Creative Explorations: From Social Entities to Ubiquitous Systems: ‘How digital is changing the way we relate to each other’
Connect for Creativity’s third and final networking conference titled ‘Creative Explorations: From Social Entities to Ubiquitous Systems’ on ‘How digital is changing the way we relate to each other’ will be held online on 24 – 25 September due to the COVID-19 measures.
The conference will focus on the convergence between the creative industries and digital technologies and will explore its impact on how we connect with and relate to each other.
One of the main aspects of human nature is the need for contact and the way we communicate has been evolving since our very existence. Today, we live in a culture that fosters hyperconnectivity, the pace of technology creation is faster than the pace of our understanding, and the development of critical thinking. Could design and technology alter our community? As computational creativity continues to emerge, cultural and creative sectors lean on technology to find new ways to make culture more cohesive, relatable, and accessible. Social distancing accelerated the use of technology and due to this, many new creators came into view. However, the way they communicate and relate to the world has also shifted. Technology and omnipresent systems is an issue that raises many questions. Are we trying to escape reality? Develop a new social model? Do we create technology or is technology creating us?
The conference will consider these themes within the context of the emergence of new business models, the rise of creative cities, technology disruption, and innovative approaches to content creation and distribution, and evidence-based policymaking through keynotes, panel discussions, workshops, and structured networking opportunities.
By bringing together local, national, and international pioneers from the creative and cultural sectors, startups, brands, policy and digital technology communities, the conference aims to build dialogue and foster new collaborations between cultural actors in Greece, Serbia, Turkey, the UK, and beyond.
Creative Explorations: From Social Entities to Ubiquitous Systems: ‘How digital is changing the way we relate to each other’ can be watched live on YouTube:
Turkish visual artist and director Can Buyukberber creates immersive audiovisual experiences that are embodied in physical and digital spaces. His practice consists of experiments with various media such as virtual/augmented reality, projection mapping, geodesic domes, large-scale displays and digital fabrication.
Driven by an interdisciplinary thinking and curiosity which extends to art, design and science, Buyukberber’s work often focuses on human perception, exploring new methods for non-linear narratives, geometrical order, synergetics and emergent forms. Aiming to build captivating and abstract universes, he uses increasingly complex structures which are perceived as a multi-sensorial feeling and turns the conceptual into the experiential, blurring the sense of scale and presence in physical and digital environments.
With a background in Physics and Visual Communication Design (BA), he has received his Master of Fine Arts (MFA) Degree in Art & Technology from San Francisco Art Institute as a Fulbright Scholar. He has been selected to Autodesk’s Pier 9 and Adobe's Augmented Reality Artist Residencies and has worked at the state of the art workshops to produce innovative XR projects. His audiovisual works that utilize geodesic domes, virtual reality headsets and architecture have toured museums, galleries and media art festivals around the world, including exhibitions and screenings at ZKM, Karlsruhe ;Ars Electronica, Linz; SAT, Montreal; Sonar D+, Barcelona; California Academy of Sciences, Exploratorium and Dolby Gallery in San Francisco; Akbank Sanat, Istanbul; Art Futura, Rome; MUTEK.JP, Tokyo; ZeroSpace, New York City; collaborations with musical artists such as Grammy-Award winning rock band Tool, Shigeto and Czech Philharmonic Orchestra.
Dr. Danielle-Maria Admiss is an Iranian-English curator and researcher based in Glasgow. She works across the interlinking fields of art, design, science and technology. She is interested in the social and material entanglements that surface from extensively mapping worlds and her projects explore curating as a collaborative storytelling practice, imagined and pursued.Currently, Dani is the 2020-21 Stanley Picker Fellow at Kingston University London for a project inquiring into water pollution, deep time and memory called “Cycles of Toxicity”. She runs Dark Conservation a long-term curatorial research project that rethinks the role of conservation practices in expanded contexts and is founder of Playbour, a co-creation platform on digital labour. She has curated projects across the UK, Europe and internationally including at the Barbican Centre, Somerset House, MAAT, Design Museum, Porto Design Biennale and Lisbon Architecture Triennale. She holds a PhD in ‘World-Building in Curating Art and Design’ at Sunderland University, Sunderland (2019). It was undertaken with an AHRC funded studentship (2014-2017).
Daphne Dragona is a curator and writer based in Berlin. Through her work, she engages with artistic practices, methodologies and pedagogies that challenge contemporary forms of power. Among her topics of interest have been: the controversies of connectivity, the promises of the commons, the challenges of artistic subversion, the instrumentalization of play, the possibilities of non-sovereign infrastructures, the problematics of automated care, and most recently the potential of kin-making technologies in the time of climate crisis.
Among her curated -or co-curated- projects are the exhibitions: Kyriaki Goni, Counting Craters on the Moon (Aksioma, 2019), Tomorrows, Fictions spéculatives pour l’avenir méditerranéen (Le Lieu Unique, Nantes, 2019), “…” an archeology of silence in the digital age (Aksioma, Ljubljana, 2017), Tomorrows, Urban fictions for possible futures (Diplareios, Athens, 2017), Capture All (transmediale, Berlin, 2015), New Babylon Revisited (Goethe Institut Athen, 2014), Afresh, a new generation of Greek artists (ΕΜSΤ, 2013), Data Bodies - Networked Portraits (Fundacion Telefonica & Alta Tecnologia Andina, Lima, 2011), Mapping the Commons Athens (EMST, 2010), Homo Ludens Ludens (Laboral, Gijon, 2008). Articles of hers have been published in various books, journals, magazines, and exhibition catalogs by the likes of Springer, Sternberg Press, and Leonardo Electronic Almanac. Talks of hers have been hosted at ViZ (Athens), Mapping Festival (Geneva), MoMA (New York), Hek (Basel), Arts in Society (London), Leuphana University (Lueneburg) and Goethe University (Frankfurt).
Dragona worked as a curator for transmediale festival (Berlin) from 2015 until 2019. In the past –from 2001 until 2007–, she was the general coordinator of [email protected] festival, organised by Fournos (Athens). She has been a member of several committees for conferences and festivals and recently she was a jury member and mentor for ARTWORKS, Fellowship for Greek Young Artists of the Stavros Niarchos Foundation.
She holds a PhD from the Faculty of Communication & Media Studies of the University of Athens, an MA in Museum Studies from UCL, and a BA in Archaeology and History of Art from the University of Athens.
Dimitris Charitos is an associate professor at the Faculty of Communication and Media Studies of the National and Kapodistrian University of Athens. Since 2002, he has been teaching ``Human-Computer Communication``, ``Art and Technology``, and ``Visual Communication - Visual Design``, at an undergraduate level as well as ``Design of Digitally Mediated Environments``, ``Interactive Design``, and ``Music and New Media`` at a postgraduate level. He has also taught at an undergraduate and postgraduate level since 1994: in Scotland (University of Strathclyde) and Greece (Department of Informatics, University of Athens and School of Architecture, NTUA).
He has studied Architectural Design (NTUA, 1990), Computer Aided Design (Strathclyde Uni, 1993) and has a PhD on Interactive Design and Virtual Environment Design (Strathclyde Uni, 1998). Since 1996, he has authored or co-authored more than 90 publications in books, journals or conference proceedings. As a researcher or coordinator, he has participated in more than 15 research projects (funded by Greek or European programs) on the subjects of virtual reality, interactive design, locative media, mediated/hybrid cities and digital art.
As a new media artist, he has produced electronic music (1983-1993), audiovisual and interactive installations and virtual environments (1997- today). He has participated in 15 exhibitions in Greece, UK, Canada and Cyprus.
Francesco Corvi (a.k.a. Nesso) works in the digital arts as a sound designer, multimedia artist and creative coder. He studied at CREA (research and audiovisual processing center), founded the label Mossa Records and works with Umanesimo Artificiale. His interest in LiveCoding stems from the search of a system that offers a wide choice of unconventional performance possibilities, to the vision of programming as improvisation practice, where the artist creates and manages a system in continuous evolution influencing the trend over time.
Ilan Manouach (Athens, 1980) is a multidisciplinary artist with a specific interest in conceptual and post-digital comics. He currently holds a PhD researcher position at the Aalto University in Helsinki (adv. Craig Dworkin) where he examines the intersections of contemporary comics and XXIst century’s technological disruptions. His artistic work claims for the importance of comics as a materially self-reflexive medium, unaffiliated to any general art history. He has more than twenty published bookworks under his belt, solo exhibitions to important festivals, museums and galleries worldwide. His work has been written about in Hyperallergic, New York Magazine, World Literature Today, Wired, Le Monde, The Comics Journal, du9, 50 watts and Kenneth Goldsmith’s Wasting Time on the Internet and his works are also part of the Ubuweb online contemporary art archive. He is an Onassis Digital Fellow (2020) and a Kone alumnus.
He is mostly known for Shapereader, a system for tactile storytelling, built on a repertoire of tactile ideograms and initially designed for blind and partially sighted readers/makers of comics. Shapereader has been presented and discussed internationally in a variety of formats, contexts and collaborations: contemporary art shows in museums (MUSAC, Castilla), community workshops (Binyamin Gallery, Tel Aviv), artist talks (School of the Chicago Art Institute) and literature fairs (Shapereader was the official representation of Belgium at the Frankfurter Buchmesse). It has been endorsed by disabilities rights organizations (Swiss Handicap, NFB, Iiris Library) and universities (Disabilities Studies, University of Washington) and has been discussed in major international media outlets.
Manouach is the director of Futures of Comics, an international, recurrent research programme that explores how comics are undergoing historic mutations in the midst of increasingly financialized, globalized technological affordances and proposes to map the social, economic, racial and gendered forces that shape the industry’s commercial, communication and production routines. He is also the CEO of Applied Memetic an organization that researches the political repercussions of generative art and highlights the urgency for a new media-rich internet literacy. In 2018, along with poet Kenneth Goldsmith he was the curator of the Festival Shadow Libraries: Ubuweb in Athens, that proposes to examine the uses of the archive in regards to artistic production and explore the conceptual consistency and the ethics of digital preservation and distribution in web libraries, through the lens of its users and makers.
Manouach is also the curator of the Conceptual Comics selection for Monoskop, Ubuweb and the publisher of two publishing houses Topovoros responsible for bringing translations in greek of works from Hito Steyerl, Craig Dworkin, Donna Haraway, Helene Cixous, Byung Chul-Han, Robert Smithson etc and Inkpress publishing indy alternative comics. For a fuller documentation on the above projects, the Brussels-based non-profit Echo Chamber is responsible for producing, fundraising, documenting and archiving Manouach’s research on contemporary comics.
Irini Papadimitriou is a curator and cultural manager, whose practice draws on interdisciplinary and critical discourse to explore the impact of technology in society and culture, and the role of art in helping us engage with contemporary issues. Currently Creative Director at FutureEverything, an innovation lab and arts organisation in Manchester, she was previously Digital Programmes Manager at the V&A and Head of New Media Arts Development at Watermans. Her display, Artificially Intelligent, was exhibited at the V&A in 2018.
Irini has been a co-curator for the Arts & Culture experience at Mozilla Festival and she is co-founder of Maker Assembly, a critical gathering about maker culture. She is an Imperial War Museum Institute Associate, an Industry Advisory Group member for SODA (School of Digital Arts) at Manchester Metropolitan University, and an Advisory Board member for ONX Studio, a new major collaboration between Onassis USA and New Museum’s cultural incubator NEW INC.
Irini has been a recipient of curatorial research programmes including MOBIUS (Finnish Institute), Art Fund Jonathan Ruffer, Mondriaan Fonds and British Council, and has served as a jury member for Ars Electronica, Lumen Prize, Vertigo STARTS and ACM Siggraph.
Graduated from the department of Philosophy at the Philosophical Faculty in Belgrade and received a Phd degree at the Faculty of Media and Communications, Singidunum University in Belgrade. He was awarded the Nadežda Petrović Memorial Award, as well as the award of the October Salon in Belgrade. He was the editor for theory at Moment magazine. Until 1997, he was the director and the editor-at-large of New Moment, magazine for visual culture. In 1998, he published the book Cutting Through Chaos and the monograph Art Sessions: Era Milivojević (both for Geopoetika). He was the Artistic Director and curator of BELEF festivals in 2003 and 2004, as well as the Artistic Director of the Biennial of Young Artists in Vršac in 2002. He lectured as a guest professor at the Faculty of Fine Arts in Belgrade and Fine Art Academy in Cetinje (Montenegro). He is the editor of the Artedition of the Geopoetika publishing house.
Poka-Yio lives and works in Athens. He is a Associate Professor at the Athens School of Fine Arts, a visual artist, contemporary art curator, strategy consultant for organizations and personal coach for individuals and business executives. He is Founding Director of the Athens Biennale and has co-founded Alpha Station for Contemporary Art in Athens. He has exhibited his work internationally and in Greece. His art practice includes painting, performances, theater and short films. The main theme of his work is the dipole Attraction-Repulsion at the age of the Culture of Desire.
Refik Anadol is a media artist and director born in Istanbul, Turkey in 1985. Currently lives and works in Los Angeles, California. He is a lecturer and visiting researcher in UCLA’s Department of Design Media Arts.
He is working in the fields of site-specific public art with parametric data sculpture approach and live audio/visual performance with immersive installation approach, particularly his works explore the space among digital and physical entities by creating a hybrid relationship between architecture and media arts with machine intelligence. He holds a master of fine arts degree from University of California, Los Angeles in Media Arts, master of fine arts degree from Istanbul Bilgi University in Visual Communication Design as well as bachelors of arts degree with summa cum laude in Photography and Video.
As a media artist, designer and spatial thinker, Refik Anadol is intrigued by the ways in which the transformation of the subject of contemporary culture requires rethinking of the new aesthetic, technique and dynamic perception of space. Anadol builds his works on the nomadic subject’s reaction to and interactions with unconventional spatial orientations with data and machine intelligence. Embedding media arts into architecture, he questions the possibility of a post digital architectural future in which there are no more non-digital realities. He invites the viewers to visualize alternative realities by presenting them the possibility of re-defining the functionalities of both interior and exterior architectural formations. Anadol’s work suggests that all spaces and facades have potentials to be utilized as the media artists’ canvases.
Privileging difference rather than singularity and movement rather than stasis, Anadol faces all the new challenges that the gradual development of an enriched immersive environment and ubiquitous computing impose on architects, media artists and engineers. How is our experience of space changing, now that digital objects ranging from smart phones to urban screens have all but colonized our everyday lives? How have media technologies changed our conceptualizations of space, and how has architecture embraced these shifting conceptualizations? These are the three main questions that Anadol tackles by not simply integrating media into built forms, but by translating the logic of a new media technology into spatial design.
He has been given awards, residencies and has served as a guest lecturer. He is the recipient of a number of awards, prizes including Microsoft Research’s Best Vision Award, German Design Award, UCLA Art+Architecture Moss Award, University of California Institute for Research in the Arts Award, SEGD Global Design Awards and Google’s Art and Machine Intelligence Artist Residency Award. His site-specific audio/visual performances have been seen in Walt Disney Concert Hall (USA), Hammer Museum (USA), International Digital Arts Biennial Montreal (Canada), Ars Electronica Festival (Austria), l’Usine | Genève (Switzerland), Arc De Triomf (Spain), Zollverein | SANAA’s School of Design Building (Germany), santralistanbul Contemporary Art Center (Turkey), Outdoor Vision Festival SantaFe New Mexico (USA), Istanbul Design Biennial (Turkey), Sydney City Art (Australia), Lichtrouten (Germany).
Robert Henke is a composer, artist and software developer, born 1969 in Munich, Germany. He is mainly known for his contributions to contemporary electronic music, for his laser works, and as co-creator of the music software Ableton Live.
The backbone and heart of his creations are machines and algorithms, utilising mathematical rules, controlled random operations and complex feedback systems. Many of his installations change slowly over long periods of time, and are specifically conceived or adapted for unique locations. They often include elements of intentional uncertainty, resulting in not entirely predictable results, and endless variation. Most of them use laser technology combined with sound to create unique audiovisual experiences.
His musical work has a particular focus on rhythm, timbre and color, and he is recognised as a pioneering explorer of surround sound and wave field synthesis. His long term project Monolake, founded in 1995 together with Gerhard Behles, became one of the key icons of a new electronic club culture emerging in Berlin after the fall of the Wall. Significant recent collaborations include a work for ensemble and electronics together with Marko Nikodijevic, commissioned by IRCAM and the ensemble intercontemporain, and concerts with audiovisual composer Tarik Barri.
During his career as a multidisciplinary digital artist, Robert Henke developed a set of tools and systems which he can apply to his visual installations as well as to his musical performances and recordings. Coding the necessary software routines is an integral part of this artistic practise. Some of the computer programs he first developed for his own purposes later have been made publicly available and are utilised by countless other artists worldwide.
For Robert Henke, performance of music is a essential mode of artistic expression, and this interest also turned him into one of the main creators of Ableton Live, a software which since its invention in 1999 became the standard for music production and completely redefined the performance practice of electronic music.
He writes and lectures about sound and the creative use of computers and held teaching positions at the Berlin University of the Arts, the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, and the Studio National des Arts Contemporains - Le Fresnoy, in Lille, France.
His installations, performances and concerts have been presented at Tate Modern in London, Centre Pompidou in Paris, Palazzo delle Esposizioni in Rome, Le Lieu Unique in Nantes, PS-1 in New York, MUDAM in Luxembourg, MAK in Vienna, Palazzo Grassi in Venice, the Art Gallery of New South Wales in Australia, KW Institute for Contemporary Art in Berlin, STRP Biennale in Eindhoven, and on countless festivals including Unsound, CTM, MUTEK, Sonar, New Forms Festival.
Robert Henke lives and works in Berlin.
(Photograph by Jessica Huber, Cluj, 2019)
Shelagh Wright and Peter Jenkinson are committed internationalists based in London, UK with extensive experience of working internationally in over 40 countries on every continent supporting creative and cultural work for progressive social, political as well as economic development. Their current ventures include ODD, an action research enquiry into socially-engaged cultural and creative practice with a focus on people and agencies that pursue positive deviance and democratic development; research into the contribution of cultural and creative activists in the campaigns and political culture of the new Municipalist movement; work on donor transformation with the Engaged Donors for Global Equity (EDGE) Alliance: Cities of Change; the devising and co-facilitating of learning programmes with young cultural innovators and activists working to build active citizenship and community in their cities around the world; and co-chairing and advising on the Scottish Parliament Festival of Politics. Peter has a long and award winning career in museums and galleries and was the first national director of Creative Partnerships UK. Shelagh was a longtime associate of the think tank Demos working on creative learning and democratic entrepreneurship and is a board member of Compass. They are both UK ambassadors to the Danish creative and cultural political party The Alternative.
TeYosh is a multidisciplinary art directors duo making cutting-edge contemporary digital art. It is a collaboration between Sofija Stanković and Teodora Stojković, both graduates of Design master program of Sandberg Institute. Originally from Serbia, currently they live and work in Amsterdam. TeYosh is interested in defining and analyzing modern day social phenomena. Their artistic practice is devoted to exploring the relationship between human and technology. They explore how everyday use of digital technology has “rewired” our brains; it influenced our habits, thoughts and perception of the world. They comment on time we spend surrounded by digital technology and how our brain’s problem-solving mechanisms rely on it. We are living in symbioses with our gadgets, on the verge of singularity. TeYosh works on commissioned design projects as well as on self-initiated research projects. The studio specialises in art direction and animation. TeYosh is available for working on art direction, video & animation, concept development, web design and giving lectures/workshops. Selected past clients include MTV, Nike, Cinekid festival, Playgrounds festival, MOTI museum and Barcelona Mobile Week.
The New Raw is a Research & Design studio based in Rotterdam (NL), founded in 2015 by the architects Panos Sakkas and Foteini Setaki.
The studio uses robotic 3D printing with recycled plastic to develop and implement circular design concepts of high aesthetic value and societal impact. The bigger vision behind each of our projects or products is to contribute to a closed material cycle for plastic, raise public awareness and stimulate local production.
Through the integration of design thinking, robotic production, and material research, The New Raw provides complete design and additive manufacturing solutions for a more sustainable future!
Uros Krčadinac was born in 1984 in Pančevo. In his work, he seeks to link his experiences from the fields of computer science, visual arts, literature, animation and interactive design. As a lecturer at the Department of Digital Arts at the Faculty of Media and Communications in Belgrade, he is responsible for the courses Programming for Artists and Designers and Interactive Design. At the moment he is finishing his PhD studies at the University of Belgrade (FON - Laboratory for Applied Artificial Intelligence), where he graduated as the best student of his generation. He is the co-author, co-publisher, designer and illustrator of the book Bantustan, an infographic travelogue-novel about a three-month trip through Africa. He also works as an associate of the Design Seminar at Reserach Center Petnica. Uroš’s work has been recognized by international art festivals and scientific conferences such as American International Digital Media and Arts Association, as well as scientific journals such as IEEE Transactions on Affective Computing and IEEE Transaction on Human-Machine Systems.
Vicky Clarke is a sound and electronic media artist from Manchester, UK. Working with sound sculpture, DIY electronics and human-machine systems, she explores our relationship to technology through sonic materiality, live audiovisual and browser-based artwork. Clarke’s recent project MATERIALITY explored sound sculpture as a gestural and acoustic medium to interface the physical and digital, working with industrial musique concrete. Collaborating with researchers at the National Graphene Institute, she developed a conductive graphene performance interface for Ableton Live, featured on Sound and Music’s Composer-Curator series and at Music Tech Fest in Stockholm. Her work has also featured in the documentaries SONIC FUTURES: How Technology is Guiding Electronic Music and Artist DIY for FACT magazine’s documentary series in 2020. This year, she was a selected artist for British Council’s UK-Russia Year of Music, researching machine learning and music for her new project SleepStates. This Autumn 2020 Vicky is a selected artist on the AMPLIFY Digital Artist Initiative, a year long artist development programme promoting and connecting the work of women identifying artists in UK, Argentina and Canada supported by MUTEK Festival, Somerset House Studios and British Council. She has performed at CTM Festival (Berlin) MUTEK (Barcelona & Montreal). As co-director of Noise Orchestra, a DIY electronics project building Noise Machines that translate light into sound, she has been artist in residence at the National Media Museum (UK), Steim (Amsterdam) and Q-02 (Brussels), exploring DIY music technologies and the cultures that exist around them. Clarke is currently working towards her first release scheduled for 2021. Professionally Vicky works as Creative Associate at FutureEverything and as a music educator for Brighter Sound, Yorkshire Sound Women’s Network and as Sound Art Mentor for BBC New Creatives NW.
Moderator: Hannah Conway
Claire De Braekeleer, Regional Arts Director Wider Europe, British Council / Vassilis Charalampidis, Bios
A warm welcome from Claire De Braekeleer from British Council Turkey and Vassilis Charalampidis from Bios, Greece.
Moderator: Hannah Conway
Q&A with the Audience16:30
During this time participants will be able to address their questions to the speakers.
Keynote | Refik Anadol: Space in...15:30
Refik Anadol will share his studio's site-specific parametric data sculptures, live audio/visual performances, and immersive installations which take many forms, while offering a dramatic rethinking of the physical world, our relationship to time and space, and the creative potential of machines.
Networking Digital Cocktail Time16:45
The participants will be able to join a breakout room and network.
Artist Talk | Vicky Clarke: Connecting...16:00
Vicky Clarke will explore the sound sculpture as a gestural and acoustic medium to interface the physical and digital, working with industrial musique concrete, based on her recent project MATERIALITY.
Keynote | Robert Henke: Interaction With...10.00 - 10.30
“Technology has so much inherent beauty and elegance, and there is a lot of artistic freedom involved in building machines. A good engineer is an artist too, and a successful scientist needs to have a lot of creative imagination.” Robert Henke will reflect on the way that technical processes shape the artistic results.
Panel Discussion: Artistic Creation & Technology:...10:30 - 11:10
Creating Immersive Environments with Augmented Reality | Can Büyükberber
The Neural Yorker: A Cartoon Generator | Ilan Manouach
Transforming urban data flows into multisensory spatial experiences in public space: the case of ATHsENSe | Dimitris Haritos
From Audience to Users, from Artists to Service Providers | Poka Yio
Creating Immersive Environments with Augmented Reality | Can Büyükberber
With an in depth look into his process and background, Can aims to share his experiences in his recent artist residencies at software companies such as Adobe and Autodesk, large scale public collaborations with Obscura Digital, upcoming projects with performance artists and audiovisual works that utilize geodesic domes and virtual reality headsets have toured museums, galleries and media art festivals around the world, including exhibitions and screenings at ZKM, Karlsruhe; Ars Electronica, Linz; SAT, Montreal; Sonar D+, Barcelona; California Academy of Sciences and Exploratorium in San Francisco; Akbank Sanat, Istanbul; Art Futura, Rome; among others.
The Neural Worker: A Cartoon Generator | Ilan Manouah
Ilan Manouach, a multidisciplinary artist with a specific interest in conceptual and post-digital comics, will speak about his work, through which he examines the intersections of contemporary comics and XXIst century’s technological disruptions.
Transforming Urban Data Flows Into Multisensory Spatial Experiences in Public Space: The Case of ATHsENSe | Dimitris Haritos
Dimitris Haritos, an associate professor at the Faculty of Communication and Media Studies of the National and Kapodistrian University of Athens, will speak about the project ATHsENSe, that uses diffused computing technologies, a variety of sensors, virtual reality interfaces, multichannel sound systems and interactive lighting structures to explore innovative ways to create representations and experiences based on environmental, urban data.
From Audience to Users, From Artists to Service Providers | Poka Yio
Keynote | TeYosh: How UX /...11:30 - 12:00
Design duo, TeYosh, will reflect on how user interface design and technology are changing our reality through AV, VR and MR and how making small UX design adjustments are changing the culture of communication.
Panel Discussion: Hyperconnectivity & Future digital...12:00 - 12:50
Facilitator: Atilim Sahin
Engineering Care | Daphne Dragona
Digital capitalism and society of control | Jovan Čekić
Co-creating public space with robotic 3d printing and recycled plastics | The New Raw
New Narratives with Nature | Dani Admiss
Through the Algorithmic Lens | Irini Papadimitriou
Engineering Care | Daphne Dragona:
Keeping in mind the emergence of services and products that manifest the instrumentalization and economization of care, she will reflect upon how the politics and ethics of care change, and underline the need for substantial and radical responses. How we will live and work with machines, and how relationships and dependencies might change?
Digital Capitalism and Society of Control | Jovan Čekić:
He will speak about the pandemic situation where “new normal” becomes something which Gilles Deleuze calls “society of control”. But the question is can we make the future of digital society to become “real time democracy”. It means that we need to rethink the concept of control in the age of the Anthropocene, where technology and creativity will be in a function of our new relations and connections to the world.
Co-creating Public Space with Robotic 3D Printing and Recycled Plastics | The New Raw:
The New Raw is a Research & Design studio based in Rotterdam (NL), founded in 2015 by the architects Panos Sakkas and Foteini Setaki and they will speak about their work focusing on Co-creating Public Space with Robotic 3D Printing and Recycled Plastics.
New narratives with nature | Dani Admiss:
She will talk about the rise of smart ecological environments (rivers, forests, remote landscapes) and how this is changing the way we communicate, approach and relate to the natural world. A bit of a stretch from social distancing and covid, but related in terms of how do we respond to crises. How are we entangled with them, even at a distance.
Through the Algorithmic Lens | Irini Papadimitriou:
This talk will explore how algorithmic systems are becoming essential bricks for building and reorganizing big parts of our society, but also how, while these systems are being adopted across different areas, we start to perceive the world through a less human and more machine-like lens. Touching on historical and literature references the talk will look at the politics and consequences of an algorithmically driven world and how artistic and activist groups can inspire critical conversations around the deployment of these systems, while enabling us to rethink and redesign these, for the shift to a more equitable AI.
Parallel Workshops13:00 - 15:00
The following workshops will take place in parallel. Participants can choose their workshop of interest upon receipt of confirmation on their registration.
Parallel Workshop 1: A Laboratory of...13:00 - 15:00
One of the most amazing aspects of the pandemic has been the explosion of care in our communities. Now we’re all forced to meet each other on screens, what is the role of care in our digital and remote relationships and networks? How do we centre the practice of care for ourselves and others in our digital lives? This workshop will explore care practices among remote relationships, formal and informal rules, invisible dynamics and examples to create distributed participation in online team exchanges. Participants are invited to share their experiences and visualise ways to bring care to the centre of our online cultures.
Parallel Workshop 2: Making Art with...13:00 - 15:00
Everybody is talking about Artificial Intelligence, but what is it exactly? Is it the next step in the evolution of human consciousness or just a marketing term big corporations use to brand their software for automated statistics? How can artists, designers, writers, makers, directors, and the rest of us appropriate these technologies, use them creatively and critically?
When he was beaten by the Deep Blue, G. Kasparov came up with the concept of Centaur Chess: a chess variety in which a human and a computer play against another human-computer pair. Humans use computers to explore possible moves, but make final decisions themselves. This is an example of an AI that, instead of ruining human creativity, ends up enhancing it. I believe a similar approach is possible in the domain of art and culture. Robots mights help creatives to invent new kinds of creative and subversive practices. The workshop is dedicated to demystifying, democratizing, explaining, and subverting the AI paradigm, presenting new conceptual possibilities and programming tools for exploration and creation of new media forms. We might call them Centaur Art.
The workshop will present several AI-based art practices and important artists and authors. After that, an example in code will be shown to the participants, so we can all draw with the help of AI. Code will be open source and relatively easy to use. No coding knowledge required, though it won't hurt.
Parallel Workshop 3: Livecoding and Computational...
The workshop curated by Umanesimo Artificiale aims to present computer programming as an artistic and performative language by introducing two of livecoding most widely used open source softwares: TidalCycles (livecoding audio) and Hydra (livecoding video). The participants have the opportunity to explore the creative possibilities of these tools together with the multimedia artist Francesco Corvi a.k.a. Nesso and to experience firsthand how to visualize the basic mathematical functions. The masterclass will be introduced by a general view of live coding as a tool for humans to interact with - and be influenced by - a computer.
At the end of the masterclass there will be a livecoding audiovisual performance/demo.
Intro to Live Coding (15 minutes)
Run-through of TidalCycles and Hydra softwares (90 minutes)
Livecoding Performance / Demo (15 minutes)