibition at the Blue Bedroom (Room 307), the Winter Palace, the State Hermitage Museum in St. Petersburg, Russia.

Daniil Frants’ Project Featured at the Jimmy Fallon’s Show

CYLAND MediaArtLab’s artist and specialist in the creative use of new technologies Daniil Frants has recently done a demonstration of his project, the Live Time Closed Captioning System (LTCCS), at the Tonight Show Starring Jimmy Fallon. LTCCS is a revolution in assistive technology for the hearing impaired, an on-head wearable display that provides closed captioning for real-life events as they happen live.

Jimmy Fallon welcomes Daniil Fants to show off his invention, and Jimmy counters with some cutting-edge technology of his own.

And you can help make this project to become a reality, and to get the LTCCS into the hands of millions of users, potentially changing their lives forever: https://www.indiegogo.com/projects/ltccs-the-live-time-closed-captioning-system#/

Perceptually Optimised Sound Zones for Future Spatial Audio

Often, two people in a single room want to listen to different items of audio. It may be that one person is watching television whilst the other is listening to the radio, or even that one plays a computer game whilst the other reads in silence. The obvious solution to this would be for all individuals to wear headphones, however this dramatically increases isolation (not just in acoustic terms), is impractical if more than one person wants to listen to either source, and could be uncomfortable over an extended period.

It would be great if we could create ‘zones’ of sound: areas within a room or other environment, where only one of the audio signals could be heard. In other words, reproducing sound in specific zones whilst minimising spill into other zones. An example is shown below of a living room containing two sound zones, A and B, with the remaining space being either a quiet area, or an area where the reproduced sound is relatively unimportant.

This project is unique in the way that it combines engineering (to create the sound zones) and psychoacoustics (to evaluate and predict the perceived quality). It has been funded by Bang and Olufsen and the Engineering and Physical Sciences Research Council and aims to unlock the creative potential of 3D sound and deliver to listeners a step change in immersive experiences.

The engineering research is being conducted by staff and students from the Centre for Vision, Speech and Signal Processing, in collaboration with engineers from Bang and Olufsen. They have developed methods to create sound fields where the audio is concentrated on the corresponding sound zones, with minimal spill into other zones.

The psychoacoustic research is being conducted by staff and students from the Institute of Sound Recording, in collaboration with psychoacousticians from Bang and Olufsen. They have determined the most appropriate perceptual factors when listening interfering signals in a sound zone, and have developed models in order to predict the performance of a system in a perceptually-relevant way.

The video below includes interviews with a number of the project contributors, as well as a binaural demonstration of one of the resulting sound zone systems. Headphones for listening are recommended.

Details on the project can be found at the University of Surrey website and S3A Future Spatial Audio.

CAPITAL OF NOWHERE AT THE 55th VENICE BIENNALE

Capital of Nowhere 2013

CAPITAL OF NOWHERE is a group art project dedicated to the experience of living in a changing landscape created by our media based civilization. This traveling art project captures the work of Russian (mainly St. Petersburg based) artists, amidst the Biennale, where national representation is the first step in to its global art pole– and though you can feel these artist and their identity at the core, the concept of the project is versatile, it allows reflection of both time and place, aligning foreign and local thought to interplay.

Today’s city is an ever-updating screen where commercials mix up with politics, futuristic fantasies mix up with history and documents mix up with fiction. The reality of time and place disappear. Mutation of the familiar urban environment is perceived as a physical, mental and moral wound that every artist contrasts with their own act of creation, compensation, and substitution.
The exhibited works spark new possibilities, real and imaginary – extending the space of Art into the life of the viewer, and drawing the viewer into the life of Art – this is a worthwhile partnership and realm, during the prestigious Venice Biennale.
Vitaly Pushnitsky’s “Falling Light” reimagines painterly inquiries of area, time and light through a broad range of divergent media including sculpture, architecture, and installation. In “Dream and Ball”, Petr Belyi literalizes the idea of a place for dreams with large luminescent balls made of opaque glass upon stacks of pillows.
Alexandra Dementieva’s work, “Mirror’s Memory”, explores the link between representation and memory as mediated by new technology inviting viewers to experience a reflected self at the will of a machine. In Liudmila Belova’s “Archive”, memory of the body is evoked through sound.
Marina Koldobskaya’s iconography (such as animals, fruits and faces) employs a minimal palette to harness raw power of the thing itself while her performance of painting reveals the nature of creation – subtly offering viewers both recognizable cypher and tools to interpret how the language came to be. Teenage technology wiz Daniil Frants and artist Ivan Govorkov’s site-specific performative installation weaves together line, shape, composition and construction through a process based investigation of traditional 2D mark-making and modern 3D modeling.
Victoria Ilyushkina’s wickedly absurdist video work takes on the space of the bathtub as a metaphor for the symbolic connections we make, miss and struggle through. Mariateresa Sartori’s stark, philosophically rich video work presents the intricacies of the human libido as a popular chemistry lesson.
Photographic prints of Alexander Terebenin’s “Gallery” series depict perspectival stretches of the dilapidated 18t h century colonnades lining Nikolsky Market in St. Petersburg. Meanwhile his “Traces on White” reveals empty paths throughout countryside’s equally neglected natural environment: rickety fences and desolate, snowy fields.
A perfect embodiment of the contexts explored in “On My Way” , the multimedia artwork “Danae” by artists Ivan Govorkov invokes the myth of Acrisius’ daughter and Zeus as a moving, mirrored reflection of the life-giving power of the immaterial of art.
Anna Frants and Elena Gubanova

Exhibition: May 27th – July 10th 2013, a side event of the 55th Biennale of Contemporary Art
Venue: Ca’ Foscari Zattere
Address: Zattere, Dorsoduro 1392, 30123 Venice, Italy (Boat stop: Zattere)

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