The power of the voice (s) allied with poetry and (deep) listening are perhaps ways to deal with urgent terrestrial and human problems caused to the biosphere, which have been urgent for a long time now.
The work is a sonic collage, like a surrealist poem based on podcasts conducted since 2018 and available at www.ubqtlab.org. The platform engages with interdisciplinary and transnational collaborations in an attempt to decolonize knowledge. It proposes a unique combination of fields, such as ritual studies, anthropology, phenomenology, cognitive science, technology, poetry and the sonic arts, and allows for the mechanisms of listening and questions about phenomenal consciousness to be addressed from a sonic perspective by fusing theoretical writing with sonic artworks as research-creation. It also counterbalances a dominant visual and Western, techno-scientific perspective.
Luca Forcucci (CH/IT): Distinguished artist and scholar. His research observes the perceptive properties and the field of possibilities of the first-person experience, which is explored as an artwork. Forcucci is interested in perception, subjectivity and consciousness. His installations, performances, electroacoustic compositions, photography and texts have been exhibited worldwide on a regular basis. Since 2009, he has collaborated with scientists in the field of cognitive science. He is particularly fascinated by visual mental imagery and the sonic imagination to explore the conceptual idea of the sonic architecture. www.lucaforcucci.com
With the voices of Jocy de Oliveira (BR), JIll Scott (AU), Pamela Z (US), Jorge Antunes (BR), Stanley Moss (US), Phill Niblock (US), Matt Black (UK), Paulo Bruscky (BR), Eduardo Kac (BR)
After a year, things have quite changed since the pre- pandemic ‘normal’ life we had. Social behaviours, social injustice, gender and economical inequalities, and psychological effects of the current situation still have to be studied in the human biosphere. However, vaccines were created in a record time, workers and students have moved to the home office, at least some or those who can, and won’t probably easily go back.
What about the earth biosphere’s mutations? What is normal there, what is a network for Gaia? In his books Gaia: Eight Lectures on the New Climate Regime, Bruno Latour insists on climate mutations, and with his book Critical Zones – The Science and Politics of Landing on Earth, he mentions the new revolution that comes when thinking over what it means to be earthly nowadays. These issues will definitely inform our behaviours in the near post-anthropocentric future, but also how we will integrate them in our political opening to our collective future and our interconnected knowledges and cultures. Moreover, at a time when a rover and that some of us are preparing to land on Mars.
<NO-ON>: No-Normalidades. Mutaciones, redes y política de la descolonización.
En tan solo un año, nuestra vida ha cambiado dramáticamente desde aquella vida normal pre-pandémica. Los comportamientos sociales, la injusticia social, las desigualdades económicas o de género, los efectos psicológicos de esta etapa aún tienen que ser analizados dentro de la biosfera humana. Sin embargo, las vacunas se han desarrollado en un tiempo record, los trabajadores y estudiantes se han trasladado a su casa-oficina, al menos aquellos que pueden, y no volverán de allí fácilmente.
Pero ¿cuáles son las mutaciones inflingidas en la bioesfera terrestre? ¿Cuál es su normalidad? ¿Cuál es la red en Gaia? En su libro “Facing Gaia: Eight Lectures on the New Climatic Regime”, Bruno Latour insiste sobre las mutaciones climáticas, y con la edición del libro “Critical Zones – The Science and Politics of Landing on Earth” advierte sobre la revolución que aparece al analizar los significados de la actual condición terrestre. Todos estos conflictos definen nuevas rutas para identificar comportamientos e identidades de nuestro futuro post-antropocéntrico, pero también para integrarlas como vías políticas que abran un futuro colectivo definido por conocimientos y culturas interconectadas. Más aún cuando, en paralelo, los rovers y algunos de nosotros se preparan para colonizar Marte.
Panel 1: Archeology, Science or Fiction. Time to interpret and re-understand science.
Elisa García Prosper (UCV)
Short Bio: Elisa García Prósper, PhD in Archaeology from the University of Valencia (UV), Specialist in Forensic Anthropology from the Complutense University of Madrid (UCM), Associate professor of Criminology at the Catholic University of Valencia (UCV), and director of the research group Grupo Paleolab® (Funerary Archaeology, Paleopathology, Physical and forensic Anthropology).
Theme: Forensic archaeology and anthropology. Two tools for the future.
Archaeology is a science that has traditionally been considered as belonging to the area of knowledge of the humanities. For its part, forensic anthropology derives directly from osteoarchaeology, or explained in another way, from classical physical anthropology, the science in charge of bioanthropologically identifying the skeletons discovered by Archaeology. Both disciplines are inseparable, the information they offer is of great value for history since it allows us to reconstruct the past through its protagonists. For years both disciplines have also been perfectly combined in the field of forensic sciences and human rights, constituting a fundamental tool for the investigation of missing persons and their restitution to society.
Anyely Marín Cisneros (UAB)
Short Bio: Anyely Marín Cisneros combines a commitment to decolonial and black feminist methodologies in pedagogical spaces with her academic research on the relationship between a politics of the body and the historical racial logics of science. She has a master’s degree in Critical Theory and Museum Studies, and is currently a student at the UAB History of Science doctoral program, where she teaches in the History, Gender and Medicine seminar. Since 2014 she has co-run the artistic research collective @Criticaldías.
Theme: Deracialise the eye
In this talk race and racism will be situated throughout history as an affective algorithm of difference and indifference, while paying attention to the distinctive set of socio-technical conditions that give rise to 21st century racism. Departing from an introduction to the historical Spanish ‘Black Codes’, a few tools will be proposed towards the deracialising of the eye in the present.
Abelardo Gil-Fournier (FAMU)
Artist and researcher, he holds a PhD from the Winchester School of Art and is a postdoc at the School of Film and TV in Prague where he is working with theorist Jussi Parikka on a book on vegetal archaeology of the contemporary image. His artistic practice approaches the materiality of media from a wide variety of techniques and formats, and has been shown at international festivals and exhibitions.
Theme: Excavating the vegetal image. A media archaeological approach
The use of early photographic and moving image techniques in the context of the scientific analysis of plant growth unveils a space of transfers between the living and the animate. This entwining can be observed too in other domains such as agriculture and landscape management. An experimental media archaeological excavation of this transfer, presented as a form of artistic research, brings in additional dimensions to the nuances of this entanglement. Its links to a wider cultural context will be emphasized, including science fiction and speculative design.
Panel 2: Interdisciplinary tools and resources. Caring to the network, to the knowledge and to the media.
Paula Fernández Valdés
Short Bio: Graduate in Conservation and Restoration of Cultural Heritage from the Complutense University of Madrid and Master in Conservation and Restoration of Cultural Heritage (2017-2019) from the Universitat Politècnica de València. She is currently pursuing a PhD in Art: Production and Research with a Predoctoral Grant (FPI-UPV) at the same University and is part of the MICIU I+D+i EShID Project. Her research focuses on the preservation of technological art and copyright.
Theme: Preservation of technological art: the curator as a mediator of collective knowledge
Works of art produced at the art-science intersection are increasingly present in the so-called Art World, both in the private sphere and in public institutions, and have undoubtedly become part of our collective culture and memory. Moreover, the restrictions imposed during the covid-19 pandemic have caused a massive digital transition of the cultural industry, which has been forced to seek new ways for the commercialization and dissemination of artistic production. In this context, the curator must pursue new strategies to ensure, on the one hand, the preservation of technological devices, which are fragile and obsolescent in nature, and, on the other hand, the community’s access to its own culture, mediating between the work of art and its collective implications.
Núria Vallès Peris (UAB)
Short Bio: Phd. Sociologist, she is a researcher in the Barcelona Science and Technology Research Group (STS-b) at Universitat Autònoma de Barcelona. Her main research work is focused on the ethical and social controversies in social robotics, from the study of imaginaries and the ethics of care.
Theme: In her presentation she will propose an approach to the robotics of care, based on the alignment between the ethics of care and STS. From this approach, artefacts can be understood as materialised morality, which opens up new controversies in the introduction of these artefacts in the service of good care and good living.
Short Bio: Lissette Lemus is technology transfer manager at the Artificial Intelligence Research Institute of CSIC and co-director of the ARTIFICIA platform. She is committed to digital transformation from a social and ethical perspective promoting the use of Artificial Intelligence research results to social challenges such as social integration, citizen participation, mental health and the development of more open and collaborative models in areas such as education and creativity. Born in Havana, she has developed her career as a computer engineer in research centers, startups and in her own entrepreneurship projects.
Theme: We are constantly shaping our present and future with a systematic innovation that changes our behaviors’ nature. One of the most sophisticated and complex human behaviors is creativity, and we are redefining it by implementing new advances in science and technology, particularly through Artificial Intelligence. In this intervention, we will focus on how AI is configuring creativity. What is augmented creativity, how artists and other collectives use AI to analyze from a critical point of view the social and political powers. Can democracy, participation, civic action be more powerful with AI?
Guillermo Muñoz Matutano (UV)
Short Bio: Senior researcher in the Institute of Materials Science (ICMUV), Universitat de Valencia. PhD in physics, in the field of condensed matter, semiconductor physics and quantum optics. Principal Investigator (PI) of the project “Two-Dimensional Semiconductor Photonic Dots – 2D SPD” funded by the Spanish Ministry of Science and Innovation. Student of the Master’s Degree in Philosophy for Contemporary Challenges (Universitat Oberta de Catalunya).
Theme: Decolonizing quantum technologies. Narratives, metaphors and critical thinking from the quantum world.
Quantum physics and quantum technologies are revolutionizing our understanding and our mutual relations in the world/universe. There is an increasing interest in developing key research areas, usually divided into quantum computing, quantum communication, quantum metrology and quantum simulation. However, new possible exploitation of the quantum features arises when including arts and humanities as possible allies. Quantum technologies offers a new paradigm to build new narratives and explore powerful metaphors for critical thinking and empowering our communities.
Sergio Lecuona (UPV)
Artist and PhD fellow from the research group “Laboratorio de Luz” Universitat Politècnica de València, he is currently investigating the conjunction of data, sound art, music and new technologies, towards the upcoming ways of sound performance and composition.
Theme: Beyond the sound practices of Artificial Intelligence. Artificial Intelligence technologies are slowly getting introduced in every corner of our living, so is sound art and music practices. But these implementations don’t lead just to a higher level of automatization. With the new methodologies and concepts that these technologies unfold, ideas such as authorship, creativity and collaboration become susceptible to mutation.
During this interview, Matt Black drive us into more than 30 years of music, activism, ecology, internet, vw bus, pirate tv, Max Headroom, kissfm, london best dj’s, pirate radio, warehouses, encoders, turning Radiohead to electronic, Zen Delay, Vjamm Pro software and more. Black also discuss his latest album, and his experiences in the township of Khayelitsha in Cape Town, South Africa, or recording with the drummer Tony Allen and leading to a collaboration with the The Watts Prophets.
Matt Black is half of legendary DJ duo and multimedia pop group Coldcut, formed in 1987, and founders of Ninja Tune, the UK label. In 2020 Ninja Tune celebrated 30 years as one of the world’s leading electronic music labels and a beacon for the independent music spirit. In 2017 Coldcut celebrated 30 years in electronic music with a string of gigs releases and special projects. A new album ‘Keleketla’ was released July 2020 to ‘universal acclaim’ (Metacritic).
Matt is known for innovations in DJing, remixing, mashup, VJing, software, digital art and multimedia. Over 34 years as part of Coldcut he has combined cutting edge artistic expression with positive activist themes in such pieces as Journeys by DJ, The Only Way is Up, People Hold On, Stop This Crazy Thing, Timber, Panopticon, Re:volution, Energy Union, Walk a Mile, True Skool, and many more. Coldcut have worked with a wild range of artists, activists and other groups and luminaries eg Steve Reich, James Brown, Mark E Smith, Queen Latifah, Jello Biafra, Saul Williams, Robert Owens, Lisa Stansfield, Crass, Roots Manuva, Lee Scratch Perry, Adrian Sherwood, Tony Allen, Joe Armon-Jones, the BBC Radiophonic Workshop, the RCA, Greenpeace, and Avaaz.
In 2011 Matt designed the iOS app Ninja Jamm, Ninja Tune’s first music app which has had over 600,000 downloads; in Feb 2020 the new advanced version Jamm Pro was released. Matt uses his software to perform, lecture, and give workshops on audiovisual art, technology and music- so people can use these tools for their own art and music. In 2017, 2 more apps he designed were released: Pixi a visual synth, and Robbery a satirical video game. Midivolve, a music software collaboration with Ableton was released July 2017. The Zen Delay hardware unit released 2019 is also his co-creation and was rated as one of the top effects of the decade by Music Tech.
At Splice festival 2017 Matt showcased his experiments with Style Transfer, a cutting edge new style of visual processing using AI techniques. For his AV show, done in conjunction with his wife filmmaker Dinaz Stafford, Jamm triggers visual clips so every sound has a matching visual.
Matt collaborated with artist Wolfgang Buttress (the Hive, Kew) for BEAM AV installation Glastonbury 2019. In lockdown 2020 Matt revived PirateTV the netcasting project he started in 1998, and is currently doing AV shows via Twitch.
Matt’s stated ambition is to ‘create positive art, music and spiritual technology to blow the minds of the entire planet and advance cooperative strategies’. He continues to gig, lecture, DJ, VJ, record, make films, develop software and bridge the worlds of technology, club culture, art and activism.
Machines, algorithms and data are increasingly entering the landscape. They are already present in our intimate spaces. During the current pandemic situation, algorithms and data are omnipresent due to our online presence. Further, our landscape is indeed becoming monasterial, because the pandemic forces populations to self-isolate. The utopian landscape is perhaps within oneself then ?
Ticino is the Italian speaking and southern part of Switzerland. In term of transit (cultural and economic), it plays a role as a geographical articulation between North and South of Europe. Inside, deep inside, in the entrails of the landscape of Ticino, the new world longest 57 km long railway San Gottardo tunnel was recently achieved. A utopian invisible landscape made by men and machines. On the surface, the Ticino architecture school is widely acclaimed worldwide since the 1960’s, an architecture, which has been described also as an architecture of resistance. In addition, since the early 1900’s the artistic avant-garde was indeed present in Ticino with the Dadaists for example, and Bauhaus architecture emerged there too between the two world wars. What to expect from an architecture when insights from augmented intelligence, cognition, data and machines are applied to it ? What kind of utopian landscape shall emerge in a not so distant future ?
Davide Macullo (b. Giornico, CH, 1965) is a Swiss architect. His international design studio, Davide Macullo Architects, based in Lugano, Switzerland, was founded in 2000.
The ethos of the studio is one that promotes an open and cultural exchange with architects, artists and collaborators coming from different backgrounds. The diverse contributions promote a dialogue between the specificity of the project, the universality of the contexts and the psychology of space. This ‘drawing from context’ encourages and helps sustain a local-meets-global, embracing approach to architecture, spanning from the theoretical to the practical and detail level, to territorial analysis, pedagogy and sustainability in construction.
The work of the studio includes graphic design, branding consulting and custom designed furniture, and spans to the creation of contemporary art collections for clients. They have also recently produced a customized collection of rugs for the new Chenot Palace Weggis, and a large series of Davide’s drawings (ca. 400nr.) is included in its art collection.
In Rossa, Canton Grisons, he is a founding member of the Rossarte foundation which promotes public and private interventions in situ by international artists to influence daily life through contemporary art.
The first building is the Swisshouse XXXII (Sinusoïde) created in collaboration with Daniel Buren and Mario Cristiani of Galleria Continua.
Prior to the foundation of his own studio, he was project architect in the atelier of Mario Botta with responsibility for over 200 international projects worldwide (1990-2010).
We are living in an historical moment of epochal change, where the attitude to inhabit the earth, built over millennia, does not reflect the current and future conditions. With the advent of new technologies, unimaginable scientific discoveries and the doubling of the world population, man faces, (with no way back), a completely new universe, in which he must affront from all points of view, taking care of all ecologies. Our generation has the urgent duty to prepare this new territory to allow new generations build on solid foundations and above all for our psychological health, manage an environment that has become extremely complex and potentially hostile.
The development of think tanks and laboratories focused on social sensitivity, inclusive of historical and scientific knowledge, are the terrain on which we move to respond to the call as citizens. The Rossa project in Valle Calanca seeks solutions that go beyond the economic revival of a region, bowing to the principle expressed by Bruno Munari, that a civilized people lives in the midst of their art.
Carole Haensler, born in Lausanne in 1974, was appointed curator of the Museo Civico Villa dei Cedri in Bellinzona in 2013, with the task of conserving and enhancing the artistic heritage of the Museum, redefining and strengthening the identity of the institution, developing the offer of cultural mediation as well as synergies with other city and regional cultural institutions. She also accompanied the creation of the Ente autonomo di diritto pubblico Bellinzona Musei – the new administrative structure created in 2017 that manages the Museo Villa dei Cedri – of which she is director since 1.01.2018.
Holder of a master’s degree in art history and archaeology from the University of Neuchâtel (1999), she has worked for various private and public collections in Switzerland, as well as the Thyssen-Bornemisza Foundation in Lugano and Thyssen-Bornemisza Art Contemporary – TBA21 -, Vienna, the Zentrum Paul Klee in Bern and the Centre for Contemporary Art in Geneva. She is mainly specialized in modern and contemporary art, in particular in French art and literature of the second half of the 19th century and in French and German art of the period 1900-1950, and focussed her programme at Museo Villa dei Cedri on the renewal of art language and expression after Second World War. She has introduced thematic exhibitions of contemporary art in Bellinzona seeking to reflect the concerns of art and contemporary society: “Dimensione Disegno. Posizioni contemporanee” (2016), “In(de)finiti luoghi. Utopie architettoniche e realtà artistiche” (2017), “Memoria del Sublime. Il paesaggio nel secolo XXI” (2019) e “Icone vegetali. Arte e botanica nel secolo XXI” (to come in 2022).
The Museo Villa dei Cedri is an interesting starting point to understand how to connect artistic, architectural and natural heritage. Starting from the considerations that led to the thematic exhibitions “Memoria del Sublime. Il paesaggio nel secolo XXI” (2019) and “Icone vegetali. Arte e Botanica nel secolo XXI” (to come in spring 2022), the presentation will also explore the role of the museum in its own ecosystem, which is that of art, and its ability to position itself as a place of critical reflection on contemporary society. Does the Museum have a role to play in building the future of society? And can it be an active role?
During this interview we discussed ideas around embodiment, re-embodiment, kimospheres, atmospheres, technology and issues related to the practice of Johannes Birringer as a choreographer, director and professor of performance technologies. His publications have taken up important issues surrounding the body and technologies, theatre, dance, and choreography. Birringer underlines the pivotal moment when he attended a Pina Bausch performance, as a young student, and how it affected and redirected his career. Other figures like Stelarc haunt this discussion. With the DAP-Lab he has created numerous stage works, installations and short films. Recent research, conducted in Texas in 2019, explores underground space and caves and how they are linked to deep listening methodologies proposed by Pauline Oliveros.
Johannes Birringer is a choreographer/media artist and co-director of DAP-Lab at Brunel University where he is a Professor of Performance Technologies. He also directs the Houston-based AlienNation Co. and is the founder of the Interaktionslabor (http://interaktionslabor.de). He has created numerous dance-theatre works, films and video installations that have been shown in Europe, the Americas, China, and Japan. DAP-Lab’s “Suna no Onna” was featured at festivals in London; the mixed-reality installation “UKIYO” went on European tour in 2010. The dance opera “for the time being [Victory over the Sun]” premiered at Sadler’s Wells (2014). DAP-Lab’s most recent dance installations, “kimospheres” III-VI (2016-2019) explore the convergence of physical-sensory and augmented VR spaces, and were shown in Madrid, Paris, London and Durban, SA. The dance performance “Mourning for a dead moon” (December 2019) addresses the climate crisis. His books include “Media and Performance,” “Performance on the Edge,” “Performance, Technology & Science,” “Dance and ChoreoMania,” “Tanz der Dinge/Things that Dance,” and a new book, “Kinetic Atmospheres: Performance and Immersion” (Routledge) that probes the implications of environmental immersion and mixed reality digital architectures.
We explore the links between art and science through an exhibition, a talk and a concert. The 2020s of the 21st century have apparently wrecked our experience of the normality. Invisibility and Omnipresence refers here, among other possibilities, to organisms / parasites / viruses, perceptions (virtuality, augmented or not), social and territorial prejudices (racisms), or our biosphere for example. What are the major challenges waiting for us in such context ? What will be the new normality ? Where is the reality, is it a virtual construction ? Which is the role of consciousness in such context ?
Pictures: Xavier Voirol
Jeremy Narby Indigenous people mention since a long time ago, the existence of an invisible world supporting the world we perceive, establishing it to a certain extent, and with which we needs to negotiate. Science, on the other hand, tell us about DNA molecules and virus, which are actually visible, and influencing our life. We know now that all the living beings of the planet, including viruses, are integrally part of the ecological web of the planet, and altogether we are part of a planetary mega entity fully interconnected: the biosphere. This delicate layer of life surrounding the planet is self regulated on multiple levels, but its scale is so broad that we struggle to perceive it. Could a dialogue between science and Indigenous knowledge extend our way of dealing with the world, and help us to conceive the biosphere too ?
Biography In charge of Amazonian projects for « Nouvelle Planète », Jeremy Narby is an anthropologist, who supports Indigenous amazonian people initiatives since thirty years.
Al Comet / Alain Monod / Mahadev Cometo In dialogue/interview with Luca Forcucci about his career as a musician with The Young Gods, his experiments with electronic music and lately his study in India of the sitar instrument. Moreover, Al Comet is a trained military pilot, who continues to fly.
Biography Member of The Young Gods during more than twenty years, Alain has contributed to define the industrial sound of the 1980s. In 2014, Al Comet leaves the Young Gods et focuses his energies on his very own self development under the name Mahadev Cometo. Always looking for new sonorities, he studies classical music in Benares. and publish a sitar record in 2017. Today, with his new generation modular sampler, he works on the elaboration of a new sitar album more revolutionary that ever “ the futur is now”.
The environment shapes our experience of space in constant interaction with the body. Architectonic interiors amplify the perception of space through the bodily senses; an effect also known as embodiment. The interaction of the bodily senses with the space surrounding the body can be tested experimentally through the manipulation of multisensory stimulation and measured via a range of behaviors related to bodily self-consciousness. Through the association of egocentric, first-person view of a dancer to a virtual point of view, the choreography creates a virtual architecture. Isabella Pasqualini is an architect (ETHZ 2000) and a scientist with a PhD in architecture and cognitive neuroscience (EPFL 2012).
Biography Her works explore the mutual and intimate relationship between body and space using immersive and interactive multimedia, with a particular interest in the multisensory enhancement of the user’s horizon. For her post-doc project Visual Touches, touching Views at the Center of Neuroprosthetics EPFL, she received the prestigious fellowship grant from the cogito foundation in 2013. Currently, she is a faculty member of the >> LeaV at the École Nationale Supérieure d’Architecture de Versailles and of the NAAD Master class at IUAV University of Venice. She has been a guest researcher at the Laboratory of Cognitive Neuroscience EPFL. Isabella has planned a new City in Angola and built a temporary bank building in Luanda. She is a scientific reviewer, and works as an expert for Innosuisse as well as other innovation platforms.
Bruno Herbelin Our body is our anchor in the world. Neuroscience of bodily self-consciousness investigates how this primitive subjective experience emerges into consciousness and, thanks to recent developments using new technologies for evaluating the impact of artificially mediated disruptions of this subjective experience, is now providing the first pieces of evidence of its complexity and multisensory aspects. Virtual Reality is particularly suited for this experimental research on bodily consciousness but, in parallel, it follows a massive industrial development that neglects the impact it can have on our experience of the self. Self-body representation is, for technical reasons, simply ignored in most VR experiences, although in effect this means providing the user with the strong and uncanny experience of invisibility. What I question and propose to discuss here, is if it makes sense to consider VR as the ultimate technology of telepresence (and omnipresence) if in practice it abstracts us and removes our body from the world.
Biography Bruno Herbelin is senior researcher in virtual reality and cognitive neuroscience in the laboratory of Prof. O. Blanke at the École Polytechnique Fédérale de Lausanne (EPFL, Switzerland). From 2012 to 2019, he was deputy director of the EPFL Center for Neuroprosthetics. From 2005 to 2009, he was Assistant Professor at Medialogy Department of Aalborg University, Denmark. He obtained his PhD from EPFL School of Computer and Communications in 2005 for his research work on virtual reality exposure therapy under the supervision of Prof. D. Thallmann (Virtual Reality Laboratory).
xname is the digital identity of media artist, performer and composer Eleonora Oreggia, originally from Milan and currently based in London. She creates performances and interactive installations using light, sound, dust and self-made sensor-driven synthesizers. Her music features elements of techno, ambient drone and industrial. In 2013 she has been selected by the Barbican to represent the artist Marchel Duchamp in the digital era. Her artworks, consisting of audiovisual pieces, software, sculptures, interactive installations and live performances, have received several prizes and awards and have been consistently shown in institutes, museums, galleries and festivals over Europe, UK, Asia and America – and over the Net. A Design alumna from renown Dutch post-academic institute Jan van Eyck Academie, Eleonora has also obtained an MPhil in Cultural Studies from Goldsmiths College, a PhD in Media & Arts Technology from Queen Mary University, and a Laurea (summa cum Laude) in DAMS (Drama, Art and Music Studies) from University of Bologna, IT. She is the founder of Nebularosa Records – a label promoting music and musicians who challenge established production practices. http://xname.cc http://xname.cc/rebus http://nebularosa.net
Artists explore sound in its pure state, simultaneously bridging and muddling barriers between sound, noise, and music in the contemporary or historical sense. Others investigate the political and cultural implications of certain sounds, using their work to bring human rights to the fore. This event puts spotlight on yet another group of artists who connects Sonic Arts with Neuroscience, attempting to unveil the mystery of human brain and consciousness by playing with the frequency and wavelength of a soundwave.
The sixth edition of Laser Nomad at the Fine Arts School of the University of Porto explores contemporary issues of migration. The focus is about the sense of place from a cognitive perspective. Neuroscientists have already proposed the existence of a grey zone around us named peripersonal space, which is an extended boundary of our body. From a technological perspective, mobile devices and gps helped war migrants, for example, to stay in touch with their families and share migration routes. What is the relation between embodiment and borders?
CHAIRED BY: Luca Forcucci
Rosemary Lee (ITU Copenhagen) Rosemary Lee will speak about themes from her PhD research on the influence of algorithms on notions of the image. Several consequences arise from the formalisation of the image as sets of instructions to be executed, including variability, a turn toward non-opticality, and increased automation by machines. In this way, machine learning not only affects the image on an ontological level, affecting what an image may be considered to be, but also its aesthetics and its symbolic relation to the real. Rosemary Lee is an artist and PhD fellow at the IT-University of Copenhagen, where she is researching how notions of the image are impacted by algorithmic media. Her PhD project analyses and contextualises artistic and technical examples in terms of their earlier precursors and considers what this means for what an image is today. Lee’s research and artistic work have been shown in international contexts including SCREENSHOTS: Desire and Automated Image, machines will watch us die, a new we, and her book, Molten Media, which was published in the context of the transmediale Vilém Flusser Archive Residency for Artistic Research.
Rui Penha (ESMAE)
Existence and Extension / Lenses and Lentils
Rui Penha was trained to see the world through the
lenses of musical composition and media art. He is a father of two, a
professor of a few more, a thinker and a tinkerer. He is currently
employed as an assistant professor at ESMAE and as a senior researcher
at INESC TEC. More info at http://ruipenha.pt
Miguel Carvalhais (FBAUP)
Miguel Carvalhais teaches design and computational media at FBAUP.
When asked for a short bio he normally presents himself as a designer
and a musician, two activities that he finds closely connected and
central to his practice. In this talk Miguel will explore how his work
hinges on space: on using it as canvas, on manipulating or transforming
it, on creating entirely new spaces. http://carvalhais.org