Wednesday, 6 September 2017 - 8:00pm to Monday, 11 September 2017 - 6:00pm
Exhibitors / Artists:
Victoria Vesna + Xin Xin
Curated by Victoria Vesna (UCLA ArtSci Center + Design Media Arts) and Xin Xin (voidLab), the works on view, “Feminist Climate Change” explores the relationship between issues in feminism and those in environmentalism, and reflects the dynamic network of UCLA Design Media Arts, which includes faculty-driven research labs and centers that enable students and faculty to work collaboratively across disciplinary and institutional boundaries.
WHERE
Splace
Kunstuniversität Linz
Hauptplatz 6
4020 Linz
Austria
Thursday, 7 September 2017 - 11:45pm to Monday, 11 September 2017 - 12:15pm
Exhibitors / Artists:
Victoria Vesna + Charles Taylor + Hiroo Iwata + Takashi Ikegami
Deep Space 8K features Bird Song Diamond
Victoria Vesna in collaboration with evolutionary biologist Charles Taylor, engineer Hiroo Iwata and physicist Takashi Ikegami.
Bird Song Diamond Mimic is an interactive installation that allows the audience to practice bird songs and experience its complexity as if learning a new language. The project is habitat specific and for Speculum Artium, the bird song the audience is asked to learn and mimic is of a canary in the coal mine. When the participants hear the song and are prompted to imitate the canary, a computer grades the accuracy of their mimic. The work is part of a larger virtual reality installation that is an outgrowth of a research project “Mapping the Acoustic Network of Birds” directed by an evolutionary biologist Charles Taylor. Through this work, the artist and the scientist attempt to remind and alert the public of how birds and their acoustic richness have disappeared from our daily experiences.
Fluid Visualisation and Sound Matters: Bridging Art, Science, and Visualisation
On July 6, 2017 the symposium on „Fluid Visualisation and Sound Matters“ will bring at the Angewandte Innovation Lab (AIL) together artists, scientists, and experts working in the field of scientific visualisation and visual effects to develop a cross-disciplinary understanding of how art and science contribute to raising awareness of the current massive ecological crisis of marine ecologies and identify a suitable epistemological framing for this global challenge: Overfishing, pollution, acidification, and rising temperatures due to climate change are the main factors that have been putting tremendous stress on marine ecologies for decades.
The oceans cover up to 70% of the Earth’s surface, 97% of the world’s water is saltwater, 2% is fresh water in the form of ice, and the remaining 1% is drinking water.
With plastics and plasticisers as well as noise pollution in the oceans, we now have relatively new, emerging phenomena that defy the regulatory definitions of pollution. Accurate definitions are lacking also because modern waste, like plastic pollution, is fundamentally different from its predecessors. The sciences involved in tracking, analysing, and understanding the ecological crisis of marine ecologies face severe epistemological problems, because the methods used hitherto are failing: The emerging phenomena are both novel and occurring on an unprecedented global scale. The entire extent to which plastics and plasticisers are floating in the oceans and seas is not visible to the naked eye because a great deal floats below the surface in the form of microparticles. Plastics are not biodegradable, but they are gradually broken down into smaller and smaller particles in the ocean through wave action and intense irradiation from sunlight. Marine organisms confuse these microplastics with plankton; this means that plastics (and the toxins they contain) are increasingly entering the food chain, irretrievably and irreversibly. Around 70 % of plastic waste deposited in the oceans sinks to the sea floor, but in 1997 scientists observed for the first time that an enormous amount of tiny plastic particles were collecting on the surface of the water in the vortexes of ocean currents, also known as gyres. The discovery of the so-called Great Pacific Garbage Patch made it clear that millions of tons of plastic garbage are drifting in the oceans. Since the discovery of high concentrations of microplastics in other gyres as well, it can no longer be denied that a new ecosystem has emerged in which artificial and natural aspects are inseparably connected.
The symposium will provide a spectrum of artists’ responses to the current transformation of our oceans at the dawning of the Plasticene age, a human-made system in which the natural and the artificial are no longer distinguishable and speculative biologies evolve. Collaborative projects will be presented that identify unnatural noise in the oceans as a further environmental issue, especially the effect of noise on microscopic organisms such as plankton, for example. Noise Aquarium — a project which seeks to raise attention about the current loss of marine biodiversity introduces a collection of accurate 3D models as a resource for scientific and artistic research. Another artistic project Aquatocene — Subaquatic Quest for Serenity will present the efforts to make recordings using hydrophones in different locations around the globe. Underwater noise has an impact on a great number of marine life forms, which depend on the sub-aquatic sonic environment to survive. Despite the availability of popular aquatic sounds, there is hardly any awareness that the underwater soundscape is as rich as the one heard by terrestrial creatures above water.
Sunday, 30 July 2017 - 10:00am to Thursday, 3 August 2017 - 6:00pm
Exhibitors / Artists:
LEONARDO 50TH ANNIVERSARY
BIRDS OF A FEATHER
Informal presentations, discussions, and demonstrations for people who share interests, goals, technologies, environments, or backgrounds. Birds of a Feather sessions are proposed by SIGGRAPH 2017 attendees. The sessions are free of charge, related to computer graphics or interactive techniques, and non-commercial in nature. Sessions are presented in the convention center, official conference hotels, and the ACM SIGGRAPH Theater. More info soon! http://s2017.siggraph.org/birds-feather
13th IASS-AIS World Congress of Semiotics
Moderated by Søren Brier and Carlos Vidales
Featuring Paul Cobley, Claudia Jacques, Zhou Liqian, Basarab Nicolescu.
VISUALIZING THE CYBERSEMIOTIC EXPERIENCE | CLAUDIA JACQUES
Advances in artificial intelligence and ubiquitous computing are expanding human-computer interaction (HCI) in everyday life turning phones, TVs, cars, etc., into computer interfaces. Such changes affect how humans perceive and interact with digital information. Cybersemiotic provides a powerful framework for comprehending and interpreting changes in human experience and consciousness wrought by the digital revolution. It achieves this by enabling an understanding of humans as complex adaptive systems; consequently, anything that involves or is involved with humans becomes an integral part of the system. Through a series of visual representations the experience of these exchanges is explored under the lens of the Cybersemiotic framework and balances human user, interface, and digital information as elements within an ever-changing system, demonstrating the manner in which a change in one element affects each and every other part of the system.
CLAUDIA JACQUES DE MORAES CARDOSO is a Brazilian-American interdisciplinary artist, designer, educator and researcher of space-time aesthetics in the user-information-interface relationship through the lens of Cybersemiotics. http://claudiajacques.com
NOISE AQUARIUM premieres June 5th as a featured project at the WEB3D Art Gallery ON | OFF: 100101010
VICTORIA VESNA in collaboration with Dr. ALFRED VENDL and MARTINA FRÖSCHL from the Science Visualization Lab Angewandte, University of Applied Arts, Vienna have been developing this project for the past year and now it is showing at the Queensland University of Technology in Brisbane, Australia. The work is projected on the cutting edge QT CUBE screen.
Design|Media Arts graduate students Symrin Chawla and David Ertel present their collaborative work in Data Burial: In Living Dunes, an installation and vision system that tests the limits of privacy and the site-specificity of networked data. A camera installed in remote desert location sends images and metadata to the cloud in real time, dramatizing the entropy of data and matter in the face of natural forces.
The piece will be complete when the camera is buried by the dunes and loses both solar power and its cellular data signal.
Following the opening reception, invited interdisciplinary speakers present their work pecha kucha style. Afterwards, socializing and a gathering of minds ensue. Leonardo Art Science Evening Rendezvous (LASER) is Leonardo/ISAST's international program of evening gatherings that bring artists and scientists together for informal presentations and conversations.
Dr. Claudia Schnugg is an independent researcher in intersections of art and aesthetics with science, technology, and business, and producer of art and science collaboration.
Her recent work focuses on intertwining artists and art projects with new technologies and scientific research. She has explored effects of artistic interventions on social settings, especially framing artistic interventions and art programs in organizations.
Claudia produces media art projects as well as art and science programs. She also holds workshops, runs research projects, and gives talks about developments on the intersection of art, science, technology, and business.
