Next 6 edition: 5th, 6th, 7th december 2014 | Español
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JAPAN MEDIA ARTS
FESTIVAL
ARS ELECTRONICA
ART FUTURA
MUNDOS DIGITALES
GAME On! Videogames
El MUR. Berlin
VIDEOAKT
FIA. Uruguay
MEDIA DOME.
Serious Game
DIGITAL LANDSCAPE
& Programa Curators
- NEW YORK
- ARGENTINA
MADE IN CANARIAS
DIGITAL IMAGE
Videoart
Videodance
ShortFilm/Film/3D
Web Film
Animation
Art Science Innovation
Artificial life
Software art
Trangenic art
Generative art
Bioart
Nanotechnology
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Videogames
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Mapping
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about us
sponsors &
collaborators
program
venue´s photos
event 2009
event 2010
event 2011
event 2012
event 2013
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ART SCIENCE INNOVATION
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- Artificial Life
- Software art
- Transgenic art
- Generative art
- Bioart
- Nanotechnology
- Geospatial storytelling
- Videogames
- Robotic
- Free Software
- 2D & 3D Animation
- Net-art
- Digital Communities
- Social networks
- Blog, videoblog
- Apps development
- Mobil platforms
- Data Visualization
- Mapping
- Telesharing actions
- Telepresence
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International Call 2014
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Benjamin Grosser Urbana, IL. USA http://bengrosser.com http://vimeo.com/grosser http://bengrosser.com/projects/computers-watching-movies/ https://vimeo.com/78711521
Project: Computers Watching Movies
Computers Watching Movies shows what a computational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches synchronized with audio from the original clip. Viewers are provoked to ask how computer vision differs from their own vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative watch the same things?
Computers Watching Movies was computationally produced using software written by the artist. This software uses computer vision algorithms and artificial intelligence routines to give the system some degree of agency, allowing it to decide what it watches and what it does not. Six well-known clips from popular films are used in the work— the scenes are from the following movies: 2001: A Space Odyssey, American Beauty, Inception, Taxi Driver, The Matrix, and Annie Hall.
tag: softwareart |
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Hector Rodriguez Hong Kong http://concept-script.com/works.html
Project: Theorem 8
Theorem 8 is made using a custom software designed by the artist, which decomposes every frame in a movie using a fixed database of frames from another movie. Using a mathematical tehcnique known as orthogonal decomposition, it achieves a superposition of frames from two different films.
The two films chosen are Godard’s Alphaville and Witch’s Cradle, directed by Maya Deren in collaboration with Marcel Duchamp. The two films were selected because their filmmakers used light and shadow as dramatic elements. Godard can be seen a response to the rise of cybernetics and information technologies. Deren and Duchamp were interested in abstract mathematical spaces. The title, Theorem 8, refers to the orthogonal decomposition theorem, which concerns the idea of an object in a higher-dimensional space projecting shadows onto a lower dimensional space.
The technique of orthogonal decomposition is often used in surveillance software, and so the work aims to foreground, deconstruct, and liberate the computational aspects of surveillance technologies. Its underlying philosophy is that radical politics demands radical artistic forms.
tag: softwareart |
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Hyun Jean Lee Seoul. R.O.Korea www.hyunjeanlee.com http://vimeo.com/100992347
Project: The Breathe of the Sea
The sound installation work < The Breath of the Sea > is initiated with my experience that I had encountered long time ago. That is one that I happened to look at the situation of microphone which is connected its end to a portable speaker for outdoor events was kept in moving back and forth from the speaker on the long line like as a pendulum movement. While looking at this situation, I could also hear that a noise between the input(microphone) and output(speaker) of closed feedback system created from this movement. And I thought immediately that it sounds like sounds of the wave movement in the sea. After this experience, for a while, I have conceived how to create the scene that the only sounds of the sea waves are fulfilling the empty space. If it were visualized, there is a speaker on the room floor and the microphone hanged under the ceiling moving like a pendulum. This work is the embodiment of this imagination and it conveys the concept that how electrical and electronical feedback can be matched and linked to the feedback in the nature (I think the wave movement is the interaction between wind and water, as well as one of the feedback between the tides such as ebb and flood). The machinery pendulum repeats its motor movement between left and right. Depending on the movement of each pendulum, the current state of each one’s interval time(speed), directional change and locative position (left, right & in the middle position or each ends of the pendulum’s arc orbit) of the pendulum are delivered to the computer running Max/MSP via Arduino creating a pure machine-generating pink noise. However this noise can create the very sound of ocean wave movement sound. The machine- making sound are transformed to the very sound in the nature in front of our ears. The wave sounds are repeated. It is newly and continuously generated and come, and shattered and left again. Fulfilling the sound of wave in the empty gallery space, this work suggests the audience to think of how the breath of the machine can take after the breath of the nature. technicaldates: This work is across the following categories: the Software art, Generative art, Robotic, Data Visualization & Mapping, and sound installation. 3 sets of pendulum set. Each set is controlled via Arduino, and the actuator is a AC motor and each pendulum has a Super bright LED on its end of pendulum bar.
tag: softwareart
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Kenji Kojima
New York. USA
http://kenjikojima.com
https://vimeo.com/75856031
http://kenjikojima.com/splitMerge/
Project: Split/Merge AudioVisual
When 20 century artists met a binary, they tried to use it as one of the art materials like earth colors of cave artists. Software art "Split/Merge AudioVisual" is experimenting with the boundaries or overlapped areas of different senses. The software splits a photograph to a music and an image files, then merges them into the original image.
Split(making project documents): Image pixels of a photograph are converted to 8-bits binary data. They are executed by a bitwise XOR operation using 8-bits binary of random numbers (from 0 to 255). This is a type of encryption scheme, called one-time pad. The result of encrypted image will be random color pixels. The random numbers are converted to musical notes. The number 120 is the middle C, and each two step numbers increase or decrease a half tone. The note length is determined by the number value. The color pixels are saved as a ping image file, and random numbers are a midi music file.
Merge(performance by the project software): The midi music is used as a decryption key on the color pixels of the ping file. The program collects musical notes from a midi file and converts them to binary. The binary of notes as a key executes on the binary of encrypted pixel color image by bitwise XOR. The project software performs processes of merging audio and visual on a full screen.
tag: softwareart |
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Tomás Rawski & Dolores Martin
Buenos Aires. Argentina
likegohome.tomasrawski.com.ar
https://www.facebook.com/pages/Like-go-home/1467697393460827
Project: Like go home
This extension for Chrome removes the button "Like" on Facebook. Communicate with text!
tag: softwareart |
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Carolina Vallejo
Valencia. Spain
http://carolinavallejo.x10.mx/
http://vimeo.com/cavalmar
https://www.flickr.com/photos/radio_draws
Project: Pixel to music
Pixel to music parte de un proyecto investigación en interfaces de usuario lúdicas que permitan al usuario tener una doble experiecia creativa. El usuario se relaciona con la interfaz dibujando y de esta experiencia devienen composiciones sonoras.
Esta aplicación permite despreocuparse por componer "formalmente" el sonido, al poder componerlo a través de lo gráfico. En la interfaz los colores representan diferentes tipos de sonido, y con los colores es posible crear partituras gráficas que se pueden guardar en una galería y cargarlas para escucharlas de nuevo.
El proceso de composición sonora y gráfica se da al mismo tiempo, el usuario al mismo tiempo escucha, visualiza y manipula el resultado de la composición.
Para el uso de esta aplicación el usuario descubrirá que existe una zona de dibujo (semejante a un programa básico de dibujo por ordenador) donde puede dibujar pixeles de colores, inmediatamente podrá escuchar la traducción sonora y al mismo tiempo ver una visualización gráfica del sonido. Todo esto genera una dinámica donde el usurio toma desiciones para manipular lo gráfico que repercute en lo sonoro.
datostecnicos:Pixel to music es un juego gráfico-sonoro desarrollado como una aplicación para ordenador que rueda en sistema Mac OSX.
Para su exposición se proyecta la imagen con un proyector sobre la pared, para la salida de audio se pueden utilizan auriculares o altavoces (según sea el caso) y en un pedestal, que irá frente a la proyección, debe ir un ratón con el cual se podrá interactuar con la aplicación, no es necesario el uso de un teclado.
También es posible exponer la aplicación en un ordenador con pantalla y ratón.
tag: softwareart |
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Marios Athanasiou
London. UK
www.mariosathanasiou.com
https://vimeo.com/100024312
Project: Potential Entity
On the surface the flow of information in Nature appears to be chaotic and un-programmable. By adding layers of Virtual Nature this flow of information can be streamlined, manipulated and shaped according to ones needs. Fantasies become a corporeal reality. Potential Entity explores the expansion of human consciousness into the sphere of virtual reality. The participant is invited to enter into a 3D environment where materiality can be manipulated and distorted into a programmable flow of information.
The event took place at Telstra International, a disused data storage and telecommunications centre. The virtual side of the installation was streamed at www.potentialentity.com
tag: softwareart |
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Hector Rodriguez
Hong Kong
http://concept-script.com/index.html
http://vimeo.com/100983326#at=0
Project: Z
Z is a moving image analysis system that produces abstract representations of cinematic sequences using a system of predefined grayscale disks, thus facilitating the critical understanding and aesthetic appreciation of cinematic rhythm.
The system uses a mathematical framework that decomposes each movie frame (image function) by projecting it onto a set of orthogonal polynomials called the Zernike Polynomials.
An important inspiration for this project is Soviet filmmaker S. M. Eisenstein, who compared cinema with music. An image is for him the total sum of many visual stimulants, which are like the partials of a musical tone. The cinematic experience is in his view organized as a complex dynamic process of changing visual overtones. Z supplies a mathematical formalization of Eisenstein's idea, expressing it in an intuitive visual form. The system decomposes an image into its local harmonics, thus facilitating the critical analysis and aesthetic appreciation of cinematic rhythm.
tag: softwareart |
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