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The International Digital Art Magazine
Artists - Festivals - Innovation and more
TECHNO-POETRY & INTERACTIVE ARCHITECTURE
July-August-September 2012 - 6 € / 8 $ US
SIGHT & SOUND NEW YORK CITY’S DIGITAL ARTS SHU LEA CHEANG CONNECTED BODIES ELEKTRA - INTERNATIONAL DIGITAL ARTS BIENNIAL MANIFESTE 2012 BAINS NUMÉRIQUES PANORAMA
DAAN ROOSEGAARDE, DUNE 4.0, 2006 - 2011.
© Daan Roosegaarde / Studio Roosegaarde www.studioroosegaarde.net
FEATURES 03 EDITORIAL 04 NEWS
info, blogs and links / digitalarti.com
CONNECTED BODIES, AUGMENTED BY THE SUN
This summer, you have several options to give your body a makeover: run it through the beachside skate parks on the U.S. West Coast, sublimate it into an online avatar, or implant it with various devices (robotics, chips, etc.) in order to increase its potential. This 10th issue of Digitalarti presents artists who use technology with a cyberpunk/ cybersex agenda to explore our “cyborg future*”. The artist Daan Roosegaarde, on the cover, offers us “intelligent” dresses made of aluminum that become transparent according to our heart rate (Intimacy 2.0) or the approach of another (Intimacy). Also featured is an informative stroll through New York City’s digital arts production and exhibition venues, as well as reports from festivals and exhibitions in Montreal, Tourcoing and Paris. For travelers landing in Paris’ Charles de Gaulle airport, Digitalarti has installed Miguel Chevalier’s virtual gardens, Sur-Natures 2012, in the brand-new international terminal (CDG 2E), invited by Aéroports de Paris. And we invite anyone who will be in Paris this summer to visit our Art Lab, where we’re currently making the prototype of Julien Levesque’s “Connected Shell”, which will let you hear all the seas of the world in real time… The new Digitalarti website is now live. Under Magazine, you’ll find all the previous issues, including all our in-depth articles. Please feel free to send us your comments or feedback, as we continue to improve and develop this online magazine. The month of September will be rich in events: in the U.S. with the ZERO1 Biennial in Silicon Valley and in Europe with Ars Electronica in Linz, TodaysArt in The Hague, Scopitone in Nantes… Happy travels and happy reading. ANNE-CÉCILE WORMS
* This theme was also developed in Art et Culture(s) Numérique(s), Panorama international, a book published by Centre des Arts d’Enghien-les-Bains and edited by Musiques & Cultures Digitales. Digitalarti is producing the e-book for release on September 20.
Michel Serres, Jean-Paul Fourmentraux…
08 DIGITAL ART
strolling through New York
14 SHU LEA CHEANG
16 CONNECTED BODIES
and artistic phantasmagorias
18 DAAN ROOSEGAARDE
techno-poetry & interactive architecture
22 MANIFESTE 2012
international festival & multidisciplinary academy
24 BAINS NUMÉRIQUES
when digital arts reinvent the city
26 SIGHT & SOUND
systems of symmetry
international digital arts biennial
digitalarti #10 - 03
businessmen. Mixing eye-catching experimental audiovisual art with dynamic distorted IDM grooves. invites the reader to decode artistic practices and innovative uses related to digital creation. More on Digitalarti TV. incite/ plays seriously weird glitch and quasi-danceable grooves in synced conjunction with intense grayscale visuals. creating intense experiences for eyes and ears. Many workshops for the production of projects. In this video. and society intersect. analyzes the issues. presentations. When someone is climbing stairs. The installation is located on Digitalarti's premisses. Quarterly thematic issues presents an indepth investigation on topics and intersecting viewpoints from artists. cultural.digitalarti. links and other news on our site HALL EFFECT. INSTALLATION BY JASON COOK Hall Effect is an interactive installation by Jason Cook. take place in its versatile space. you can see how the artwork was made. scientists. etc. researching. produced in Digitalarti's Artlab. unveils novelties and questions possible evolutions.digitalarti. etc.digitalarti #10 . conferences.DIGITALARTI NEWS DIGITALARTI.digitalarti. intellectuals.com/blog/medialab_prado > Focus Blogs MCD MCD.digitalarti.com/blog/mcd > 04 . and disseminating digital culture and focused on the area where art. sociologists. MCD promotes this artistic. incite/´s audiovisual creations focus on quantum-physical references applied to daily life. technology. For every topic. projects exhibitions. All activities are free and open to the general public. meetings. INCITE/ incite/ is an Hamburg-based audiovisual electronic duo formed by Kera Nagel and André Aspelmeier. concerts.com/blog/incite > < http://www.COM Find all of this information. < http://www. masking the underlying stories an exciting expedition for the audience. it offers an overview of active participants. science. Our primary purpose is to create a framework where both research and production processes are permeable to user participation. confronts points of view. Fragmented electric junk. the magazine dedicated to Digital Arts and Music. scientific and industrial mesh. fragile bursts of static noise and extra-charged sub-bass-kicks join abstract monochromatic imagery. the duo criss-crosses art and club worlds. < http://www. he's followed by color changing lights. < http://www. blogs. seminars.com/tags/dm_videos > MEDIALAB-PRADO Medialab-Prado is a program of the Department of Arts of the City Council of Madrid. The distorted visuals are mostly unrecognizable. aimed at producing.
Always keen on democratizing art culture. ISEA2013 will be held in Sydney from 7th to 16th June 2013 and will consist in exhibitions. so as to invite the public to a recreational and cultural journey.com/en/m10_6 > < www. But it is more than that! It is. gathering digitalarti #10 . researchers and professionals in Aix-enProvence. Thinking about life-support machines.digitalarti. Art Centers Gamerz Festival. he reckoned that the only thing that failed about immortality was the human part of the death issue. notably thanks to new technologies. If you have already met Jason Cook. is a piece of work on sound frequencies through the body and mind.digitalarti. La Baraque foraine 6.. Artists La Baraque Foraine 6. < www. where time stands still. a special focus on audiovisual festivals.digitalarti. Transmediale.digitalarti.digitalarti. MET museum offers 34 3d-printable sculpture models.digitalarti.1 @ Mapping Festival 2012. < www. < www. several thousands of people around DIY latest innovations and trends. It will also support residencies and associated events throughout regional NSW and across Australia leading into and out of the core event. And we love this kind of ideas. us! Yes it is!!!! We are just wondering which of these is the craziest… < www.digitalarti. incite/ live at Sineztezija Festival (Herceg Novi.Agenda MCD International digital festivals guide OUT NOW! In this edition.com/en/m10_2 > The Immortal Life-support machines have solved the death issue: the human body Revital Cohen had a strange "bigger than life" idea..com/en/m10_1 > incite/ live @ Sineztezija Festival. This device created by Virgile < www..com/en/m10_7 > Festivals.com/en/m10_5 > ZKM.digitalarti. symposium and public events.com/en/m10_11 > ISEA 2013 (Sydney) Open call. sound and sensitive experience which takes the viewer into his own intimacy.com/en/m10_4 > ZeroN: MIT MediaLab says no to gravity. named ZeroN. performances.com/en/m10_8 > < www. The 2012 Screengrab New Media Arts Award and associated exhibition is looking for challenging creative works by media arts practitioners working in screen based media to submit works on the theme of CONTROL. The Montanas (and friends).. the MET recently spotted the opportunities offered by 3D printers.digitalarti. looks promising: a weightless small ball made of metal.com/en/m10_7 > < www. 2012.digitalarti. MIT MediaLab can't stop surprising the digital innovation world. Montenegro.com/en/m10_10 > Last Call: Screengrab (Australia). GAMERZ yearly gathers French and international artists.com/en/m10_12 > < www. < www. Sani-Gémonet and complemented by Claire Fristot aka A-li-ce for the video. < www. < www.com/en/m10_13 > [catch-up] MAKER Fair Bay Area 2012 The 2012 Bay Area Maker Fair. linked to a smart system. the worldwide famous electronic component maker. At ZKM in Karlsruhe.com/en/m10_9 > < www. a kind of artistic and engineering carnival. addressed the conservation of digital works.05 . The Montanas are quite our "cathodic family". including. entitled “Digital Art Works”. find more than 400 festivals dedicated to electronic music and digital arts.1 is a visual. < www. our world! It is.digitalarti.com/en/m10_3 > MINDPIRATES present Mike Hentz' TABLEAU VIVANT Hentz works tend to be a process-oriented happening and a pool of existential test arrangements.digitalarti. you know how much he likes Arduino. the “The Global Contemporary” exhibition recently analyzed the effects of globalization on the world of art while that of the Media Museum. Devoted to game and diversion in contemporary creation. Ikeda and Bartholl. Innovation Introduction to Arduino. this year.digitalarti. Their last creation.digitalarti. Montenegro) on July 21th. our Artlab manager (lucky you!). The Metropolitan Museum of New York just made a big move.
Jakob + MacFarlane. Dooeun Choi. Dominique Moulon. Geert Lovink. Zhang Ga. Jean-Luc Soret. Caroline Seck Langill. Louise Poissant. Jean-Paul Fourmentraux.This publication was co-edited by the Centre des arts d'Enghien-les-Bains & l'Institut Français With the support of Ministère de la Culture & de la Communication Editorial conception: Centre des arts & Musiques & Cultures Digitales (MCD) Editorial contributions: Yves Michaud. Michel Jaffrenou. Anne Laforet. Alif Riahi. Emmanuel Guez. f r . Martine Neddam. Marco Mancuso. Edmont Couchot. Jean-Marie Dallet. Guy Tortosa. Annick Rivoire. Malcom Levy. b a i n s n u m e r i q u e s . Hiroko Tasaka. Maurice Benayoun… Participation of: Fred Forest. Anne Huybrechts… w w w. Peter Murvai & Dominique Scheel-Dunand. Bruce Benderson.
. somehow inspired by muses. video artists "supervised" by industrial groups. Better still. But is it really the end of the Gutenberg civilisation? The page format is dominating us […] new technologies have not escaped from it. which formerly constituted clearly distinct and quasi-impenetrable fields. almost all of these collectives exploded. Inversely. pictures. Artistes de laboratoire: recherche et création à l'ère numérique.. The new technologies of communication. The latter becoming more collective and interdisciplinary. For a start. In some cases. available and objectified. PORTRAIT OF THE MUTATING ARTIST Following his scrutiny of net-art.07 ..editions-hermann. I exist therefore I am a code. open-source knowledge from the network. of paper and writing. about the generation whose thumb is clenched on the touch screen of smartphones.. The "worst" might be that the mythology persists. solidify a kind of reactionary thinking. Our complexities come from a crisis in writing […] Something must change. although it implies a very different thing from the book. to pass it on to everyone? Nowadays. Indeed. technological and commercial interests. This is the case of Michel Serres who is raising a different voice. How do you pass it on then? Without being specific. One or two generations might be enough for this "great digital transformation" to be completed.. The computer screen mimics it […] Innovators are seeking the new e-book. This "new alliance" challenges the borders between art and science. the "generalised prototyping" which permanently breaks away from the old artistic paradigm. whilst acknowledging "the decline of the West". are so entangled today that any innovation within one triggers an interest from the other and influences its development. but in a plurality of meanings. The computer enables this shift. is part of the problem.. Forewords by Pierre-Michel Menger (Hermann Éditeurs). not of discord but of concord. "mediated". It is the end of the crushing knowledge from big hats which luckily is being replaced by a distributive. we understand that the communication of the project before its public release constitutes a guarantee "of artisticity" […] Therefore.. values and formats. if not a cult.NEWS BOOKS these participants invest individually and collectively a “border-work”. everything is to be invented. the artist/computer engineer rapprochement aims at implementing a collective situation of enunciation and operation no longer directed towards a single result – the work of art – but embedded in an evolving and incremental process within which Jean-Paul Fourmentraux. A resentment which increases with age. the vehicle of knowledge. incalculable as a gold needle added to the haystack where it is buried and which conceals its brilliance.. not concentrated. We now live in a multi-cultural and urban society that has barely anything to do with that of our grandparents. Knowledge itself is evolving towards a new form of circulation. is also subject to unprecedented transformations. but what to pass on? Knowledge? It is everywhere on the Web. The figure of the artist continues to be (over)valued and tends to contaminate the whole of a mutating professional world which magnifies more than ever the virtues of entrepreneurial freedom and the power of innovation or "creativity" on which the artist still seems to hold a monopoly… knowledge. A new human is born... Through travels. Visual artists assisted by engineers.. and especially Internet. from the trans-historical format of the page. as a support and a model of Michel Serres.. this very coding protocol is now the philosophy itself.... Michel Serres has given us the "extended" version of his analysis that had begun in an article published in Libération. some old wise people. This small book is not a study but an overlook. the sociologist Jean-Paul Fourmentraux is now questioning the links between artistic creation and technological research. surviving thanks to benefactors and showcases… This union between art and science is however hiding discrepancies... Artistic creation and technological research. or as a "global work" integrating the computer program.. We nevertheless observe a fundamental breach: the end of a world validated by the middle of the last century with a complete disruption of all our reference points. etc. But not necessarily objective. The concept of the prototype therefore introduces the idea of an unfinished version of the creative project. and questions the very status of the artist. a caring look: I see that we are living in an era akin to the dawn of the paideia. after the Greeks learned to write and demonstrate an argument. At 82. all knowledge is accessible to all. We are very far from the solitary artist. The first observation is that the book. calculable. the collective. the pace of their intrinsic logic varies between the rhythm inherent to the production of an original work of art and the more evolving and incremental characteristic of scientific research so does their supposed aim. whilst electronics are not yet freed from the book itself. The whole difficulty lies in the possibility of articulating the points of tension that direct and divide the research/creation towards artistic. Everything was carried out according to a duly budgeted "project logic"… From this came less hierarchical forms of fragmentation and attribution of works. the organisational are more subject to this cognitive computational or procedural and declarative abstractions (of) philosophy. The "creative class" thus saw lab artists emerge.fr > AT THE BECK AND CALL. objectivity... Today. the answer is to look for in the impact that will continue to produce our cognitive extensions: our phones and laptops through which reality has steadily been coded.. staged and regulated through renewed co-signed devices. of the "work in progress".. whether they be physiological. (lab artists: research and development in the digital age). the artist remains surrounded by an aura linked to the magic of creation while this act has become collaborative. This must be added to a culture.. Both poles do not necessarily "coincide". The language. or metaphysical.. Petite Poucette (Éditions Le Pommier! / coll. The remaining ones are slowly disintegrating. the technological. sociological. Michel Serres observes the "Petite Poucette" (Thumbelina) with kindness: I'd like to be eighteen […] because everything is to be created again. reified. Info: < www. Manifestes) digitalarti #10 . […] This fragmentation of the creative process also generates plural modes of designation of the nature of an artwork: successive installations and devices can thus be diversely referred to as "products" dissociable from the artwork as fragments of software applications or computer algorithms. given or submitted to the expertise of those peers who are most capable of assessing the aesthetic scope and the innovative character as concerns its insertion in the history of artistic practice. of the unfinished. canvases and horrendous wars. technological. works no longer constitute the ultimate goal of artistic research as in this instance the regime of exclusive purpose of the artwork is undermined. support another vision of the digital world. The different steps that sequence the production and display of digital art disintegrate the work that no longer presents itself in an aesthetic singularity.
built by Paramount in 1920 to produce hundreds of silent and early sound films. Given its simultaneously institutional and popular status. The Museum of the Moving Image occupies one of the 13 original buildings of Astoria Studios.DIGITAL ART NEW YORK STROLLING THROUGH NEW YORK CITY’S DIGITAL ARTS In the digital age. bauhausinspired block of granite presented a generous retrospective of the young digital artist par excellence. Take a digitally artistic. amateurs and students all day. this human-scaled. Established in Queens in 1988. Let’s start from the beginning of the history of “technological arts”: the moving image. a minimalist game interface next to plastic animal figures that transform respectively into the Japanese kanji character representing them (Mojibakeru). mischievous collections of retouched images or animated graphics lifted off the Web… 08 . everything is fusion: art and media. The opening of this pseudo-hactivist art show took place during the annual Conflux festival. professionals. historical and geographical stroll through New York City to see the sparks. electronic music concerts. all year round. Big Screen Plaza is a 10. in 2004. which explores psychogeography through projects as simple as QRcode safaris and as zany as dogs walking humans. this art institution takes very seriously its mission to connect tradition and modernity. it was MoMA that the artists Mark Skwarek and Sander Veenhof chose to “invade” in October 2010 with their Augmented Reality intervention We AR in MoMA a virtual exhibition of uninvited artworks visible only through AR-ready smartphones. Cory Arcangel. it collaborated with Ars Electronica on the exhibition Interactions/Arts and Technology. installations and urban architecture. More than conscious of its cosmopolitan popularity. floating in the galleries of the museum itself. In 1989. .000-square-foot outdoor plaza dominated by a 30x16foot HD-format LED screen. South of MoMA on 6th Avenue. MoMA welcomes tourists. Since 2010. this pioneer museum was the first to present an exhibition dedicated to video games (Hot Circuits: a video arcade).digitalarti #10 Our historical digital itinerary continues on Manhattan’s Upper East Side to the Whitney Museum of American Art. most visited and no doubt the trendiest museum in New York. Known for its eponymous Biennial. In 2011. the Museum of Modern Art (MoMA). The museum recently re-opened its doors after a renovation and expansion in January 2011. in 2011 the museum presented the exhibition Talk to Me: Design and the Communication between People and Objects. the big screen has showcased a number of video and animated works. Besides actively commissioning and hosting often spectacular digital installations. Not far south is one of the most famous. it was the first museum dedicated to living American artists in 1931 and the first New York museum to present a major solo exhibition of a video artist (Nam June Paik) in 1982. we’re just as likely to find ongoing exhibitions of both vintage and specialeffects props from Hollywood as we are to find virtual or augmented reality installations. technology and gaming. Today. ancient forms and new media. experiences and spaces. Located in bustling Midtown. where we could find. for example.
among other bizarre objects. as well as independent short films and Hollywood classics. pursues its mission to develop video and digital arts through resources. There is also Bitforms gallery. we always appreciate the High Line. the High Line hosts in-situ artworks.09 © PHOTO D. the French artist Maurice Benayoun was in the spotlight to celebrate the fourth anniversary of the Streaming Museum with his digital series Occupy Wall Screen and Emotion Forecast. including digital artworks. conceptual projects and shock installations. Here reside not only the big-name galleries from New York’s traditional art world. from vintage electronics to acoustic instruments to purely digital. Throughout the year. In the meantime. performances and other public programs. or 8-bit music all the pioneers of the genre were duly represented.R. a sound installation that emitted into an already animated urban soundscape the ring of a different New York bell on every minute of the hour. will radically change the face (and visiting demographics) of the neighborhood. which extends from 12th Street to 30th Street above West Chelsea. Eyebeam Art+Technology Center offers residencies and grants to artists and technologists working in digital media. In early 2012.High Line. in addition to exhibitions. but also smaller spaces upstairs. Since 1997. Continuing southwestward. with their street-level storefronts and white walls transposed into an industrial setting. including by students of New York art schools. we wander into Chelsea. Eyebeam’s exhibition space on 21st Street hosted the annual Blip festival of chiptunes. Chelsea’s gallery district is also home to at least two important art centers. all in favor of a massive geek rave. for an atmosphere that ranges from artsy to family to mainstream. distribution and preservation. workshops. of which the most harmonious was Stephen Vitiello’s A Bell for Every Minute. often hidden in a labyrinth of corridors. which is dedicated to contemporary art and new media. the gallerista district where Manhattan earns its reputation of showcase among the boroughs. In 2011. as well as younger talents from the post-console generation. Electronic Arts Intermix. > digitalarti #10 . from Bit Shifter to 4mat. . education. screenings. where we’re likely to find a bit of everything and anything. Gansevoort Street. the city’s famously linear elevated park converted from an abandoned railway. representing over a dozen artists. one of the first nonprofit organizations in the United States dedicated to video art when it was founded in 1971. designed by Renzo Piano and scheduled to open in 2015. No doubt the new “downtown” Whitney.
. electronic and electroacoustic music to enjoy in the intimacy of the venue. just live acoustic. always fascinating (if not hypnotizing) with his synthesized. Dumbo Arts Festival 2011. Zorn. often augmented by electronics. mobile applications. no beer. historic buildings converted into luxury condos… and a cluster of start-ups and small companies working with digital technologies in the fields of design. “electro-organic” compositions inspired from math and computer code. such as his famous “1-Bit Symphony”. West Street. accordions or percussions. but also some of New York’s most experimental contemporary composers: Laurie Anderson. a pioneer in her genre. etc. the nonprofit organization exhibits digital artworks in its compact space. Stephen Vitiello. art organizations and artistin-residency studios. occupying a few rooms on the 6th floor of an old building on Broadway effectively located just south of Houston Street. communication. former bohemian art district now dominated by brandname fashion boutiques. A bell for every minutes (detail). etc. purposely diminutive and devoid of all accessories save a Yamaha piano. or more precisely Dumbo. trombones. where fluid images seemed to tremble under each passing subway.digitalarti #10 . Harvestworks also organizes the annual New York Electronic Art Festival. which transforms the cobblestone streets into a spring carnival with outdoor performances by day and projections by night. curious or converted. © PHOTO DUMBO ARTS FESTIVAL 10 . Crossing the East River. The lineup includes many musicians with their cellos. as these parallel worlds tend to collide most often during more mainstream events and activities held around the neighborhood. True to the social-networking trend. a few dozen folding chairs and a table on the cemented ground floor of an anonymous building on the corner of Avenue C and 2nd Street. Founded and art directed by John Eyebeam. Down in SoHo. Founded by a group of artists in 1977. cult musician of the New York avant-garde. the venue is open to anyone. no cocktails. that little waterfront neighborhood “Down Under the Manhattan Bridge Overpass”. The Stone is above all a space. or the young Tristan Perich. which showcases digital installations. No stage.R. is Harvestworks Digital Media Arts Center. Indeed. a few amplifiers. while studios open their doors. It’s certainly the case of the Dumbo Arts Festival. editorial. West End. The abandoned industrial zone once occupied by squatter artists has more recently been gentrified with Starbucks. who comes to appreciate a dedicated set in exchange for the modest contribution of $10 at the door of which 100% of proceeds go directly to that evening’s featured artist(s). in several venues around the city. gaming. Just beyond NoHo in the East Village. Actually. The result is a curious cohabitation. and technology is recontextualized by art exhibitions that include digital works.© PHOTOS D. they operate inside the same buildings where entire floors are occupied by galleries. viewers were encouraged to > Immersive surfaces. like a secret enclave where the initiated gather to listen to purely avant-garde and experimental music. we leave Manhattan to land in Brooklyn. electronic music concerts. videomapping @ Manhattan Bridge. The festival highlight of 2011 was the 20-artist video-mapping spectacle Immersive Surfaces projected onto the Manhattan Bridge. multimedia performances. artist residencies and public performances in order to educate and promote the use of new technologies in art. The Stone takes the concept of minimalist DIY to its purist extreme. while offering workshops.
tweet photos of the installation.com > Harvestworks (Digital Media Arts Center): < www. located on the campus of New York University in downtown Manhattan. eclectic exhibitions and live performances by emerging artists.thestonenyc.org > Dumbo Arts Festival: < http://dumboartsfestival.com > NYU Game Center: < http://gamecenter. When it comes to independent games. we enter NYC Resistor. The stroll ends where personal exploration begins. Four blocks east. The Invisible Dog Art Center is an oasis of artistic creation contained in a former warehouse of stiff plastic leashes for “invisible” dogs.Imprimante 3D.tumblr. and NYU Game Center. so any interested collaborator is welcome to join in the jam. FURTHER INFORMATION: Babycastele: < http://babycastles. a commercialized series of open source 3D printers. Secret Project Robot in emerging art’hood Bushwick. Occasionally it even hosts live performances of electro-acoustic music. After leaving venues which turned out to be not permanent. such as those by Tristan Perich or the Hong Kong composer-programmer Samson Young. Among the works augmented by digital technology was Prana.com > Big Screen Plaza: < http://bigscreenplaza. CHERISE FONG Chris Klapper. Other residents include the Micro- controller Study Group. which works on projects using Arduino and other applications of embedded electronics. Makerbot Industries. video mapping and augmented reality. floating around the bridge in augmented reality. their hand-decorated arcade cabinets are currently spread out in several different venues: Death By Audio and Public Assembly in hipster’hood Williamsburg.nycresistor. One of the more practical inventions headquartered in this hackerspace is MakerBot.thehighline.com > Whitney Museum of American Art: < http://whitney.com > EAI (Electronic Arts Intermix): < www. Arduino.eyebeam.harvestworks.nyu.org > Museum of the Moving Image: < www.us > NYC Resistor: < www. The future development of Babycastles is to be continued in fall 2012… At a time of the new arcade.org > Galapagos Art Space: < http://galapagosartspace. Galapagos Art Space organizes presentations and panel discussions around the digital media industry. Prana @ Invisible Dog Art Center.movingimage. to each her own digital arts itinerary through the urban jungle of the Big Apple.org > The Stone: < www.org > Eyebeam (Art+Technology Center): < www. alternative and underground cultures.11 © PHOTO D.eai. these images could then be seen through smartphones.com > BitForms: < www.bitforms. on the 4th floor of a low-rise building on 3rd Street. this raw space of three floors and a basement is inhabited by several permanent artworks directly inspired by the building. Penetrating further inside the borough.edu > The High Line: < www. founded by Kunal Gupta and Syed Salahuddin in December 2009 to coincide with the Blip festival.R. . NYC Resistor also offers initiation classes and workshops for various techniques. who often integrates 8-bit sounds into his compositions for orchestra. a glowing installation that reacted to approaching visitors and ambient vibrations like a beating heart. visual and performing artists in residence. provocative installations and mini festivals for all manner of experimental arts. the Babycastles collective.org > The Invisible Dog (Art Center): < www.org > digitalarti #10 . Just barely retouched.org > Conflux: < http://confluxfestival. the showcase gallery of the very serious course in game design as a creative practice. and a professional laser. relaunched the concept of the new-generation indie arcade. giving renewed exposure to an avant-garde culture of DIY games played socially in retrocyberpunk spaces. through trends. a space shared by a collective of multidisciplinary hackers.org > MoMA (Museum of Modern Art): < www. or at rest like a breathing lung. beyond Brooklyn Heights into Boerum Hill. conceived and realized in situ by Chris Klapper. Another neighborhood hot spot known for its cocktail culture and “Floating Kabarette” over its interior artificial lake every Saturday night. communities.moma.com > Blip Festival: < http://blipfestival.theinvisibledog.
to Rodtchenko’s monochromes. just for an instant. they can only observe the traces: Yolande washed up on a floor strewn with bottles of Blanc de Blanc that are mostly. this one stands out because the work is invisible. another voyage only in colour. they attempt to imagine what has happened here. “if they have not tasted wine. Monsieur Moo & Louise Drubigny. from the infinitely small to the infinitely big. is structured around a school directed by an artist.FEEDBACK PANORAMA PANORAMA THE FOURTEENTH Le Fresnoy. 2012. as this is what the curator wanted. As for the spectators who come to the site of the performance later. accelerate and then slow down. Like members of a scientific police unit. In order to activate it. which makes us think of the endless transition in Stanley Kubrick’s masterpiece. Two parallelepipeds. As in weightlessness. These particles that float in the spaces of the images without support remind us that emptiness dominates in the universe. . 12 . which is the name of the boat. has been preparing for months for what will last less than a second. there is blue light all around. 2001: a Space Odyssey. Production: Le Fresnoy. By moving up and down. who invites others to train still others. Two projections that are practically the same suggest to us that there is perhaps a parallel world to ours where everything is similar. Around 7:45. Monsieur Moo and Louise are happy and the public is overjoyed.digitalarti #10 In the invisible In the centre of the exhibition. Benjamin Weil. We might all be passengers on a space ship. The broad swath of coloured light that surrounds the spectators is then swept aside by the rhythms that evolve. the curator of the exhibition. or the National Studio of Contemporary Arts. whose international experience is well known. by transition. you can make the image sharper. one yellow and one blue. © PHOTO DOMINIQUE MOULON Only colour Warding off bad luck It is said of ships that. or almost. In 1921 Alexandre Rodtchenko covered three canvasses with primary colours one red. Monsieur Moo. More than all the other written explanations. Yolande. The immersive voyage entitled DSLE -3that the Dutch artist Edwin van der Heide offers us on the film studio could be considered a homage. In the beginning there is red light all around and in the end. The three-dimensional monoliths that we have seen are still in our minds before our eyes without our being able to identify them in the visual chaos that the sonic accidents struggle vainly to organise. the wooden hull is released to come crashing against the bottles that it explodes before causing the cinder block wall to collapse. is cubic. they’ll taste blood!” But why christen ships with champagne when you can do the opposite? It is 7:30 pm and the public is getting antsy on this inauguration day for the fourteenth Panorama exhibition. our bodies trigger the projection of images of hands. took up the challenge of revealing a common meaning in more than fifty artistic proposals ranging from performance to film through installations and apparatus. broken. to reconstitute the scene without however grasping the motivation behind such an artistic inversion. evolve in the emptiness before fragmenting into innumerable particles cut like diamonds. The images literally float in the space without our knowing exactly where they come from. Alain Fleischer. He has called upon a local crane operating company to suspend Yolande. they are subject to the sonic accidents of a music of noises. all the works dialogue with each other. spectators must enter into its space that one can imagine. In this cube of nothing. This year. more than fifteen metres above ground. In space Entering now into the space of the exhibition. disturbing the image. but not all. It would seem that the more abstract the work. The sound at the beginning of the voyage is as pure as the light. There is no black box. except at the entrance where the work Mol by Ryoichi Kurokawa is a bit apart from the others. Together they have piled a few thousand bottles of sparkling wine against a cinder block wall. a posteriori. The first shock is crystalline. So naturally we reach out to receive these images. there is a card that announces the installation Hand-held by David Rokeby. while the second is duller. playing cards and other objects. the more one projects oneself by injecting the souvenirs they trigger in us. in collaboration with Louise Drubigny. but gradually becomes more complex to the point of becoming granular.
David Rokeby.R. to slow it down a little. DOMINIQUE MOULON Lost in the city There are apparatus in the domain of prison architecture that allow one person to survey many. Spectators perceiving this latency make lateral movements as though to test this decidedly interactive installation. with his installation entitled In Memoriam. hidden as she is by the buildings of the city. which we know was invented by the military. Mol. which we imagine is in a FURTHER INFORMATION: Le Fresnoy: < www. 4.lefresnoy. 5. Our silhouettes.net > digitalarti #10 . But are we not all permanently under surveillance from a constellation of invisible.13 © PHOTOS D. Production: Le Fresnoy. silent satellites? When we look in the sky.com > Edwin van der heide: < www. follows the artist as she walks away towards the shoreline below. authorise a few men to survey all the others. from Velasquez to Pistoletto and Arthur Zerktouni. which moves intermittently. 4 3 6 3. 2012.com > David Rokeby: < www. which stands for Global Positioning System. the Canadian artist has piled up images so that others will look for them and find them. The artist obviously knows the frescoes in the San Marco convent in Florence where Fra Angelico painted disembodied hands. are definitely fluid and there’s a lapse in time before they disappear. Arthur’s mirror seems to act on time.net > Monsieur Moo: < www. 2012.net > Cellulairement: < http://cellulairement. constantly informed by satellites. 2012. In memoriam. defined in relation to something else. Mirrors of rain Art history is filled with mirrors. Close up. Starting from a hilltop in Marseille. Maya Da-rin. But this data is archived and sent to the artist who perceives the heat of the other via. Human warmth Lastly.ryoichikurokawa.davidrokeby. ceaselessly refreshes the image of those who are observing it while also evoking the participative video artworks of pioneers like Peter Campus and Dan Graham. The space of the work is occupied by equipment that includes a thermal camera allowing spectators to discover representations of themselves through the quantities of heat they generate. there is Cellulairement.net > Ryoichi Kurokawa: < www. . The idea that we can correspond with another person through the body heat we emit without actually controlling it is interesting because communication from a distance quite often implies accepting filters by words as much as by silences. Horizon des événements.panorama14. The camera. we can imagine sharing the heat we give off and that keeps us alive and merging with that of another person who has become its host. 2. but are limited to guessing where she is. she is fitted out to communicate her position in real time to the camera she has left there. Hand-held. 2012. The passer-by is also equipped with an audio sensing device that allows the spectator to match up information to better guess the position of she who knows she’s being tracked. But here it is in the droplets of a screen of water that spectators are reflected. they are like red. Arthur Zerktouni. prolongs the list of gleaming artistic surfaces. 2012. But this is also a reference to those who walk in the street staring at the telephone they are holding in their hands.net > Panorama 14: < www.evdh. DSLE -3-. They inhabit the space of the work that the artist has cut out of nothingness. The water. For this reason we can play with the shadow of this other that we slightly precede. be they civil or military.com > Dorothée Smith: < www. we might imagine he or she behind their screen possibly spying on us without even knowing who we are. From afar they form a mirror that reflects our image with a certain latency.1 5 2 1. 6. The spectators try to follow her with their gaze. closed circuit. Within the cubic space of his work. whereas the satellites of today. an installation of an apparent complexity that functions around a simple concept: merging the heat of two distant bodies without contact. The audiovisual installation Horizon of Events by Maya Da-rin functions around GPS technology. she tells us. It is called panopticon and dates from the end of the 18th century. an implanted electronic chip. 2012. Cellulairement. We can imagine her in the centre of the frame. Ryoichi Kurokawa. Whereas here. Dorothée Smith.dorotheesmith. Does he even know himself where he has hidden them.monsieurmoo. Edwin van der Heide. green and blue pixels. as one might hide a treasure the better to forget about it? The spectators comment on the images that appear in the palms of their hands amidst choreography improvised for the occasion.
digitalarti #10 . in galleries) and video installation. Her mythological fictions draw on intimate as much as public matters. from one media to the other Currently based in Paris. gender.e. even. performance.feature film is the sole scandalous aspect. as early as 1981. she produced work for the national satellite television network channel. A work that did as much good as harm to the Taiwanese woman since what the most transgressive art lovers and the majority of critics have retained from this futuristic and erotic-pornographic -"cyberporn". Shu Lea 14 . her commitment to the interaction of the viewer and her collaborative production modes have set an example in the now encumbered field of multimedia artists. science fiction and media. ruling humans") issues. has been building interactive fictions borrowing from the major themes of our time. Through the full array of contemporary tools and technologies made available to artists. I. As a member of the Paper Tiger Television collective. What is mostly remembered from the multimedia artist Shu Lea Cheang is her famous and ultra-commented film. she is above all a true multidisciplinary and activist artist whose work spans from film to net art and performance (online. her work has been exploring many social and political ("i. Her participatory vision of art. Asia and the United States) whose themes become obvious as she travels and wanders on. the Taiwanese multimedia art pioneer.PORTRAIT SHU LEA CHEANG INTERACTIVE MYTHOLOGIES From early days. She created many video installations for art galleries and started directing 35 mm films. Cheang considers herself a nomadic artist (she has lived throughout Europe.U. Cheang has truly emerged as a major artist during the last decade and she has quickly risen as one of the most important voices in the field of "media arts". ultimately overlooking a whole side of her work and its themes. sexuality. She started to work in this area very early on and was quickly recognised as a pioneer of the genre.K. Shu Lea Cheang. Shu Lea Cheang. © PHOTOS JOAN TOMAS IKU. If Shu Lea Cheang is a pioneer in the field of media art. alone or through collaborations. revealed in 2000. through singular aesthetics and extremely intimate concerns inherited from her personal path. questioning her own story whilst inviting the spectator/visitor to participate.
La Graine et le Compost (The Seed and the Compost) unveils yet another facet of the artist and her concerns. Brandon used to be presented as a website (inaccessible today even though screens copies are available) and was inspired by the story of Brandon Teena. Waste is therefore meant to replace the Euro as a currency.mauvaiscontact. Cyberporn. forecasting the collapse of the internet in the future and the creation of a biological network (bionet) that would infect blood cells and DNA by creating the Organismo.U.’s initial scene) This parodic cyberpunk set was followed by UKI viral performance.com/user5349216 > digitalarti #10 . Cheang proposes to turn the city into a compost farm by dispersing containers throughout the city. Fascinated by the prominent gender war on the internet. home of unclear identities.IKU.info > videos: < http://vimeo. inviting citizens to get involved in pirate gardening ("hacktif" gardening) in urban areas and to set up groups to remotely monitor and look after the new shoots through various networks. presented under the title Brandon and produced online between 1998 and 1999.K. Cheang is reversing the equation in an atypical way and launching a cyber-organic project. If I. The project itself was a commission of the Guggenheim Museum in New York. the history of the seductive Reiko. UKI was inspired by science fiction biopunk. a transsexual murdered in 1993 in Nebraska.U. This eco-citizen. At the "roots" of eco-conscious art Her latest project.15 © PHOTO ROCIO CAMPAÑA . Shu Lea Cheang said she wanted to present the tragic story of Brandon Teena in an experimental way that would express all of the fluidity and ambiguity of gender and identity in contemporary societies and on the net. A deliberately pornographic film inspired by key scenes of Ridley Scott’s Blade Runner (the final scene in the elevator is I. MAXENCE GRUGIER FURTHER INFORMATION: < www.K. is purely cyberpunk. virus and futuristic mythology Her most noticed work undoubtedly remains the essential I. Cheang became interested in cyberfeminism and connected with the Australian women group VNS Matrix. an apocalyptic cyber and biopunk prequel started in 2009 (on which noise artists were invited to perform in March 2012 at the ElectroPixel Festival in Nantes). technical and artistic performance carried out under the aegis of the Greenrush and Re:Farm The City collectives illustrates the "Aboriginal hi-tech" (as she likes to name herself) side of Shu Lea Cheang. a virtual and chemical orgasm triggered without any physical contact. La Graine et le Compost proposes to change the current economic paradigm by imposing composting and recycling as a new currency. performance.U. Organized by la Gaîté Lyrique (+Petit Bain) in May 2012. (orgasm in Japanese). after her identity was revealed.K. This was the first internet work commissioned by the famous Museum. Folowing UKI which already was dealing with our "biological future" and the impact of the environment on the human body. a (cyber) mechanical doll in charge of collecting the greatest possible amount of data on human sexuality. an artist who has apparently not ceased to amaze us.
Nooscaphe X groupe. is absent. as if this were obvious. artworks. Thierry Hoquet’s Cyborg Philosophie is accurately subtitled “thinking against dualisms”. 16 . The gap is not only in form (clean-cut 3D for his films or Second Life and his retro video-game esthetics). It’s also a theme that should raise important questions about what makes us human. The fusion between human and machine is perceived as a useful and necessary development. portrayed in his fiction. But the powerful idea of the miserable object devoted to its master.DIGITAL ART CYBER CONNECTED BODIES AND ARTISTIC PHANTASMAGORIA Yann Minh. for example. watching his film Noogenesis. if not altogether absent. Here as well. the enhanced bodies of science-fiction literature and films are confronting political ideologies and industrial techno-scientific powers. not to mention paying for it. without being dumbstruck by the evocative power of possible worlds generated by contempo© YANN MINH Human bodies that are technologized. calls to mind a scene of The Matrix showing the non-life of humans. However. especially by breaking the binary grids of world analysis in order to reveal the creative complexities that lie in the cracks. not only as pure matter and organism. full of freedom and torn away from the industry. Meanwhile. we can only be struck by the gap between his chaotic and often post-apocalyptic societies and the distressed cyberpunk world he claims to be a part of. leaving humans in misery. the thought-process is short-circuited. In these projections. Of course. hybridized and connected have haunted imaginations and representations for decades. in a highly technological but poor society (a category reinvented by sociologists to describe the situation of Japan after Fukushima). I believe that this is indeed the core of the issue: getting rid of binary representations in order to bring into focus and appropriate techno-industry babble. there is Donna Haraway’s Cyborg Manifesto (1985). mangas and comics. even dating back several years.K. Haraway imagines a technological future that would accelerate understanding and action. In novels. The novels are set on our devasted planet. rather than the powerful erotic trance. Instead.U. Some artists tackle these issues in such a way that this crucial aspect is often relegated to the background. the cyberpunk world exemplifies this exploration of possible dystopias through the technological invasion of bodies and minds. Yet many thoughtful arguments have been expressed on this topic. which is very optimistic about the ongoing transformation. The phantasmagoria of these figurations of technological virtuality is now doubled by incarnated virtuality. but also in content. excluding those who control the high-tech industries and have power and money. with both mechanical humans and humanized machines. Techno-acceleration (cyberpunk concept of machines overtaking humans) is erased in favor of bodies with augmented capacities. the fusion between human and machine in the aspects of intimate pleasure seems to result in a double hybrid. which we saw in Blade Runner. In this world adrift. used as energy by the machines. which have taken control and induced people into a programmed dream of life in the real world.). for example. Looking closely at Yann Minh’s work. we have an ecstatic acceptance a bit morbid in my opinion of mechanized sexuality. but also as a being with desires and emotions. these images have sensibly moved from the realm of pure fiction to projections of near futures. Cybersex is one of the themes that inspires these artists (another example is Shu Lea Cheang’s I. currently brewing in the very real world of laboratories and enterprises. In this regard. film and advertising. which has the advantage of being independent and considers the matter of humans becoming machines from political and social perspectives that have largely been reinforced since it was published.digitalarti #10 . Much more recently. technology has triumphed.
Otherwise she runs the risk of being an illustrator. Transhumanism explores the feasibility of a “body-without-organs” as a pure cyborg. rary science. a data center. The machines’ power of action is demonstrated by a simple guided tour of the various places and activities on the street: the first house made of reinforced concrete. an animal flour factory. Instead of creating a new fiction from the concept of cyborgs or connected bodies. Yann Minh. I have also moved far away from them. but is that enough? I believe that when an artist’s dream calls upon the realities of our time. robotic and chemical project of transformation that shifts humanity into another future. The voiceover analyzing these images offers a critical explanation of what links these apparently disparate spaces in particular the LOPH (Fight against Pro- grammed Human Obsolescence) Laboratory. a film by Gwenola Wagon and Stéphane Degoutin. disambiguate and reappropriate the propaganda. This is where all paths lead: to a posthumanism decided by some and perhaps tomorrow suffered by all. As a philosopher who is especially interested in sciences and techniques. or even worse.Yann Minh. Neuro-Portrait. Le Scanner.17 © YANN MINH © YANN MINH . a beggar when he thinks (F . We may think that Man is a god when he dreams. as pessimism will get us nowhere. Media ØØØ méduse. (…) Strictly speaking. This is the figure that seems to clearly emerge. Taking Timothy Leary’s idea of “enslaved body” literally. another entity. which works on Transhumanism. the dumb fascination with technology that we see in certain artists leaves me more than dubious. is particularly successful and enlightening. Despite the deep respect I have for these often intense and prophetic analyses. Ossang). the bearer of the techno-industry’s sugar-coated message regarding the extreme experiences that are changing our world. it would be the organism directed by the machine (Thierry Hoquet). an evangelist church. J. Nonetheless. they explored the effects of a “cyborg future” on a street in Saint-Denis outside Paris. digitalarti #10 . Yann Minh. she must also confront the difficult exercise of critical thought. MANUELA DE BARROS Yann Minh. Athanor. It’s a structurally intense. Cyborgs in the Mist. In this way. I was nourished by authors who attested to the possible end of humans confronted by their own creations (from Gunther Anders to Jacques Ellul). It’s up to the artists to interpret. Cyborg is not the machine. clarify.
This idea of interactivity in public space can also be found in your work "Interactive Landscape". your tactile and high-tech projects initiate interesting encounters between the city. It was at this moment that I understood that I wanted to “make things”. In 2008. I recognized the building as one of Isozaki’s models.Daan Roosegaarde. an underground passage outside Rotterdam. A few years later. nature and people—in particular the "Dune" series. For me. your taste in architecture. © PHOTOS DAAN ROOSEGAARDE / STUDIO ROOSEGAARDE > WWW. with a backdrop of organic architectural poetry. Rotterdam. So we invited him to the opening. this conversation was like coming full circle. nously to sounds and passers-by is very representative of your work. to be somehow in touch with the world. THE TECHNO-POETRY OF DAAN ROOSEGAARDE Walls of “intelligent” aluminum flowers.1 Maastunnel. My first interest was in concepts of scale and space. which you first developed in the Maastunnel.digitalarti #10 .NET Daan Roosegaarde Daan. I became interested in time and the calculations that go with it. and more precisely architectural design? I’ll go back to when I was 16 years old and still in high school. He was passionate about the subject. as it delicately mixes digital elements with organic references. and he came. which was presenting a big exhibition of incredible wooden models made by Arata Isozaki. I have a photo of Isozaki and me at the heart of Liquid Space. which evidently stimulated his always sharp thinking. talking about how architecture can create a link with the public in terms of real-time experience. I went to Japan to meet the curators of YCAM (Yamaguchi Center for Arts and Media) regarding our interactive piece Liquid Space 6. Our class went on a field trip to visit the Netherlands Architecture Institute (NAi). That’s when I started working on concepts of interactivity. Interview with the creator. Dune 4. in particular the relationship between the body and its immediate environment. This installation of digital “plants” reacting lumi- 18 . digital plants that light up and react to passers-by. I was completely fascinated.0.STUDIOROOSEGAARDE. As soon as I got out of the taxi and saw the museum. What is it about this approach that interests you? How has it been influenced by your background. 2007. “wired” clothing… The works of Dutch artist Daan Roosegaarde convey a strange synergy between technology and humanity.
before that decisive visit to NAi. inspiring "works-in-progress" with a touch of poetry. For me. Nature and technology have a lot in common. to “update” reality in short. Another important point about the idea of a series is that you don’t just cut and paste the same piece when you rework it for a new exhibition venue. It’s as if code becomes your DNA. like pulling a cable across the swamps. That’s the main reason why I’ve been using technology since I was old enough to open a can of food. everything seemed completely static. This fascinated me. We made our own improvised equipment. to make it more human. I always loved buildings and making things. 2010) But beyond this idea of updating reality. with the idea that it can be an extension of what we are. it’s true that technology plays big a role in my work. we could have broken our necks. the key is to reinvent.1. Adele Chong. But like all children.NET That said. But I finally noticed that this line was constantly interrupted by mov- > . It’s also a way of learning from our previous shows. the organic and reactive wall strewn with “intelligent” aluminum flowers… Yes. for example "Lotus". both futuristic and organic. We try to use technology to personalize or socialize a space. Lotus 7. for example. Liquid Space 6. How could we blend this natural tactile sensation of objects with technology in futuristic landscapes that would remain emotionally connected to us? My idea is to reconciliate this interactivity and this poetry with our senses. So if we show Dune in Shanghai. That’s why I like to re-situate elements of nature using new approaches. we were fascinated by the wild side of nature around us. TO READ: Interactive Landscape. The hot air of the desert totally blurred the silhouettes. it was pretty dangerous. from the different interactions with the visitors. Already at that age. 2009. This sort of “new nature” is at the heart of my work. we don’t just put on a display of machines and computers. and my sister and I had fun putting wheels on cabinets and racing down the slopes. I would say that most of my works function as sequences of inter- Daan Roosegaarde. This feeds our updates. So I thought of pieces such as Dune and Lotus as possible future “landscapes”. and I always wondered how this would render in our urban environment. producing a curious effect in form. But at the same time. Today. function as a series. in a city such as Shanghai. the interactive experience will be slightly different from the previous one in Hong Kong. I believe it’s these little details that create a real interaction with the public. The question is how to marry nature and technology? I’m always asking myself how we can improve this analogue world. MEDIA ART DAAN ROOSEGAARDE ing silhouettes of nomads crossing the landscape. and that the viewer is a direct element of the artistic identity of my work. digitalarti #10 . I was watching the horizon line of the desert.STUDIOROOSEGAARDE. Dune was directly inspired by a trip I made to Morocco when I was in my twenties. Timo de Rijk (éditions NAi Uitgevers.Daan Roosegaarde. I’d say it’s more like “copymorph”. We couldn’t really brake.19 © PHOTOS DAAN ROOSEGAARDE / STUDIO ROOSEGAARDE > WWW. I grew up in Holland. active stories. However they evolve. we spend a lot of time developing all this. At first sight. with versions that evolve over time. 2010-2011. for example. When I think about it. the components of these two entities live and die. In my studio with my team.0. such as "Dune". surrounded by dams and water. Some of these dams were especially steep. I thought about how I could adapt to my environment. Daan Roosegaarde. I have this wish that art will go on forever. It’s a form of techno-poetry. most of your pieces.
So it’s not surprising to find you working for a program dedicated to interactive sound and light pillars such as "Sensor Valley 8. Marble. I’m interested in what happens when technology comes out of the screen to become an integral part of our walls. 2012. even our bodies. our cityscapes. These dresses were an incredibly quick success. as they react directly to not only movement but also touch. using these tactile landscapes that integrate the city. growing. where the piece physically interacts. The question is how far we can take this experiment. shrinking or lighting up like a kind of choreographed robotic ballet… The concept is the same to update our senses by reconnecting them with nature.NET Daan Roosegaarde. What would a Facebook plaza look like? Could we create “intelligent highways” capable of generating their own electricity? These are all topics that interest me.0" (which was included in the "Imagine" exhibition this spring at Stedelijk Museum Den Bosch). "Intimacy" references “wired” clothing with dresses composed of “intelligent” aluminum leaves. many of your works.0 series. The people of Assen call them “knuffelpilaren” [literally. always with the same idea of making the world more interactive. more sustainable. as in the series "Liquid Space". We need this “new grammar”.STUDIOROOSEGAARDE. There’s even a restaurant that put a dessert representing these luminous pillars on its menu. because the general rhythm of our lives is affected daily by our overexposure to multiple forms of media. It’s fascinating. It’s an interesting project. light and the population. You had already developed object-forms of this caliber for the projects "Lunar" and "Marbles"… Sensor Valley is the largest-ever concentration in Europe of pillars using sensors to trigger light and sound sequences that interact with the public. because I’m not familiar with the fashion world. We’re already working on the 3. which become transparent by virtue of these infamous principles of interaction… Intimacy explores the relationship between intimacy and technology in the form of a second skin. movement seems to > In be at the heart of the interactivity: viewers moving around the work as in "Flow 5. “hug pillars”].MEDIA ART DAAN ROOSEGAARDE © PHOTOS DAAN ROOSEGAARDE / STUDIO ROOSEGAARDE > WWW. because it contributes very concretely to this idea of improving the world through the daily behavior of residents.0".digitalarti #10 . It’s great to be able to enter it through this project. commissioned by the cultural center of Assen in the Netherlands. while remaining true to the idea that this use of technology makes us more human. One of your more recent projects is related to the fashion field. It’s very stimulating. The city has a long history with sensor technology. or the work itself moving. 20 . Studio Roosegaarde’s experience in social design and innovative LED research won us a place among 125 other projects selected to be on permanent exhibit in the entry hall of the new cultural center.
2007 (TodaysArt) .0. your core of collaborators at Studio Roosegaarde seems very important… Great painters such as Rembrandt and Rubens also worked within artistic communities. Even though you’re known as a solo artist. FURTHER INFORMATION: site: < www. I won’t be able to develop the technology that feeds them. some are devoted to developing our proprietary system Microchip. 2008. If I chose to focus exclusively on lucrative projects. a bit like a dream lab. Sustainable Dance Club.STUDIOROOSEGAARDE.2011. It’s an interactive. Eindhoven and Stockholm. Managing a creative studio when you’re an artist is like following a balanced diet. Flow 5.studioroosegaarde. 2010-2011. But my latest baby is the “intelligent highway” that I mentioned earlier. We are very enthusiastic about creating special things. digitalarti #10 . We’re also working on a few on-site installations.NET . even if the period is different and the medium has changed. Daan Roosegaarde. sustainable project developed with the company BTP Heijmans. Harmonizing these two approaches creates the necessary tension.You often use the pronoun “we”. long-term interactive installations in the cities of Shanghai. I totally adhere to this concept. Within the team. while neglecting the creative parameter. Where will the dream manifest itself next? Currently we’re working on several large-scale.net > Daan Roosegaarde. for the controllers and the software. the resulting pieces would be boring. It’s ideal for transcending the visionary and technical approach. Intimacy. It’s a kind of suspense that leads to a magical side. where we’ll show all the versions of Dune. of which the most intriguing is no doubt the renovation of a big mining tunnel for the Sydney Art Biennial. The studio is a super tool for developing and expressing the emotions or ideas that I can have with my team of designers and engineers. if I only focus on artistic activities. On the other hand.21 © PHOTOS DAAN ROOSEGAARDE / STUDIO ROOSEGAARDE > WWW. INTERVIEW BY LAURENT CATALA Daan Roosegaarde. while others are specialized in hardware and interactivity. SDF (Sustainable Dance Floor).
Manoury and Mahler. the spotlight was on French composer Philippe Manoury. ircam. An all-day workshop held at IRCAM devoted to MIR (Music Information Retrieval) gave an overview of the center’s current research using MIR in processes of listening to. polymorphous. Workshop MIR and Creation June 2. instrumental synthesis. Still relatively unknown to the general public. but not without having first taken possession of the pianist. research developer of the Music and Real-Time Interaction group.digitalarti #10 © PHOTO AGATHE POUPENEY . surrounding the piano. with the Paris orchestra’s magistral interpretation of his Atmosphères. Opening night in La Salle Pleyel brought a common perspective to the works of Ligeti. 22 . only to surrender at the end. minimalist. allowing artists to work with textures and soundscapes. incarnating a sort of gigantic panic room where the padded Echo-Daimonon June 1. Night Light.FEEDBACK MANIFESTE MANIFESTE 2012 As the first symbiotic festival between IRCAM and Acanthes Center. as the orchestra became an organic. rustling and evolving space. One show.OMax. The piece was wild and free. presented the concepts of analysis and retrieval managed by the extraordinary real-time improvisation software Omax and its new version B. Manifeste 2012 has become the new venue for bubbling creativity in art and contemporary music… This year. Diemo Schwatz. This workshop. music by Raphael Cendo and lighting by Valérie Sigward. perfectly mastered and spatialized sense of detail in sound matter. creating a parallel between the perpetual feeds induced by the cannon of the former. who heads IRCAM’s Musical Representations research team. This concept of very high-level granular synthesis is gradually gaining recogni- tion. The second part of the program featured Ligeti’s Lontano directly followed by the Adagio of Mahler’s 10th. were generally open and freely accessible to the public. Totally stripped down. audio resynthesis and all sorts of explorations of interactive syntheses.1er juillet. It was a delight from the first chord. This virtuoso piece for solo piano was a truly epic race between the piano and its digital avatars four ghost pianos. multiplied and invaded the space. The art of polyphony was honored in all its forms. which preceded the Academy (part two). One shouldn’t hesitate to venture inside IRCAM to benefit from these generously shared experiences. nine minutes of nuanced ascension. Gérard Assayag. as well as the day of study devoted to Manoury’s works or the excellent “Producing Time” symposium. even sterile mise en scène. with the alternating melodies never identical and progressing without end. a micro-polyphonic work composed in 1961 and directly inspired by electronic music. Choreography by Alban Richard. themselves like a fallen raindrop of the latter. The idea was to repossess IRCAM’s famously mythical Espace de projection and to revisit its expressive possibilities. A brief overview of the Festival (part one). presented the CataRT software and the concepts of concatenative synthesis by corpus. The morning session concluded with Philippe Manoury discussing the various procedures of audio description used to make acoustic and electronic sounds interact coherently while developing a piece. part installation and part performance. resolving MANIFESTE 2012 festival académie. Manoury’s presence literally dominated Manifeste 2012. he was able to demonstrate throughout the festival the immense richness and creativity that inhabit his works. The orchestra served as a backdrop. Ligeti first. 1er juin . Manoury was next with Echo-Daimonon. three artists. concerto for piano and orchestra and real-time electronics. which diffracted as the ghost pianos took over. Night: Light June 3. Centre Pompidou Alban Richard. all in energy. capable of a refined. analyzing and creating with sound. Night: Light is part concert.
and especially its great mastery and finesse concerning the balance between the initial instrument. managed solely by the orchestra. la Musique. carried away in perpetual movement. halfway between Teletubbies and Care Bears. First. Along with Philippe Manoury. dancer. An intriguing performance by the Swiss choreographer Thomas Hauert and Fabian Barba for the dance company ZOO. which in 1988 led Philippe Manoury to develop his basic concepts of following and detecting the musician’s instrumental play thanks to the intervention of computer programming. Manoury’s Synapse: a complex work on the transformation of information using evolving motifs. its lyricism. the piano and its spatialized digital projection.Thomas Hauert & Fabian Barba / Cie ZOO. You’ve Changed is an extension of the previous performance by Thomas Hauert Accords. attempts to dialogue with the sounds and light. with particular attention given to low frequencies. Second. As the piece progressed. Tolerable for some. for grand symphonic orchestra and real-time electronics. The music composed by Dick Van der Harst and Peter van Hoesen builds an ambience where almost lyrical seventies jazz-rock overlaps with electroacoustic bits and very refined minimalist electric guitars. letting go. The original intention of the piece disorienting the audience by immersing it in a pool of sensations worked perfectly in itself.23 © PHOTO LUC VLEMINCKX . paths. Neptune is based entirely on instrumentalists controling synthesized music. links. Synapse and Inferno June 13. the most famous modular programming software in the world.fr > digitalarti #10 . The overall picture is a series of strange compositions. Outstanding from this program was the now-historical piece Pluton. the three channels diverged. Created 25 years ago. Borrowing touches of filmic sound design. Robin gave body and power to the vertiginous fall imagined by Dante. creating a truly tangible schizophrenia inside the space. You’ve Changed is the continuation of this research and reinforced this impression using management criteria for group interaction: control. creating a temporary mirror effect while diffracting the space on stage. sometimes becoming completely estranged from each other. Yann Robin’s Inferno. in which he and his dance company explored the idea of group organization as an autonomous entity. both graphic and organic. CHRISTINE WEBSTER Digital June 8. Pluton still surprises with its freshness. His collaboration with Miller Puckette produced Max. Yann Robin closed part one of Manifeste 2012 with the final evening “Real/Virtual” at La Cité de la Musique.ircam. The composer transfigured the orchestra in a spectacular adaptation of Dante’s Inferno. Piece for three percussions and interactive system composed in 1991. less tolerable for others. An evening dedicated to hybridizing acoustic instruments and the use of electronics as a means of augmentation. You've Changed. recalling Jeu de la vie developed by Conway in artificial life. featuring virtuose dancers in pajamas. A very fine success. It also stages a dialogue between the dancers and two layers of video screens. FURTHER INFORMATION: Manifeste: < http://manifeste. Manoury will similarly enchant us with Neptune on June 9 at La Cité de You’ve Changed June 7.
director of Centre des Arts and Bains Numériques. confront their perspectives and present their projects. One of the most moving moments in the last category featured a “pas de deux” between a dancer and a little robot created by Emmanuelle Grangier (Link human/robot. lecturer at The 7th Bains Numériques biennial organized by Centre des Arts d’Enghien-les-Bains questioned the relationship between digital arts and the city. Trisha Brown. and more recently. Véronique Godé. which aimed to reveal and support new talent in three distinct disciplines: sound arts. Jean-Paul Fourmentraux (sociologist. Words City). 24 . Theory and practice were literally only a stone’s throw away.. Soma Mapping II). Their diverse profiles and rich experiences were expressed in these debates moderated by some of our contributors (Dominique Moulon. Most pieces were interactive. or to displace dots forming a stylized silhouette of a digital ghost (Zhan Jia-Hua. artworks spread out across Enghien. This last installation was awarded during the festival’s international competitions. but perfectly legitimate. Canada). all inviting international players to share their experiences. Carolyn Carlson and Michèle Noiret… Lille III University in France) and Malcolm Levy (artist and curator of the New Forms Festival in Vancouver. The integration of "digital culture" into the urban fabric and the new practices implied by this "investment" are opening up countless possibilities both locally and globally. believes: In the field of performing arts. as Bains Numériques offered an itinerary of Simon Jones. Me & My Shadow). as Dominique Roland. as this artistic and technological revolution takes place in our increasingly interconnected world. prompting viewers to mime strange gestures in front of giant LED screens that triggered a waterfall of words (HP Process. or to animate a “theater” of 3D shadows to which other “avatars” could respond through the magic of telepresence (Joseph Hyde. Perfect vehicule (2006).FEEDBACK BAINS NUMÉRIQUES WHEN DIGITAL ARTS REINVENT THE CITY The social and political issues of digital arts in public space were at the heart of the professional talks at Bains Numériques 2012. visual arts and choreographic arts. held from June 9 to 16.) alongside glimpses of festivals and art projects relayed by RAN (Réseau des Arts Numériques). choreography was the first to use technology for esthetic purposes: Merce Cunningham. exposition MACHines @ Bains Numériques 2012. On the agenda were topics such as “new city and civic practices” and “reconciling public and private interests”. ≠1 territoires). Participants included Weigong Liou (member of the Cultural Affairs Commission of the government of Taipei/Taiwan).digitalarti #10 © PHOTO SIMON JONES .. It was indeed refreshing to see dance in the spotlight of a digital arts festival rare.
LAURENT DIOUF FURTHER INFORMATION: Website: < www. low-tech or high-tech. enveloped in a blue-green suit). Disorientation and sensory troubles immediately guaranteed it’s no coincidence that this device was designed with support from neuroscience researcher Laurent Perrinet. Finally.fr/programme/bains-numeriques > digitalarti #10 . Its pan-Canadian selection of artists challenged humans’ ambiguous relationship with the technologies they develop. David Rokeby and Pavitra Wickramasinghe. resonance and speed pieces that were sometimes disorienting or quite simply amusing. DJ sets (Pilooski. 69 @ Bains Numériques 2012. Étienne Rey’s Tropique. the centerpiece of the exhibition was more “in praise of slowness”: Simon Jones’ Perfect Vehicle. it featured devices and artifacts that were basically dominated by sound. Very Mash’ta) and audio-visual performances (Collectif Mu. designed to rotate slowly as it is being “blown” by the driver (lying down. Livecode Performances). Counterpointing the theme of the title. co-developed with the Elektra festival. Graeme Patterson. we could also discover.cda95. like any selfrespecting festival. Adad Hannah.Carl Craig pres. Oppressive. all in light and sound waves. evoked a steam engine drowning in a desert of sensations… The ultimate paradox was that the images recorded for the video version of this retro-futuristic project were shot in the famous Bonneville Salt Flats of Utah. which have provided the setting for so many land speed record runs… On another level. airwaves.25 © PHOTO NICOLAS LAVERROUX . Matthias Tanzmann. if not experience. like (almost) all immersive works. As suggested by the title of the exhibition. USA. this project invited viewers to step inside a “dark room” transpierced by three diffracted light rays. Bains Numériques included a music component with live shows (Lucky Dragons). The pillar of this year’s festival was the MACHines exhibition. designed by Steve Daniels. Nichola FeldmanKiss. Amélie Brisson-Darveau. High points were the opening and closing concerts with Carl Craig wearing at the beginning of his set a mask reminiscent of La Commedia dell’arte to reiterate his prestigious past (Planet E productions under the pseudonym 69) and Arnaud Rebotini in a flood of sound and lights (tri repetita) reflected in the still black water of the lake under the stage.
as these works are often intangible. Eliane Ellbogen. than I have in North America. a New Media production and exhibition centre located in Montreal. The composition is thus an evolution of these interactions. What is specific to our festival is the fact that we present new projects.” which have not yet made the run of the festival circuits. Sight & Sound takes place in between two important digital art festivals in Montreal. Each one of those instruments revolves around an algorithm representing a specific behaviour. and artists whose practice is fundamentally experimental and process-driven. and several of the artists presented — chdh.digitalarti #10 . 26 . transitory or performance-based works. you presented your performance "Vivarium" in 2009 and 2011. on the manipulation of these instruments. rather as a complement to both festivals’ programming. We present works by young artists. difficult to present as well as to upkeep or conserve. one single movement from disorder to harmony. chdh. however. which are inspired from natural phenomena. As such. GUZZO DESFORGES of digital art. a school of fish or a flock of birds. the material exploration. and the exploitation of the physical limits of digital media. In which way is Sight & Sound distinct within the festival circuit? Eliane Ellbogen: Sight & Sound situates itself. Eastern Bloc. The basic premise of Égrégore is the exploitation of mass behaviour. I have noticed a greater openness to including works by New Media artists within the established art institutions in Europe. there exists only one global form: a macrostructure that is born of a mass of micro-elements. Valentina Vuksic. for example. You have since been presenting "Égrégore". the centre’s Artistic Director. The temporal development of the performance is based. © PHOTO J. on the one hand. in order to create an abstract creature with its own unique possibilities of movement. not in opposition to Elektra or Mutek. @ Sight + Sound 2012. creating a visual and sonic space. Does the festival formula allow you to present certain works that a media art centre would otherwise not present in the course of its regular programming? Eliane Ellbogen: A festival is the perfect context within which to present ephemeral. Robyn Moody — discuss their work. organized this fourth edition of the festival. within museum collections. less established artists.DIGITAL ART EASTERN BLOC SIGHT & SOUND From the 23rd to the 27th of May. controlling both image and sound. Robyn Moody. at times still considered “works in progress. on their superimposition and flux. speaks about the festival. However. which is based in the visceral experience. it can also be difficult to give the artists and their work the necessary amount of breathing room because of the festival’s time constraints. Wave Interference. on the other hand. We make use of algorithms. In which way have your aesthetic considerations evolved? chdh: The performance that resulted from the project Vivarium focuses on the use of audiovisual instruments. Sight & Sound festival explored the theme of “systems of symmetry” through a series of works from 15 Canadian and international artists whose practice is situated at the intersection of art and technology. Not yet. A large part of our programming is to put forth a vision Have you noticed amongst the larger museum institutions in Québec openness to emerging art practices? Eliane Ellbogen: We are starting to see some very established artists in the field be included in larger museum shows.
technology is used in a covert way. the mechanisms are available for the curious to see .chdh. in that the effect is often seen together with the cause. Égrégore (2011).robynmoody. you define your work as the "real" computer music. Robyn Moody.ca > Sight & Sound < http://sightandsoundfestival.free.ca > digitalarti #10 . but we can (and unfortunately often do) choose to see only the surface and believe in magic. The previous and current usage by the user influences the sounds.chdh. the technology is made evident. and beautiful in their way. because they are novel.fr > Valentina Vuksic < http://harddisko. From very low-level firmware. via the operating system with all its device drivers. all the way up to office software and the user’s mouse clicks. How do you employ technology and more precisely electromechanics to create your work? Robyn Moody: What aspects of the technology to reveal is a question that I am always debating.27 © CHDH .easternbloc. rendered almost invisible.ch > Robyn Moody < www. In your installation at Eastern Bloc. Valentina Vuksic. There is always a danger of having the mechanisms too present in my work.ca > chdh < www. Can you explain in more detail what you mean by this? Valentina Vuksic: Transducers pick up electromagnetic radiation from computers that are in use and make those electromagnetic fields audible. The source of the sounds lies within the physical material from which the electronic devices are made of. This is where one has to make the sometimes-difficult deci- sion to take that very clever mechanism you designed out of the spotlight. but also within all the different kinds of software that is running on them. however. but we as the audience choose to ignore the puppeteer and be fooled. It's like puppeteering. as I never want the work to be about the technology I use to make it function. which is why I call it "real" computer music. in several works.and in this way I think of it a bit like the potential for scientific enquiry. despite a physical explanation being within easy reach. That there are answers available to the curious. INTERVIEW BY AURÉLIEN MORLOT FURTHER INFORMATION: Eastern Bloc < www. In all my works.
2011.R. Bill Vorn. . The robotic creations of the artist Bill Vorn can be found there. Too human The Black Box of the Hexagram research laboratory at Concordia University is among the spaces invested by the International Digital Arts Biennale (BIAN). the Contemporary Art Museum. D. Peter Flemming. the Syncretic Transcodings symposium organised by Hexagram CIAM was added to the events taking place in Montreal. because they are more human. perhaps even too human? The lower limbs of the robots on the floor flail about desperately in the emptiness while they continue to scrutinise the space with their luminous heads.FEEDBACK ELEKTRA INTERNATIONAL DIGITAL ARTS BIENNIAL The first International Digital Arts Biennial began in April 2012 in various locations around Montreal including the Museum of Fine Arts. the DHC and the SAT. In May. We should perhaps reconsider our relationships to the robots that invest our societies. 2012. Alain Thibault. Those that can be found around the perimeter of the room seem to express the desire to communicate while those located in the centre appear more menacing. 28 . DSM-VI. its founder. Instrumentation. Here is a review of some of the highlights. the version V of which is awaited with impatience by as many users as there are detractors. is also the artistic director of the Elektra Festival and the instigator of the International Digital Art Market.digitalarti #10 © PHOTOS CONCEPTION PHOTO. The title of the exhibition DSM-VI is a reference to the Diagnostic and Statistical Manual of Mental Disorders. But must we go so far as to name the troubles of which they’re still blissfully unaware? Vibrational Sculptures Crossing the rue Sainte Catherine we reach the Belgo Contemporary Art galleries where we can find another partner of the BIAN: the Centre des Arts Actuels Skol. Peter Flemming has placed four large sized sculptures here that are in fact resolutely low-tech speakers as they are apparently ‘unplugged’. Metallic bars obstruct our movements in a space invaded by machines.
it is more the sound of a hailstorm that this multitude of electrical devices is generating. The title Instrumentation for this sonic installation made of objects put to another use takes on its full meaning when one enters the adjacent room. but we nevertheless see objects that are comparable to those obtained by 3D applications. And inside each module there is a direct current motor with its metal shaft stuck with a cork ball on its end. The relative instability of the sinusoids from which it is composed give it a suppleness that time only seems to stretch. as it’s there that sounds emerge from this strange instrument. one thinks one is hearing the echo of An entire exhibition came from the Ile de France region to participate in this first BIAN. Here the twenty-four wires of the light-kinetic sound installation called Tripwire by JeanMichel Albert and Ashley Fure ceaselessly turn vertically and their oscillations in space produce as many shapes. whereas looking away we can lose the sound. but upon coming closer. We know that they are only lines. it seems as though everything is in harmony. Observing an instrument. when you look at it closely. Tripwire. Jean-Michel Albert & Ashley Fure. is only comprised of transitions going from one position to another. Tripwire. The installation seems to be stuck in time. > digitalarti #10 . The sum of all this pitterpatter is constant but it is also progressive depending on where we are in the space.29 © PHOTOS PAUL LITHERLAND. As for the light. From a distance. unless it is our perception being altered by our desire. from which a rhythm sometimes emerges that is precisely here and now. is predominant. you will find the Oboro Centre where one of the galleries has been partially lined with cardboard boxes by the Swiss artist. it participates in the spectacle in a manner that could be qualified as being close to pre or post cinematographic. It is entitled Out of the Blue / Into the Black and was presented in the former Fine Arts school. After a while. Zimoun. The music of noises that plays out during the time we listened seemed to have been composed. D. means to hear it. the non-amplified music of noises and the predominance of wood all evoke the audacity of another era – that of the inventor artist Luigi Russolo and his Intonarumori of 1913. with the machine adding its randomness and where wood. Piano wires are made to vibrate by a complex device where sensors and activators rub shoulders with found objects.R. its timing still a few beats ahead or behind. even unconscious. much like in an orchestra pit. 2011. This sound humbly participates in a sonic chaos. even though the sound composition is there to alert us to its possible mutations. Perpetual revolutions Musicality in numbers If one goes up a bit into the Montreal heights. of wanting to bring order to chaos. . 2012. Prepared DC-motors on cardboard. The oversized scale of the speakers.Zimoun. as in the other room. distant thunder.
Ulf Langheinrich. offers us where inevitably entangled sounds and images evolve according to sequences that are more and more radical. And for one evening. which is well known to minimalist electronic music lovers. Right from the start. 2011. The light filtered by the movements of the beast participates in oppressing the spectators when the entire ceiling comes close to their heads. 2006. The metallic plates that make up this artwork are similar to scales in the way they combine with one another. In detail. The sounds during the day are barely perceptible whereas he practically shatters our eardrums in the evening. Hemisphere.© PHOTOS CONCEPTION PHOTO. Alva Noto. In the small space there. which has an intense heat in the image 30 . thus initiating the endless fall of our bodies. univrs. The right scale During the BIAN. the Satosphere seems to lift up. is one of the essential elements in this creation dating from 2006. as in the sound. which has been optimised for the occasion. The world that offers itself to us is a world in transition where metamorphoses follow upon one another to the rhythm of the tableau that succeed one another. Cinétose. There is nevertheless a common point between these two works that are presented like landscapes of propositions over which a virtual camera moves to magnify them one after the other. But it is not long before this suspended skin starts to come alive to the rhythm of the powerful metallic sounds it generates. a Satosphere that Ulf Langheinrich covers in images for the time it takes to present his audiovisual performance called Hemisphere. have already started to invest in ones similar. which simply surrender to the experience. such as Luc Courchesne. The noise. Among the public. while other more serene spectators stretch out on the floor to enjoy the show without any. braving the threat. it is at Usine C hosting the Elektra Festival that the public attending the BIAN and the participants of the International Digital Art Market (MIAN) find themselves. it appears that the fragments of bodies. The uncluttered colours of the day are more pure in the evening and the inherent slowness of the Unidisplay installation are replaced by an uninterrupted stream during the performance of Univrs. Profound mutations The Elektra Festival ends with the performance Sirens given by Ryoichi Kurokawa and Novi Sad. there seem to be several levels of activity based on multiple temporalities.R. > Infernal descent The Society for Arts and Technology (SAT) was recently equipped with a dome. to literally take off. Images and sounds participate in gradually propelling us downwards to the same degree our now uncontrollable flesh becomes heavier. An aesthetic of oppression In the evening. Consequently. 2012. who are all comfortably lying down and totally absorbed. in the image and the sound. or hardly any apprehension. There is noise in the image as there is grain in the sound of a music that combines the digital treatment of economic data with the use of more traditional instruments. monuments and entire landscapes slowly liquefy. we hope it is not in the least autonomous. The spectacle takes place above our heads through what architects refer to as a ‘false ceiling’. the media is extremely unstable as though animated by tiny perpetual radiations. This machine that becomes increasingly invasive thus threatens our personal space. D. the audiovisual installation Unidisplay became the theatre for the performance of Univrs given by the same artist.digitalarti #10 . there are those who remain standing. Alva Noto. Hemisphere is a sensorial experience that has to be lived and is enough to justify the construction of such a special screening space that other artists. It is thus a voyage in time and space that Carsten Nicolai. the Montreal Museum of Contemporary Art offered one of the walls of its Black Box to the German artist Carsten Nicolai who hastened to extend it infinitely with a system of mirrors. With a bit of distance. is enough to tell us of the work’s influence on the body as well as the mind. A simple look at those around us. aka Alva Noto. Midway. the collective Projet Eva give their robotic performance Cinétose. but under his stage name. Projet Eva.
carstennicolai.31 © PHOTOS D.org > Jean-Michel Albert < http://www.jmalbert. one coming from Japan and the other from Greece.R.artificiel. Only full light makes them silent.zimoun. Condemned Bulbes.com > Artificiel < http://www.de > Hexagram < http://hexagramciam. whose exaggerated size we have already mentioned.com > SAT < http://www.skol. without any vibration. breaks up or dries out on a larger scale.net > Bill Vorn < http://billvorn.macm.html > Carsten Nicolai < http://www.sat. sustainable economic measures.projet-eva. This is primarily the reason why they’re gradually being phased out in a growing number of countries. the disappearance of the installation Condemned Bulbes.qc. but the BIAN 2012 carries on through mid-June.ca > Alva Noto < http://www. The bulb’s filaments. 2012.ca > BIAN < http://bianmontreal.org > Ryoichi Kurokawa < http://www. which announces the beginning of another.net > Peter Flemming < http://peterflemming. And when all of them are lit. for a little time still.org > Novi sad < http://novi-sad.com > MACM < http://www. Sirens.com > Usine C< http://www. These condemned light bulbs are emitting their last gasps one after the other according to a composition written by the members of the Quebecois collective who power them with electrical current conceived especially for this purpose.com > Zimoun < http://www. digitalarti #10 .ashleyfure.ca/menuall.oboro.ca > Ulf Langheinrich < http://ulflangheinrich.ryoichikurokawa. But how can we not interpret the research of these two artists.net > Oboro < http://www.ca > Projet Eva < http://www.ca > Skol < http://www.usine-c. Our final destination is the Frontenac Cultural Centre to attend an audiovisual performance given by 1000W bulbs that produce more heat energy than light. Condemned to disappear The Elektra Festival is over. which will cause. .org > Ashley Fure < http://www. two countries undergoing profound change in a world seeking solutions to energy problems and the other. progressively begin to vibrate like instruments in an orchestra. it is the end of the show. 2003.FEEDBACK ELEKTRA And the frenzy in the detail is in no way opposed to the slowness of what liquefies.concordia.ch > Artificiel. as possible references to current upheavals? Ryoichi Kurokawa & Novi_Sad. in the long term.alvanoto. DOMINIQUE MOULON FURTHER INFORMATION: Elektra < www.elektrafestival.
France September 19th to 23rd < www.newformsfestival.be > GOGBOT Enschede. France September 20th to 23rd < www.EVENTS COMING SOON (AGENDA) >>> SOUND ART.munstadi. France August 22nd to 26th < www. Belgium August 31st to September 15th < www.at > CITY SONIC Mons.org > FORM@TS Exhibition at virtual space of Jeu de Paume Paris. France July 5th to 31st < www.festival-apart.aec.festivaldiese.com > H2T Helsinki.lenamefestival.de > FORM SPECIAL Exhibition at CAM Raleigh Raleigh. Indonesia July 15th to 23rd < www. USA Until October 8th < http://camraleigh.scopitone. Netherland September 8th to 11th < www. Australia September 27th to October 1st < http://thisisnotart. USA September 12th to December 8th < www.com > THIS IS NOT ART Newcastle.org > BOUILLANTS #4 Bretagne.com > >>> >>> A-PART FESTIVAL Alpilles.festivalfutura. USA September 26th to 30th < http://dbfestival.com > CELLSBUTTON Yogyakarta.org > DECIBEL 9 Seattle / Washington. Germany Until January 6th.be > FESTIVAL DIÈSE Dijon. Finland September 14th to 18th < http://h2t. Brussels.com > TODAYS ART La Haye.org > LES TRANSNUMÉRIQUES Bussels.citysonics.org > FILMER LA MUSIQUE Paris.fr > DIG@RAN Val d’Arran.digitalarti #10 .com > SCOPITONE Nantes. Netherland 21 & 22 septembre < http://todaysart. Mons. Belgium May 2nd to July 15th < www. France July 2nd to 7th < www.org > 32 . France September 15th to 22nd < www. Canada September 13th to 16th < www.zero1biennial. SOUND AS MEDIUM OF FINE ART Exhibition at ZKM Karlsruhe.org > NEW FORMS FESTIVAL Montréal.fi > NAME FESTIVAL Tourcoing & Dunkerque.filmerlamusique.gogbot.zkm. 2013 < www.bouillants.fr > ARS ELECTRONICA Linz.jeudepaume.nl > ZERO1 BIENNALE San Jose.com/cellsbutton/ > FESTIVAL FUTURA Crest.digaran.natural-fiber. France March to august < www. Spain Until July 8th < www.transnumeriques. Austria August 30th to September 3rd < www. France Until September 9th < http://espacevirtuel.
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