Author: jenny

  @ 5:45 pm

Paradigmshift

Quo vadis world? In the face of growing global crises, it seems advisable to take a step back and revise existing paradigms of our thinking and acting. Ecological, systemic approaches and questions about diversity and sustainability are also becoming more and more urgent in terms of technology and digitization. The mur.at network of critical artists, programmers, designers amongst other humans tries to develop possible solutions through artistic, practical and discursive work. Local activities in Graz look for synergies with global networking and exchange with mutual organisations and collectives. Work sessions, a virtual fellowship, open discussion rounds and group work result in an various positions in the form of artistic works, creative interventions, online platforms, performances and presentations. The proposed talk outlines our yearly programme and brings together creative interventions that re-evaluate our status quo, question current systems and propose new perspectives for possible and preferrable futures. At the moment mur.at works in close cooperation with 7 artists/collectives on the paradigm shifts programme.

About the organisation mur.at
Since 1999 mur.at runs an DIY and artistic datacenter in Graz (Austria), serving webhosting for the arts/culture sector and promoting media/net/digital art with yearly artlabs and exhibitions. We advocate Open Source Software and Hardware and share our knowledge in workshops and skillsharing sessions with our community.


About the organiser:
Andreas Zingerle is a media artist, lecturer and researcher from Austria. He received his PhD from the University of Art and Design Linz (Austria) Since 2020 he is director of mur.at and currently running the paradigm-shifts artistic research lab. Since 2004 he takes part in international conferences and exhibitions, among others Ars Electronica, ISEA, Aksioma, Siggraph, Japan Media Arts Festival, File, WRO Biennial.

  @ 4:35 pm

ModoriTuk

ModoriTuk is an open source constructive system for 3D printing. It can be used as a toy and can also be adapted for educational purposes.

Daniel Seda
Brazilian multimedia artist
Video, netart, performance, public interventions, origami, toyart, paper and plastic recycling, 3D printing, literature, visual poetry
born 1973


Born in Rio de Janeiro. Also lived in Recife, Northeast of Brazil and in Campinas, countryside of state of São Paulo as a child. Artistic career begins in 1995, making collages, assemblages and integrating the independent Super-8 cinema movement that took place throughout Brazil at that time. Together with Fernando Lamanna he directed, produced and edited the film Bagagem Hermética


https://www.youtube.com/watch?v=ftNYcxx3oZA
In 1996 creates the collective NeoTao of collage and performances http://www.neotao.info together with other artists such as Filipe Espindola, Erik Thurm, Francisco Ivan Russo, Marina Reis, Rogério Borovik, Samira Br and many other artists in the movement generated by the collective’s exhibitions, from 1996 onwards.

  @ 4:00 pm

Using Web3D-based Computer Graphics as Open Educational Resources for Coding and Visualizing Digital Artifacts Related to Rubem Valentim’s Afro-Brazilian Artwork and Beyond

This presentation addresses transdisciplinary educational processes of learning and using low-cost Web3D-based computer graphics programming and interactive virtual reality (VR) techniques as open educational resources (OER). Accessible web-based resources, such as the Extensible 3D (X3D) language/format, the Hypertext Markup Language (HTML) and their integration through the X3dom framework, have allowed learning to code and visualizing its symbolic 3D representation, in real time, by utilizing Google’s blogger HTML editor online. An inclusive alternative is that individuals who can not afford keep utilizing online resources, can use simple notepad text editor for computer programming or coding X3D files and standalone browsers, such as H3D and / or Castle Game Engine (view3dscene) for visualizing a symbolic representation of the X3D script in a personal computer, tablet or smartphone, in real time, offline. The X3D code can be also reused for compounding a blog 3DVR interface, having as a reference for materializing it, the X3dom framework. These Web3D-based OER have been used for researching, coding and visualizing an under development artwork project which has been carried out, having as reference Rubem Valentim’s artwork compositions related to Afro-Brazilian culture and beyond. His work integrates “abstract signs made from horizontal and vertical lines, circles, cubes and arrows”. These components “are geometric reductions of Orixá, or deities, from the Afro-Brazilian religions Candomblé and Umbanda”. Such geometric reductions can be represented through using Web3D computer graphics digital libraries which have compounded X3D features. Beyond Afro-Brazilian culture features, this work research and compounding processes have integrated mathematical and geometry knowledge that have come through time and space from the African culture, as Egyptians developed and used during the building of the Pyramids. These knowledge was further systematized by Greeks’ mathematicians, as in Cartesian coordinates which have been used for supporting 3D computer graphics libraries development. In addition, this artwork development has stimulated learning to think in complex and spatial ways, and have a potential for inspiring digital and visual literacy through transdisciplinary teaching since k-12 levels.

PhD Jorge Ferreira Franco
Doing post-doc by Institute of Advanced Studies of University of São Paulo (USP); Collaborator Researcher at International and Interinstitutional Group of Research in Convergence between Art, Science and Technology, Institute of Arts, Paulista State University, Julio de Mesquita Filho (UNESP); PhD in Letters by Mackenzie Presbyterian University; Master in Sciences in Virtual Environments by the University of Salford, England; English Teacher at Ernani Silva Bruno Primary School, Sao Paulo Municipal Secretary of Education.

  @ 3:00 pm

10800Pixel

10800Pixel is an audiovisual performance utilising tapes, a hacked pixelcam and a mixing desk to create a arte povera version of expanded cinema.

Kris Limbach (born in 1978) is a sound and visual artist residing in Berlin. Although his focus is on sound, he is also exploring constantly formats and aesthetics of cinema. In his sound art work he uses film-editing techniques, prepared drums, tape manipulation, no input mixing and a vast amount of raw and processed fieldrecordings. His performances for film and tape involves live super8 manipulation and scoring, an arte povera approach to expanded cinema. His experimental feature film project “The Lost Color” premiered at IBAFF Spain and he is currently working on the last Film of his CRISIS trilogy.

He released on labels such as Richard Garet’s Contour Editions, Staaltape, Modisti, Framework Radio, Verlag der Buchhandlung Walther König, Agxivatein and collaborated with artists like Pierce Warnecke, Hopek Quirin, Anton Mobin, Jochen Arbeit, Rinus van Alebeek, Miguel A. Garcia, Juan Antonio Nieto aka Pangea, Lisa Müller-Trede, John Bock and more. He curates, together with Pierce Warnecke and Seiji Morimoto, the emitter micro label and emitter micro festival, a biennial experimental sound Festival in Berlin.

  @ 11:20 pm

Cascade | Live coding by Raphaël Bastide

Cascade is a live-coding utility allowing to create a sound and visual language for installations and performances. Cascade turns web pages into sound, interpreting the web standard Cascading Style Sheets (CSS) into MIDI signals. It is free software, source code and documentation are available on raphaelbastide.com/cascade.

  @ 10:40 pm

Anemone Actiniaria

Anemone Actiniaria is an algorithmic improvisation duo consisting of Graz-based sound artists Hanns Holger Rutz and David Pirrò. Beyond a purely performative agenda, Anemone Actiniaria is also an artistic research project, aiming at subjecting the seemingly well-defined concept of algorithm to a new reading, questioning human command and machine obedience. Mutual observation and overwriting is initiated between our open source computer systems, “Wolkenpumpe” and “rattle”, rooted in physical modelling and in the generation of parametric models based on machine learning. Through the coupling of these two heterogeneous systems, an overall new behaviour arises, and the boundaries between the formerly separated systems begin to vacillate. Anemone Actiniaria have performed at several venues since its founding in 2014, including IEM Graz, BEAST FEaST Birmingham, ZKM Karlsruhe, impuls festival and academy Graz, elettroAQustica L’Aquila, xCoAx Bergamo, km28 Berlin.

https://www.researchcatalogue.net/view/220792/220793

Hanns Holger Rutz

Rutz’ artistic work ranges from sound and installation art to digital art, intermedia and electronic music. In all of his work, the physicality of sound and its interaction with the development and research on software and algorithms plays an important role. He is interested in the materiality of writing processes—processes where the time in which a work is written by a human or the machine is interwoven with the performance / exhibition time—and trajectories of aesthetic objects as they travel and transform across different works and different artists.

David Pirrò

David Pirrò is a sound artist and researcher based in Graz, Austria.
His works include interactive compositions, sound installations and audiovisual pieces in which performative aspects are central. Departing from a radical inclusive point of view, he seeks ways of composing by which the work of art is constructed through mutual interaction of the agents involved in its performance. David works at the Institute of Electronic Music and Acoustics as lecturer and researcher.

  @ 10:00 pm

LURU

action-reaction between the murmur made into poetry, and being a voice echoing to the hemisphere of your heart, your mind in its hole reason wanders.
Your / The body has an ephemeral shape tonight, barefoot you come to see the verse being linked to a synaesthetic vice, electrical pulses that transform reception into a mutation of new echoes.

Juancarlos Salazar Yalta

  @ 9:20 pm

Janelas Afetivas: frameworks for absences

Janelas Afetivas: frameworks for absences

the sensation of emptiness in everyday life, in routines, in excesses, in the repetition of confinement, and in the endless losses. This audiovisual performance is performed live using the OBS free stream software, used to make the live mixing of a virtual chat carried out by the jitsi meet free software. The proposal of the actions of the participants is developed by the theme of each meeting of the series Janelas Afetivas (Affective Windows).

With each new screen opened in the browser, in its pages, in the various functions delegated to the software, we face the emergency of delimiting actions and time, which converge in framings that mean everything and, sometimes, nothing.

The choices of the fragments of a previous experience to this current condition, generates the potentialization of the traces of an existence, transforms the online meeting, exposed to the world, into a new experimentation of the meaning of each one’s emptiness.

A meeting in the present between open memories, which manifest themselves in details, in simple gestures, so as not to forget to remember a presence.

Credits:
Janelas Afetivas: frameworks for absences (2020-2021)

COM.6 (Agda Carvalho, Clayton Policarpo, Edilson Ferri, Daniel Malva, Miguel Alonso, Sergio Venancio)

Performers:
Agda Carvalho
Clayton Policarpo
Daniel Malva
Miguel Alonso

Edition:
Sergio Venancio

Sound design:
Daniel Malva

In memory of Edilson Ferri

The COM.6 collective, created in 2017, is composed of Brazilian artists and researchers. Working in the fields of art, technology and design, the collective discusses themes of corporeality, orality and materiality. Recently, they have been
exploring remote and collaborative creative processes of artistic works and academic texts. The group production present a critical positioning on the merging issues of the body, culture, behavior and technology. Their works include the installation “Sala dos Milagres” (2018-2019) and the series of online performances “Janelas Afetivas” (2020-
2021).


Agda Carvalho:
Visual artist and curator. Post Doctoral Internship at Media Lab – UFG in Digital Humanities. Post Doc in Arts – IA Unesp. Doctorate in Communication Sciences (ECAUSP), Master in Visual Arts (lA – UNESP). GIIP member. Professor of the Design Course at the Mauá Institute of Technology. . E-mail: agdarcarvalho@gmail.com


Clayton Policarpo:
PhD student (Capes scholarship) and Master in Intelligence Technologies and Digital Design (TIDD), PUC-SP. member of the research groups TransObjetO (TIDD – PUC-SP) and Realidades (ECA – USP). E-mail: clayton.policarpo@gmail.com


Daniel Malva:
Visual artist and master in PPG in Arts at IA-Unesp, São Paulo. Member of the research group c.A.t – science / ART / technology and GIIP – (IA-Unesp). E-mail: info@malva.fot.br


Miguel Alonso:
Visual artist and art educator, PhD student at PPGAV – ECA / USP. Master by the PPG in Arts of the UNESP. Technology and Arts Educator at SESC – São Paulo. Graduated in Visual Arts and Bachelor of Arts at UNESP. Works directly in the areas of Multimedia, Engraving and Three-Dimensional Development. E-mail: miguelalonso@usp.br


Sergio José Venancio Júnior:
CAPES Proex. Master in Visual Arts (ECA USP). Member of the Realities Research Group (ECA – USP). Professor of the Specialization Course in Graphic Design (IA Unicamp) and the Postgraduate Course in Digital Architecture (Belas Artes SP). E-mail: svenancio@gmail.com

  @ 8:40 pm

Glitch Vacations

Glitch Vacations is an audiovisual performance by Flor de Fuego and Naoto Hieda – a journey through open-source webpages and platforms created by the artists and the community members. The generative video and sound consist of minimal elements – geometric shapes and sinusoidal waves – yet the modulation and collision of each element result in complex forms, namely a glitch. In the livestream, the artists perform as navigating through web pages, which are interlinked with each other; optionally, audience members can open a provided URL to participate in an interactive experience on their browser.