KUNST x TECHNIEK

een STT toekomstverkenning

Archive for the month “May, 2012”

Arse Elektronika 2012 / Call for Submissions: ‘4PLAY: Gamifuckation and Its Discontents’

Arse Elektronika 2012
San Francisco, USA

4PLAY: Gamifuckation and Its Discontents

“Call for papers, talks, workshops, performances, and GAMES.
[In addition to traditional talks, workshops, and papers, this year we are also accepting submissions of games. This can include digital games, street games, LARPs, social rulesets, procedural game-art, or other forms, for demonstration, presentation, or debut during the conference.]

 

 

Gaming, like sex, is a human cultural practice of apparent frivolity. Yet both afford surprisingly deep levels of analysis. How might models of critical gameplay inspire deeper critical reflection on issues of sex, and vice-versa?

What is the history of sexual games, particularly in the pre-digital era? What were the fairground and peepshow precursors in titillation? What was the design history of the “love tester” machine?

Why are game metaphors so prevalent in narratives of sexual conquest, and how did popular games in history influence the thinking of contemporary lovers? What can we learn about Roman gaming culture from Ovid’s Ars Amatoria? What determines the many definitions of “cheating” in each of those contexts? How do the procedural rhetorics of modern game design encourage objectification of women?

How might contemplative gaming teach us to free ourselves from the tyranny of the climax?
How does the concept of the ‘magic circle’ in games coincide with safe spaces for sexual exploration? How do players act out transgressions of sex and gender expectations within the relatively safer spaces of games? What can we learn about social scripts and expectations from looking at society through a ludological lens?

What is the relationship of sex and games to the recent ‘non-human turn’ in arts, science, and philosophy? How might games engender empathy and understanding towards the non-human? What is the technological equivalent of Alan Moore’s plant-sex issue of Swamp Thing? Could a game help you contemplate how a mantis fucks, or what it feels like for a fern to spore?

Beyond the simple human-to-human interfaces of the now-almost-quaint developments of sex machines and teledildonic, how might game design interact with biometrics and haptic feedback to create entirely new techno-sexual situations?  Game-based learning and medical rehabilitation has been used in the past for stroke victims and the disabled to re-learn their bodies; how might those same techniques allow further bodily exploration towards positive pleasure? How much might BDSM simulators borrow from virtual pet trainers? How is predicament bondage like game design, and what can the two learn from one another?

If we are headed towards the ‘gamepocalypse’ envisioned by Jesse Schell, how might that affect our sex lives and our sexualities?

Is sex in danger of gamification?

If so, how can we stop it?

 

Deadline: July 1, 2012

Please send submissions to office AT monochrom.at

 

SOURCE: http://www.monochrom.at/arse-elektronika/index.php

Maaike Roozenburg, startbijeenkomst 24 mei (VIDEO)

In het kader van de Toekomstverkenning Kunst en Techniek organiseerde Stichting Toekomstbeeld der Techniek samen met het NIMk twee startbijeenkomsten in Amsterdam.

Op 26 april stond de vraag centraal welke rol techniek speelt in kunst(re)presentatie. Klik HIER voor de video’s en HIER voor het programma van 26 april.

24 mei stond in het teken van de kunstproductie. Wat betekenen technologische ontwikkelingen voor de kunst en voor (het vak van) de kunstenaar? En welke rol kan de kunstenaar spelen bij de (door)ontwikkeling, duiding en toepassing van nieuwe technologieën? Klik HIER voor het programma van de dag.

Een van de sprekers was Maaike Roozenburg

OVER MAAIKE ROOZENBURG

Maaike Roozenburg is opgeleid als kunsthistorica en ontwerper aan de Gerrit Rietveld Academie. Sinds 2004 werkt zij binnen Studio Maaike Roozenburg aan projecten en producten op het snijvlak van design, (kunst)historie en visuele communicatie. Maaike is een ontwerper met een fascinatie voor de ontstaansgeschiedenis en historie van ons dagelijks (gebruiks)goed. Door middel van designobjecten toont ze de rijke geschiedenis en schoonheid van historische objecten en hun relevantie voor deze tijd. Onderzoek speelt daarbij een belangrijke rol; naar historische/ambachtelijke technieken en naar recent ontwikkelde technieken (zoals 3D prototyping en Augmented Reality) en hoe beiden elkaar kunnen aanvullen en versterken binnen een designobject. Naast haar werk binnen de studio is zij als docent verbonden aan de Koninklijke Academie in Den Haag en als gastdocent aan de TU Delft, daarnaast spreek zij regelmatig op symposia en lezingen over de relatie tussen design en erfgoed. http://www.maaikeroozenburg.nl

Rob Zwijnenberg, startbijeenkomst 24 mei (VIDEO)

In het kader van de Toekomstverkenning Kunst en Techniek organiseerde Stichting Toekomstbeeld der Techniek samen met het NIMk twee startbijeenkomsten in Amsterdam.

Op 26 april stond de vraag centraal welke rol techniek speelt in kunst(re)presentatie. Klik HIER voor de video’s en HIER voor het programma van 26 april.

24 mei stond in het teken van de kunstproductie. Wat betekenen technologische ontwikkelingen voor de kunst en voor (het vak van) de kunstenaar? En welke rol kan de kunstenaar spelen bij de (door)ontwikkeling, duiding en toepassing van nieuwe technologieën? Klik HIER voor het programma van de dag.

Een van de sprekers was Rob Zwijnenberg

OVER ROB ZWIJENBERG

Robert Zwijnenberg is hoogleraar kunstgeschiedenis in relatie tot wetenschap en techniek, Universiteit Leiden en directeur van The Arts and Genomics Centre (Leiden – www.artsgenomics.org). Zwijnenberg doet onder meer onderzoek naar kunstenaars die in een biologisch lab met levend materiaal kunst maken.

Transnatural: where art & design meets and intertwines with technological & scientific innovation

“Transnatural Arts, Research & {future} Design is where art & design meets and intertwines with technological & scientific innovation. In the Transnatural culture technology plays by the dynamic rules of nature without damaging the planet.

We share knowledge and encourage dialogue amongst creators and the public through (guerrilla) events and the Academy. The program transcends the traditional boundaries between nature and technology with a combination of art, (speculative, future) design, and emerging technology. Exciting work out of artist studios, design studios, labs and companies become visible in the Transnatural Workspace and the public space in the city of Amsterdam.

The Academy organizes related workshops and readings with recent technical development, research and design methods for professionals. The inspiration days offer groundbreaking thought, new insights for individuals and groups with no prior knowledge. A cutting-edge Art & Design collection and its artists are represented through the Agency.”

Smart as Matter

 

GO TO: http://transnatural.org/category/blog/

… TodaysArt Festival 2012 Early Bird ticket sale has started

The TodaysArt Festival 2012 Early Bird ticket sale has started. Early Bird tickets only cost € 25,- for a Weekend Pass and are sold in a very limited amount, so be prepared and act quickly!

tick01

GO TO: http://todaysart.org/portal/tickets-2/

The Artvertiser

“The Artvertiser is a software platform for replacing billboard advertisements with art in real-time. It works by teaching computers to ‘recognise’ individual advertisements so they can be easily replaced with alternative content, like images and video.

Rather than refering to this as a form of Augmented Reality technology, we consider The Artvertiser an example of Improved Reality.

The project was initiated by Julian Oliver in February 2008 and has been developed in collaboration with Damian Stewart andArturo Castro (Android port/rewrite). It has appeared in full working form in street exhibitions in Berlin as part of Transmediale2010, in Brussels for the Europe wide Media Facades Festival, in four inner-city walks during Rotterdam’s Image Festival and in Helsinki as part of an M-CULT public event and workshop.

The Artvertiser is also a free-software project and runs on Linux, Windows, OS X and Android systems.

Long introduction

The Artvertiser considers Puerta del Sol Madrid, Times Square New York, Shibuya Tokyo and other sites dense with advertisements as potential exhibition space. An instrument of conversion and reclamation, The Artvertiser situates the ‘read-only’, proprietary imagery of our public spaces as a ‘read-write’ platform for the presentation of non-proprietary, critically engaging content.

The Artvertiser software is trained to recognise individual advertisements, each of which become a virtual ‘canvas’ on which an artist can exhibit images or video when viewed through the hand-held device. We refer to this as Product Replacement.

After training, when ever the advertisement is exposed to the device, the chosen art will appear instead. It doesn’t matter whether the advertisement is on a building, in a magazine or on the side of a vehicle.

If an internet connection is present at the site, the substitution can be immediately documented and published in on line galleries such as Flickr and YouTube, providing an alternative memory of the city.

While offering itself as a new platform for public art, The Artvertiser seeks to highlight the contradiction of Public Space in the context of what can and cannot be written on the surface of our cities.

By leveraging the internet as a redistribution mechanism, The Artvertiser supposes that an urban site dense with proprietary imagery can be re-purposed as an exhibition space for art and archived as such in turn. Similarly, on-site exhibitions can be held whereby pedestrians are invited to use the looking device to view an exhibition on the buildings around them.

Finally, non-live video can also be used. This enables artists to ‘product replace’ advertisements in film and video with alternative content and redistribute those movies with friends or using their favourite peer to peer network.

A third method of interception has been theorised by Julian and Danja Vasiliev, involving realtime Man-In-The-Middle attacks on a wireless computer network and subsequent alteration of streaming video. This will be developed at some point soon.

The Artvertiser has received development funding from Intermediae.

Team

Project leader: Julian
Computer programming: JulianDamian and Arturo Castro
Binoculars V-1: JulianClara Boj and Diego Diaz

Progress

The software is stable and works quite well. Currently it runs only on The Artvertiser’s own digital binoculars, Android devices and netbooks/laptops with webcams. Developers are invited to download the code and help improve it

The Artvertiser targets three classes of device: 

  • Billboard Intercept Unit:

    This device guarantees high-quality immersive advertisement substitution and is be more performant for AR applications than any hand-held device currently available; equipped with a high-quality wide-angle lens, fast CPU and GPU, powerful wireless adaptor, long battery life and plenty of solid state storage space. You can see The Billboard Interception Unit at work in the below videos.

    A page of the original concept art by Julian can be seen here.

  • Smartphones:
    We currently have a working version for the Android OS.
  • Standard Camera phones:
    The great bulk of the world’s camera phones run the Symbian OS. We are drafting up a version of The Artvertiser to provide ‘single shot’ photo substitution.

    SOURCE: http://theartvertiser.com/

DYI Bio // biohacking (EVENT)

Tijdens deze bijeenkomst is het Fablab in de Waag geopend om direct aan de slag te kunnen gaan. De avond staat onder leiding van Pieter van Bohemen. Als je wilt deelnemen aan het project kun je contact opnemen via@pietervboheemen.

Wanneer?

25 mei 2012, vanaf 18.00 uur

Waar?

Waag Society, eerste etage
Nieuwmarkt 4
1012 CR Amsterdam

Aanmelden voor DIY Bio kan via de Meetup pagina van de Dutch DIY Bio Group.

DIY Bio is een activiteit van het Wetlab van Waag Society. Het Wetlab richt zich op de biowetenschappen en het ontwerp en de ethiek van het leven. Wij willen de industrie, kunstenaars en vormgevers, maar ook de politiek en publiek hands-on betrekken bij de vormgeving van biotechnologie, alsook bij hetgeen biotechnologie vormgeeft.”

BRON: http://waag.org/nl/event/diy-bio

Solar Sintering (VIDEO)

“In a world increasingly concerned with questions of energy production and raw material shortages, this project explores the potential of desert manufacturing, where energy and material occur in abundance. In this experiment sunlight and sand are used as raw energy and material to produce glass objects using a 3D printing process, that combines natural energy and material with high-tech production technology.

Solar-sintering aims to raise questions about the future of manufacturing and trigger dreams of the full utilisation of the production potential of the world’s most efficient energy resource – the sun. Whilst not providing definitive answers this experiment aims to provide a point of departure for fresh thinking.

This project was developed at the Royal College of Art during my MA studies in Design Products on Platform 13.”

GO TO markuskayser.com

Sod big data and mashups: why not hack on making art? (VIDEO)

Tom Armitage, Creative Technologist, BERG, Lightning talk at Culture Hack Day 2011

SOURCE: https://vimeo.com/1901979519019795

BLOGGING THE FUTURE

“Blogging the future of technology & art is een project van Virtueel Platform en Domein voor Kunstkritiek. Het is de derde in de reeks masterclasses schrijven over e-cultuur die we de afgelopen jaren samen organiseerden … ”

Een initiatief van:

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