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Posted on 21 October 2017 by admin news, presentations, research

360º Video and Interactive Storytelling

During Open Fields conference Adnan presented “after.video – displaying video as theory and reference system”:

360º Video and Interactive Storytelling

Aigars CEPLITIS / Luis BRACAMONTES / Adnan HADZI / Arnas ANSKAITIS / Oksana CHEPELYK
Venue: The Art Academy of Latvia

Moderator: Chris HALES

Aigars CEPLITIS. The Tension of Temporal Focalization and Immersivity in 360 Degree 3D Virtual Space

The fundamental raison d’être for the productions of immersive technologies is the attainment of an absolute psychosomatic and physical embodiment. The impasse, however, for audiovisual works shot in 360° space, is that their current schemata as well as their visual configuration oppose the very type of an experience it strives to deploy. To crack the code of narrative design that would render 360° films to offer a truly immersive experience, a number of 360° video prototypes have been created and tested against the backdrop of Seymour Chatman’s narrative as well as Marco Caracciolo’s theories of embodied engagements in order to assess the extent of immersion in a variety of 360° narrative setting, zooming in on summary, scene, omission, pause, and stretch. Such prototype simulation is further followed by testing audiovisual plates whose micronarratives are structured in a rhizomatic pattern. Classical films are edited elliptically, although cut and omission are demarcated in cinema, with cut being an elliptical derivative, and in favor of using freeze frames to pause for a pure description. In 360° cinema, in turn, omission, cut, and pause, do not operate properly; its cinematic preference for here and now creates an inherent resentment to montage. Singulative narrative representations of an event (describing once what happened once) remains the principal core in spherical cinema, with repetitive representations deployed rarely, merely as special effects, or as a patterning device in flashbacks or thought-forming sequences through the post-digital editing style. The repetitive sequences in 360° become particularly disturbing, when their digital content is viewed, using VR optical glasses, instead of desktop computers, and such contrasts answer more fundamental questions as to whether montage is detrimental in 360° film, what types of story material and genre are more suitable for 360° cinema, and how do we gage the level of embodiment. Finally, the residual analysis of the before mentioned prototype simulation brings to the fore the rhizomatic narrative kinetics (the fusion of the six Deleuzoguattarian principles with the classic narrative canons), that should become, de facto, the language of 360°, if the embodiment is to be the key.

Biography. Aigars Ceplītis is the Creative Director of Audiovisual Media Arts Department at RISEBA University, where he teaches Advanced Film Editing Techniques and Film Narratology. He is also a PhD candidate at New Media MPLab, Liepaja University, where he is investigating novel storytelling techniques for 360 degree Cinema. Aigars has been working as a film editor in feature films “The Aunts”, “The Runners”, “A Bit Longer”, “Horizont”, and on 20 TV miniseries “The Secrets of Friday Hotel”. He has formerly served as an office manager and film editor for Randal Kleiser, an established Hollywood director best renown for hits such as “Grease” and “Blue Lagoon”. While in Los Angeles, Aigars headed the program of film and video for disadvantageous children of Los Angeles under the auspices of Stenbeck Family, the owners of MTG. Aigars holds an M.F.A. in Film Directing from California Institute of the Arts and B.A. in Art History from Lawrence University in Wisconsin.

Luis BRACAMONTES. Teleacting the story: User-centered narratives through navigaze in 360º video

This research explores the possibilities of a user-centered narrative strategy for 360º video through a new feature called “navigaze”. Navigaze is a feature introduced by the swedish Startup “SceneThere”, and it allows a controlled level of agency in the storytelling that borderlines between gaming and film. “Teleaction” here is understood from Manovich’s perspective of “acting over distance in real time” as opposed to “telepresence” implying only “seeing at a distance”. Immersive storytelling for Virtual Reality and 360º video presents a new challenge for creators: The dead of the director. At least in the traditional way as seen in other mediums such as theater or film. As its frameless quality and highly active nature demands for a fluid and flexible narrative.
Navigaze allows the user to inhabit a story instead of just witnessing it. By including a space-warp feature reminiscing to Google Street View, users can explore the “virtual worlds” and unravel pieces of the story on their own by gazing at the blue hotspots that transports them to the next location within the same world. Thus, the story constitutes a series of pieces of a puzzle that every person can put together as they want creating a unique narrative experience, similar to Julio Cortázar’s game-changing novel “Hopscotch” (1963).
Focusing on two pieces by SceneThere, “Voices of the Favela” (2016) and “The Borderland” (2017), this research delves into the evolution of storytelling on VR and 360º video and the early stages of the creation of their own narrative language.

Biography. Luis Bracamontes is a narrative designer and writer, specializing in Storytelling for VR and AR. He is an intern in the Virtual Reality start-up, “VRish” in Vienna. And he is currently studying an Erasmus Mundus Joint Master Degree in “Media Arts Cultures”, between Danube University Krems, Aalborg University and the University of Łódź. He has a B.A. in Communication Sciences with a specialization in Marketing and has worked for over 6 years in performing arts and literature. In 2014, he was awarded the “Youth Achievement Award for Art & Culture”, an honorary award given to the most promising and active youths with an outstanding trajectory in art and culture given by the City Hall of Morelia, for the work of his production company “Ala Norte”. Since 2015, he is a member of the Society of Writers of Michoacán (SEMICH). In 2016, he worked as an innovation and marketing consultant in the VIP Fellowship by Scope Group and the Ministry of Finance of Malaysia, in Kuala Lumpur. His recent research includes a paper on hybrid VR Narratives supervised by Oliver Grau, and a research project on post-digital archive experiences supervised by Morten Sondergaard, and presented at the NIME (New Interfaces for Musical Expression) International Conference 2017 in Copenhagen.

Adnan HADZI. after.video – displaying video as theory and reference system

After video culture rose during the 1960s and 70s with portable devices like the Sony Portapak and other consumer grade video recorders it has subsequently undergone the digital shift. With this evolution the moving image inserted itself into broader, everyday use, but also extended it ́s patterns of effect and its aesthetical language. Movie and television alike have transformed into what is now understood as media culture. Video has become pervasive, importing the principles of “tele-” and “cine-” into the human and social realm, thereby also propelling “image culture” to new heights and intensities. YouTube, emblematic of network-and online-video, marks a second transformational step in this medium’s short evolutionary history. The question remains: what comes after YouTube?
This paper discusses the use of video as theory in the after.video project (http://www.metamute.org/shop/openmute-press/after.video), reflecting the structural and qualitative re-evaluation it aims at discussing design and organisational level. In accordance with the qualitatively new situation video is set in, the paper discusses a multi-dimensional matrix which constitutes the virtual logical grid of the after.video project: a matrix of nine conceptual atoms is rendered into a multi-referential video-book that breaks with the idea of linear text. read from left to right, top to bottom, diagonal and in ‘steps’. Unlike previous experiments with hypertext and interactive databases, after.video attempts to translate online modes into physical matter (micro computer), thereby reflecting logics of new formats otherwise unnoticed. These nine conceptual atoms are then re-combined differently throughout the video-book – by rendering a dynamic, open structure, allowing for access to the after.video book over an ‘after_video’ WiFi SSID.

Biography. Dr. Adnan Hadzi has been a regular at Deckspace Media Lab, for the last decade, a period over which he has developed his Goldsmiths PhD, based on his work with Deptford.TV. It is a collaborative video editing service hosted in Deckspace’s racks, based on free and open source software, compiled into a unique suite of blog, cvs, film database and compositing tools. Through Deptford TV and Deckspace TV he maintains a strong profile as practice-led researcher. Directing the Deptford TV project requires an advanced knowledge of current developments in new media art practices and the moving image across different platforms. Adnan runs regular workshops at Deckspace. Deptford.TV / Deckspace.TV is less TV more film production but has tracked the evolution of media toolkits and editing systems such as those included on the excellent PureDyne linux project.
Adnan is co-editing and producing the after.video video book, exploring video as theory, reflecting upon networked video, as it profoundly re-shapes medial patterns (Youtube, citizen journalism, video surveillance etc.). This volume more particularly revolves around a society whose re-assembled image sphere evokes new patterns and politics of visibility, in which networked and digital video produces novel forms of perception, publicity – and even (co-)presence. A thorough multi-faceted critique of media images that takes up perspectives from practitioners, theoreticians, sociologists, programmers, artists and political activists seems essential, presenting a unique publication which reflects upon video theoretically, but attempts to fuse form and content. http://orcid.org/0000-0001-6862-6745

Arnas ANSKAITIS. The Rhetoric of the Alphabet

Through practice and research I aim to reflect on the connections between language, perception, writing and non-writing.
Jacques Derrida wrote in his seminal book Of Grammatology: “Before being its object, writing is the condition of the episteme”. I am curious – to what extent a written text still is (or should be) the condition of knowledge in artistic research? Does artistic research in general belong to and depend on this understanding of science? Would it be possible to do research without writing? How then one could share findings and outcomes of such research with the public and other researchers?
Writing interests me not only in the context of language, but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space? In an attempt to answer the self-imposed question, I have created 3D models of cursive letters and exhibit them as video projections. In each visualization an imaginary writing implement produces an uninterrupted trace – a stroke on the writing plane. On this digitally-simulated stroke – the projection plane – a stream of texts and images is being projected.
I will attempt to combine two sides of artistic research (practice and theory) through writing – a writing system as an art project. Part of the doctoral thesis could be written and presented using this system.

Biography. Arnas Anskaitis (1988) is a visual artist, a lecturer and a PhD student at the Vilnius Academy of Arts. He employs a variety of media in his work, but always starts from a direct dialogue with the site and context in which he is working. His work has been shown at the Riga Photography Biennial (2016); National Art Museum of Ukraine, Kiev (2016); 10th Kaunas Biennale (2015); Contemporary

Oksana CHEPELYK. Virtual Reality and 360-degree Video Interactive Narratology: Ukrainian Case Study.

The aim of this thesis is to present some Ukrainian initiatives developing VR and 360-degree Video Interactive filmmaking: SENSORAMA in Kyiv and MMOne in Odesa. SENSORAMA as AN IMMERSIVE MEDIA LAB of VR reality grow VR | AR ecosystem in Ukraine by supporting talents with infrastructure, education, mentorship and investments.
An interactive documentary «Chornobyl 360», created by the founders of Sensorama Lab, filmed in spherical view of 360 degrees about Chernobyl Nuclear Power Plant, which was the site of Chernobyl disaster in 1986, is now proven to be in demand on the global market. The immersive technologies are used to change human experience in the fields that matter to millions: VR therapy research, healthcare etc. SENSORAMA is based in UNIT.city, a brand new tech park in Kyiv.
The company MMOne from Odesa has created the world’s first three-axis virtual reality simulator, in the form of chair attached to an industrial robot-like arm that moves in response to the action in a video game called Matilda. MMOne hopes the invention takes the global gaming industry in some entirely new directions. The startup debuted Matilda in October 2015 at Paris Game Weeks in France, presenting its device in cooperation with multinational video game developer Ubisoft, which created a racing game especially for Matilda called “Trackmania.” Since the Paris games exhibition, MMOne has had several big companies from the U.S. IT community ask to try out their chair, like Youtube, the Opera Mediaworks, world’s leading mobile advertising platform, Facebook’s Instagram, and Oculus LLC.

Biography. Dr. Oksana Chepelyk is a leading researcher of The New Technologies Department at The Modern Art Research Institute of Ukraine, author of book “The Interaction of Architectural Spaces, Contemporary Art and New Technologies” (2009) and curator of the IFSS, Kiev. Oksana Chepelyk studied at the Art Institute in Kiev, followed a PhD course, Moscow, Amsterdam University, New Media Study Program at the Banff Centre, Canada, Bauhaus Dessau, Germany, Fulbright Research Program at UCLA, USA. She has widely exhibited internationally and has received ArtsLink1997 Award (USA), FilmVideo99 (Italy), EMAF2003 Werklietz Award 2003 (Germany), ArtsLink2007 Award (USA), Artraker Award2013 (UK). Residencies: CIES, CREDAC and Cite International of Arts in Paris (France), MAP, Baltimore (USA), ARTELEKU, San Sebastian (Spain), FACT, Liverpool (UK), Weimar Bauhaus (Germany), SFAI, Santa Fe, NM, (USA), DEAC, Budva (Montenegro). She was awarded with grants: France, Germany, Spain, USA, Canada, England, Sweden and Montenegro. Work has been shown: MOMA, New York; MMA, Zagreb, Croatia; German Historical Museum, Berlin and Munich, Germany; Museum of the Arts History, Vienna, Austria; MCA, Skopje, Macedonia; MJT, LA, USA; Art Arsenal Museum, Kyiv, Ukraine; “DIGITAL MEDIA Valencia”, Spain; MACZUL, Maracaibo, Venezuela, “The File” – Electronic Language International Festival, Sao Paolo, Brazil; XVII LPM 2016 Amsterdam, Netherlands.

Art Centre, Vilnius (2014); 16th Tallinn Print Triennial (2014); National Gallery of Art, Vilnius (2012); Gallery Vartai, Vilnius (2012), and in other projects and exhibitions.

Posted on 19 October 2017 by admin news, reports, research

Valletta 2018 discusses Cultural Mapping in local and international contexts

Deptford.TV moved to Malta and became Dorothea.TV, still D.TV. We took part in the Cultural Mapping Conference.

The second Valletta 2018 international conference Cultural Mapping: Debating Spaces & Places opened at the Mediterranean Conference Centre, in Valletta, this morning. The conference focuses on cultural mapping, the practice of collecting and analysing information about cultural spaces and resources within a European and Mediterranean context.

Delivering the opening address, Valletta 2018 Foundation Chairman Jason Micallef spoke in light of the Syria conflict which is resulting in widespread destruction of several cultural resources, such as heritage sites, in the Mediterranean region.

“Against this background cultural mapping takes on a renewed importance, not only in preserving the existing heritage of communities, but particularly in disseminating this knowledge through new, global channels and technology, forging new relationships between people across the world,” Jason Micallef said. “The examples of cultural mapping presented during this conference will allow us to dream of new ways in which the knowledge and understanding of our shared histories and our shared futures can be spread across the world”.

Bringing together a number of international academics, researchers, cultural practitioners and artists, the conference will explore various exercises of cultural mapping taking place across the world. With the subject being relatively new to Malta, speakers will be discussing the role of cultural mapping and how it can influence local cultural policy, artistic practice, heritage and cultural identity, amongst others.

The conference is being organised following last April’s launch of www.culturemapmalta.com – the online map exhibiting the data collected during the first phase of the Cultural Mapping project, led by the Valletta 2018 Foundation. Speakers include experts, academics, researchers and activists within the fields of tangible and intangible heritage, sustainable development, and cultural policy, both across Europe, the Mediterranean and beyond. Keynote speeches will be delivered by Prof. Pier Luigi Sacco, a cultural economist who will be presenting examples of cultural mapping taking place in Italy and Sweden, and Dr Aadel Essaadani, the Chairperson of the Arterial Network, a Morocco-based organisation that brings together art and culture practitioners across the African continent.

The conferrence is being organised by the Valletta 2018 Foundation in collaboration with the Centre for Social Studies (CES), University of Coimbra. Creative Europe Desk, the European Commission Representation Office, EU-Japan Fest Committee, the French Embassy, Fondation de Malte and Spazju Kreattiv are also supporting the event.

Posted on 29 September 2017 by admin news

Alexa, Who is Joybubbles?

prix des beaux arts geneve

Horaire Salle Crosnier (jours fériés inclus)
Mardi–Vendredi 15:00 – 19:00
Samedi 14:00 – 18:00

Jeudi 2 novembre, ouvert jusqu’à 20h30.

Alexa, Who is Joybubbles est le fruit d’une collaboration entre !Mediengruppe Bitnik et le compositeur de musique électronique Philippe Hallais. C’est une chanson qui réactive le souvenir de Joybubbles, le premier pirate téléphonique, et imagine son intervention dans le réseau des appareils domestiques connectés d’aujourd’hui et sa rencontre avec les applications d’assistants personnels.

Les pirates téléphoniques, dont l’activité remonte aux années soixante, étaient d’avides et espiègles explorateurs du réseau téléphonique. Ce réseau les fascinait car il était le premier réseau, le premier ordinateur en fait, et qu’il connectait le monde entier. L’un des pionniers et des plus doués d’entre eux était Joybubbles (25 mai 1949 – 8 août 2007), né Josef Carl Engressia Jr. à Richmond enVirginie, aux États-Unis. Aveugle de naissance, il a commencé à s’intéresser au téléphone à l’âge de quatre ans. Tout jeune, il avait déjà découvert comment passer des appels gratuitement. Il avait l’oreille absolue et était capable de siffler 2600 hertz, la fréquence que les opérateurs utilisaient pour acheminer les appels et produire les connexions et déconnexions. Joybubbles a donc été l’un des premiers à explorer ce réseau et à en apprendre les codes, avec son seul souffle. Pour produire ce son, les autres pirates utilisaient des appareils qu’ils fabriquaient eux-mêmes. Joybubbles a agi comme un catalyseur, unissant des pirates aux activités diverses en l’un des premiers réseaux sociaux virtuels. Alors qu’il était aveugle, le téléphone lui donnait accès à un réseau de personnes partageant ses intérêts tout autour du monde. Après l’annonce de son renvoi de l’université en 1968 et sa condamnation en 1971 pour infractions téléphoniques, il est devenu le centre névralgique du mouvement. Les pirates ont découvert qu’ils pouvaient utiliser certains commutateurs téléphoniques comme ceux des salles de conférence pour que le groupe, géographiquement dispersé, puisse discuter et échanger des idées et des connaissances via l’appel d’un même numéro, créant ainsi un réseau social bien avant l’internet.

!Mediengruppe Bitnik & Phillipe Hallais se sont penchés sur les méthodes de ces premiers hackers pour engager un dialogue avec Alexa et ses collègues assistants personnels intelligents. Ces dispositifs, entités semi-autonomes, commencent tout juste à coloniser nos habitats. Ils font partie d’un nouvel écosystème d’appareils connectant l’espace physique à l’espace virtuel et dont le contrôle s’effectue vocalement. Ces appareils ont une certaine capacité d’action, ils agissent selon un ensemble de règles et d’algorithmes. Ces algorithmes et ces règles ne sont pas dévoilés à l’utilisateur, de même que les données que ces appareils récupèrent. L’utilisateur n’a donc aucune emprise sur le fonctionnement de ces appareils, il ne peut en évaluer la partialité. Il ne peut savoir quelles données à son sujet sont collectées par l’appareil, quelles informations en sont extraites puis partagées avec d’autres appareils et d’autres entreprises.

Que fera Joybubbles avec ces appareils à commande vocale ? Qui est-ce qui agit quand ces appareils agissent ? Est-ce bien moi qui commande de la nourriture lorsque mon frigo décide de faire des provisions ? Et que se passerait-il s’il était hacké et envoyait plutôt des spams ? Lorsque je m’entoure de ces appareils semi-autonomes, ma capacité d’action est-elle étendue ou au contraire diminuée ? Que se passe-t-il lorsque l’un de ces appareils se déclenche au son d’une chanson qui passe à la radio ?

La musique fait ici référence à la grande influence que les téléphones mobiles ont pu avoir sur la musique populaire contemporaine comme le dancehall et le ragga. Depuis les années 90, lorsque ces téléphones ont commencé à être partie prenante de nos vies, ils ont influencé la manière dont la musique était produite. Dès ses début, le téléphone mobile a fait office de sound système portatif, tout d’abord en utilisant des chansons populaires pour ses sonneries, puis grâce à l’accès à internet procuré par les smartphones. Avec l’instrumentation électronique gagnant du terrain depuis les années 80, le son du dancehall a considérablement changé pour devenir de plus en plus caractérisé par des séquences intrumentales (ou « riddims »). Les sonorités typiques des téléphones mobiles sont devenues une véritable source de samples. Alexa, Who is Joybubbles est un hommage à l’usage du téléphone dans le dancehall, et à Joybubbles. ♥‿♥

Philippe Hallais est un compositeur de musique électronique né en 1985 à Tegucigalpa au Honduras et qui vit à Paris. Sa musique joue de la réappropriation des clichés sonores, du folklore médiatique et de la multiplicité des langages musicaux associés aux subcultures de la dance. Il a publié à ce jour trois albums sous le pseudonyme de Low Jack (Garifuna Variations, L.I.E.S, 2014 ; Sewing Machine, In Paradisum, 2015 ; Lighthouse Stories, Modern Love, 2016) et un sous son propre nom : An American Hero sur le label Modern Love, en 2017. En concert, il a déjà collaboré avec les musiciens Ghedalia Tazartès et Dominick Fernow / Vatican Shadow et a conçu des performances pour le musée du Quai Branly, le Centre culturel suisse et la Fondation d’entreprise Ricard à Paris

Le duo !Mediengruppe Bitnik (lire : le non mediengruppe bitnik) vit et travaille à Berlin et à Zurich. Les deux artistes contemporains font d’Internet leur sujet et leur matériel de travail. Leur pratique part du numérique pour transformer les espaces physiques et se sert régulièrement d’une perte de contrôle intentionnelle pour défier les structures et les mécanismes établis. Les œuvres de !Mediengruppe Bitnik formulent des questions fondamentales sur des problèmes contemporains.

!Mediengruppe Bitnik est composé des artistes Carmen Weisskopf et Domagoj Smoljo. Leurs complices sont le réalisateur et chercheur londonien Adnan Hadzi et le reporter Daniel Ryser. Ils ont reçu, entre autres, le Swiss Art Award, le New Media Jubilee Award Migros, le Golden Cube Dokfest de Kassel et une mention honorifique à Ars Electronica.

Le Prix de la Société des Arts • Arts Visuels • Genève 2017
(Calame • Diday • Harvey • Neumann • Spengler • Stoutz)
est décerné à !Mediengruppe Bitnik.

!Mediengruppe Bitnik est un duo composé de Carmen Weisskopf (*1976, Suisse) et Domagoj Smoljo (*1979, Croatie). Les deux artistes vivent et travaillent à Zurich mais résident actuellement à Berlin. !Mediengruppe Bitnik utilise Internet à la fois comme sujet et comme matériau de son travail artistique, partant du numérique pour transformer l’espace physique. Le duo s’attaque à des problèmes d’actualité et emploie souvent des stratégies de perte de contrôle qui défient les structures et dispositifs existants.

Ce prix est attribué sur la base de recherches effectuées en toute indépendance, sans concours, par les membres du jury constitué cette année par Felicity Lunn et composé de : Ines Goldbach (directrice Kunsthaus Baselland), Valerie Knoll (directrice de la Kunsthalle Bern), Boris Magrini (historien d’art et curateur indépendant ; expert indépendant pour Pro Helvetia, section arts visuels), Laurent Schmid (artiste et professeur à la HEAD, Genève ; responsable Master Arts visuels – Work. Master), Séverine Fromaigeat (historienne et critique d’art ; membre de la commission des Expositions de la Classe des Beaux-Arts de la Société des Arts, Genève).

Posted on 8 September 2017 by admin news, research

48 Hours MIND LESS

STWST48x3
48 Hours MIND LESS
8. – 10. Sept 2017

Unter dem Motto MIND LESS bietet STWST48x3, die dritte Ausgabe von STWST48, eine 48-Stunden-Showcase-Kunst-Extravanganza der expandierenden Art. Sinnfreie Information, offene States of Mind, ein Infolab nach den neuen Medien, Quasi-Koordinaten der erweiterten Kontexte, Funky Fungis, Digital Physics und Meltdown Totale: STWST48x3 MIND LESS bringt neue Kunstkontexte, die in den letzten Jahren in und rund um die Linzer Stadtwerkstatt entwickelt wurden. Watch out: Die MIND LESS Stadtwerkstatt steht auch 2017 unter der Direktive von New Art Contexts und autonomen Strukturen.

Start: Freitag, 8. September, 14 Uhr
Ende: Sonntag, 10 Sept, 14 Uhr

RÜCKSCHAU – ALLE VIDEOLINKS ZU DEN PROJEKTEN

Posted on 12 July 2017 by admin mazi, news

MAZI: CAPS community workshop in VOLOS

CAPS Community workshop is taking place on the 12th July

We’re still working on the agenda. Here below you’ll find a first overview of the activities of each day:

10/7/2017

Project CHAIN REACT Review (Closed meeting – all day) Download here the agenda (PDF)

MAZI Workshop – (all day). Hands on experiences tutorial, learn how to use & set-up the MAZI toolkit:

09:30 – 09:45	Welcome and introduction to MAZI By Thanasis Korakis
09:45 – 10:30	Keynote talk: Digital Commons, Urban Struggles and the Right to the City? Andreas Unteidig and Elizabeth Calderon Luning
10:30 – 10:45 Coffee break
10:45 – 11:30	MAZI stories 10h45-11h00 Creeknet ‘Bridging the DIY networks of Deptford Creek’ (Mark Gaved and James Stevens) 11h00-11h15 Living together: realistic utopias in Zurich (Ileana Apostol and Philipp Klaus) 11h15-11h30 Unmonastery: a 200 year plan (Michael Smyth and Katalin Hausel)
11:30 – 13:00	The MAZI toolkit and its applications Harris Niavis and Panayotis Antoniadis
13:00 – 14:00 Lunch break
14:00-17:00	Hands-on experience with the MAZI toolkit and participatory design The audience will be split in 4 (or more) groups. Each group will have a MAZI leader, one of the partners, for guiding the whole process of the MAZI toolkit deployment. MAZI leaders will describe to each group the context in which they are going to configure their MAZI Zone. Some possible scenarios/contexts in the area around the event will be defined, where they could deploy MAZI Zones and help also the CAPS event for the whole week. *Please bring your laptop with you or any other equipment (Raspberry pi 3, miniSD cards etc.),so you can actively participate in the workshop.
17:00 – 18:00	Wrap-up of the workshop

11/7/2017

MAZI Review (closed meeting – all day) Download here the agenda (PDF)
HACKAIR – Project Review Meeting (closed meeting – all day)
Greek CAPS & H2020 cluster workshop (15:00 – 18:00)

CHAIN REACT Workshop – Hands on experiences

12/7/2017

2nd CAPS Community workshop

13/7/2017

CHIC Project Review (closed meeting – all day)
CROWD4ROADS Project Review (closed meeting – all day) Download here the agenda (PDF)

EMPAVILLE Role Play (run by EMPATIA Project)

11:00 – 12:30

Empaville is a role-playing game that simulates a gamified Participatory Budgeting process in the imaginary city of Empaville, integrating in person deliberation with digital voting. For more details visit EMPAVILLE ROLE PLAY (https://empaville.org)

PROFIT Workshop (Open meeting – half day)

13:00 – 17:00 Download here the agenda (PDF)

Project introduction (M.Konecny – EEA)
Financial literacy and ecnomic behaviour for financial stability and open democracy (G.Panos – UoGlasgow)
Promoting financial awareness and stability (Artem Revenko – Semantic web company) Presentation available here (PDF)
Textual analysis in economics and finance (I.Pragidis – DUTH) Presentation available here (PDF)
What’s ethical finance (Febea) Presentation available here (PDF)
Walkthrough of the PROFIT platform
- Discussion in small groups focused on different aspects of the project & platform
Conclusions and wrap-up

Note: As this is an interactive event please bring a laptop so you can contribute to the research effort.

14/7/2017

PROFIT Review Meeting (closed meeting – all day) Download here the agenda (PDF)

CROWD4ROAD hands on experiences (open meeting – all day)

09:00 – 09:30	Crowd4roads: crowdsensing and trip sharing for road sustainability Presentation by the Crowd4roads consortium
9:30 – 10:00	Collaborative monitoring of road surface quality Presentation by University of Urbino
10.00 – 10:30	Car pooling and trip sharing Presentation by Coventry University
10:30 – 11:00 Coffee break
11:00 – 11:30	Hands on the first release of the Crowd4roads app
11:30-12:15	Hands on Crowd4roads open data
12:15 – 13:00	Gamification strategies for engagement Presentation by Coventry University

Closing Plenary – Wrap-up and Greek cocktail (5-7 pm)

The Next Generation Internet (NGI) initiative, launched by the European Commission in autumn 2016, aims to shape the future internet as an interoperable platform ecosystem that embodies the values that Europe holds dear: openness, inclusivity, transparency, privacy, cooperation, and protection of data. The NGI should ensure that the increased connectivity and the progressive adoption of advanced concepts and methodologies (spanning across several domains such as artificial intelligence, Internet of Things, interactive technologies, etc.) drive this technology revolution, while contributing to making the future internet more human-centric.

This ambitious vision requires the involvement of the best Internet researchers and innovators to address technological opportunities arising from cross-links and advances in various research fields ranging from network infrastructures to platforms, from application domains to social innovation.

Posted on 19 June 2017 by admin news, reports, research

Live: Algorave @ Archspace in London

Our friend Mattr performed in the Archspace in London. Jack Chutter wrote the following review in the ATTN:Magazine:

When I initially heard about live-coding, I was quick to presume that it was beyond my technical grasp. After all, surely this music was the reserve of those who have spent their lives immersed in programming, hidden behind a wall of education and natural computer aptitude, forbidden to the layman – me, for example – who should probably stick to more tangible forms of instrumental causality (hitting a drum, pressing a key). Yet coupled with my recent interview with Belisha Beacon (who went from code novice to Algorave performer within a matter of months), my experience tonight has convinced me otherwise. That’s not to say that Algorave doesn’t regularly slip beyond my technical comprehension, folding code over itself to produce spasmodic, biomechanical bursts of light and sound, ruptured by compounded multiplications and tangled up in polymetric criss-cross. Yet with the code projected upon a large screen in front of me, I see that these transparent mechanics are often painfully easy to understand. A line of code is activated: a sample starts. An empty space is deleted: a rhythmic pattern shifts one step. I witness the preparation and execution of “sudden” bass drops; I am exposed to the application of effects and shifts in pitch. At some points at least, I totally get this.

Each set is accompanied by digital projections, most of which are live-coded by the evening’s two visual artists (Hellocatfood and Rumblesan). As I walk into Archspace, the screen is brimming with these vibrant, hyperventilating spheres, all spinning at incredible speed, expanding and contracting as though set to burst. Meanwhile, the electronic pulses of Mathr feel way overcharged, bloating beyond their own mathematical confines, bleating like the alarms that herald the opening and closing of space shuttle doors or slurred bursts of laser beam. A rhythm is present but it never walks in a straight line. It’s constantly correcting itself incorrectly, sliding and slanting between shapes that never properly fit, modulating between various flavours of imbalance.

The sounds remain very much askew for Calum Gunn, although now it’s like someone playing a breakbeat remix of a Slayer track on a scratched disc, choking on the same split-second of powerchord as the beat rolls and glitches beneath, quickly abandoning all sense of rightful rhythmic orientation. Later it’s all synth hand-claps and digital squelches, exploded into tiny fragments that whoosh dangerously close to my ears. On screen, a square cascades like a spread deck of cards, fanning outward across future and past iterations, losing outline and angle in the overlap of shifted self. Together, sound and image shed all time-space integrity, knotted and crushed by the layers of multiplication and if-then function, complicating their own evolution until they can’t possibly find its way back again.

It’s almost as though Martin Klang has witnessed this chaos and taken heed. His music is carefully and precariously built, stacked in a brittle tower of drones and ticks and pops. Hi-hats spill out like coins on a kitchen floor (whoops – not quite careful enough), as the beat tip-toes between them in a nervous waltz, accompanied by what sounds like the glugging, croaking proclamations of an emptying kitchen sink. All adjustments are patiently negotiated. The soundscape switches from a duet between drone sweeps and popping fuses, to an ensemble of water-drenched bouncy balls of various sizes. I feel tense as I watch this music unfold, as though Klang’s synth might explode with just one heavy-handed application of change.

MARTIN KLANG + RUMBLESAN

This threat doesn’t lift as we move into Miri Kat’s thick, disaster prone dub, although her sound is fearless and indifferent to it: rhythms forward-roll into mists of radiation, smacking into hydraulic doors and tangling itself in the zaps of crossed electronic wires. The rhythm comes and goes in huge obelisks of volume and visceral bass frequency, announcing themselves with thundering severity and then dropping out, allowing myth and ambient chimes to pool in the stretches of absence. At its loudest her performance is incredibly visceral, the beats wracked with the noises of ripping open, or tectonic electronic rumbling, or up-ended boxes of micro-sampled ticks and trinkets. Meanwhile, the visuals come in a gush of glitch-ruptured Playstation animation and over-zealous zoom lens, plunging into pixelated colours and flicker and burst into the far corners.

Archspace is packed out by now. Contrary to my silly assumptions that Algoraves would be an elitist, ultimately cerebral affair, a vast majority of the crowd are dancing (in fact, it is me – pinned against the side wall with my head in my notebook – who could be most readily accused of forgoing visceral enjoyment in favour of lofty pontification). This interface between code and human rhythm is further explored by Canute, tasking a live drummer to find a foothold within an ever-modulating algorithmic output, with snare drums snatching at synthesisers splayed in scattershot and krautrock 4/4s ploughing forward through a hail of ping-pong delays, while micro-samples bounce off the windscreen of those thoroughly human hits. The coded output slots into a new pacing and the drummer realigns accordingly, swerving in and around those blocks of binary exactitude, tumbling across those flatulent bursts of morse code and synthetic mandolin.

It’s a dizzy experience, and Heavy Lifting only nurtures the nausea further. Her set is like having a surreal dream while travel sick, head slumped out of the window of a gigantic cruise-liner, with the excitable voices of in-boat entertainment in one ear and the churn of the sea in the other. Spoken samples and revved motors whirl over beats that throb like an insistent headache, as samples eat themselves and fold over one another, blurred by the waves of sickness or sliced up into phonetic digital chirps. The beat throbs at ever-louder volumes. My heartbeat lodges itself in my head. Somewhere in the mixture of slur and abrasion – the precise combination of ambient wave and brash attack – Heavy Lifting strikes upon a strange form of ecstasy, as a dense rhythm rises from beneath and pushes the quease and wooze aside. It’s wonderful.

Due to a route closure and lengthy diversion affecting my journey home to Cheltenham, my own Algorave concludes tonight with a set from Belisha Beacon (my apologies to tonight’s final act, Luuma, who I had to miss as a result). Her improvisation builds itself, deconstructs itself, reshapes itself. There are no foundations, there is no final form. Raw samples (digital woodwind, dry synthetic percussion) enter one at a time and slide into place, methodically adding new angles and asymmetries to the overall shape, compounding individual decisions into a network of intersecting pulses and chimes. The 4/4 clicks into place as the rhythm shunts into a continuous stomp, finding momentary alignment before Belisha Beacon starts to pick apart the shape all over again. This methodical transparency is what sold me on the accessibility and open possibilities of live-coding. While some of tonight’s performances explore the potential of enacting numerous ideas simultaneously, splaying the code like projected firework embers, others explode the software mechanics into a series of singular steps. It’s like witnessing a film and its “making of” simultaneously, with my enjoyment of each beat enriched by the ability to share in the very spell that brought it to be.

Posted on 7 June 2017 by admin Deptford.TV, mazi, news, presentations, projects, regeneration, Report, reports, research, ReSynced

Creeknet XF Symposium

Its been a very hectic few weeks at SPC as we bring focus onto DIY networks of Deptford Creek at the first Creeknet Symposium on 20th and 21st June.

The poster here for you to print and put up in your window, outlines event details which can be found in full on the SPC event listings and at http://deptfordcreek.net

The Creeknet friends have been meeting regularly at venues up and down the creek. We have been exploring the fast changing environment and revisiting access points onto the river, crossing bridges and improving an understanding of local concerns and ambitions. The last of these before summer takes hold is on Monday 12th June at noon, in the Undercurrents gallery inside the Birdsnest pub on Deptford Church Street. We will be collecting together images and stories to publish at the local network Anchorholds, a trail of information points along the creek, so please do come along to contribute your experiences !

Rapid progress was made by the very energetic Hoy Steps clear-up group on Monday 5th June. The huge overgrowth of Buddleia clogging views, was cut down and disposed of in a flurry of action and enthusiasm. The vigorous roots of this plant have got deep into and have damaged the sea wall and will continue to regrow unless more drastic measures to remove remnants are adopted soon, even then they are likely to return!

Wooden pallets stored at street level have been sorted and stacked ready for re-use or removal and the rubbish sheet materials, plastic wrappers and polystyrene are bagged ready for disposal. We return early on Tuesday 13th to complete the clean-up process in preparation for a public viewing during Creeknet Symposium the following week.

Friends of Deptford Creek is a community group set up to support, represent and protect the human, natural and built environment of Deptford Creek, London. How do these two different groups work together? How does the changing landscape affect them? What technologies can help?

Find out by joining us over an exciting two days of public meet ups and workshops to exchange ideas and explore the DIY networks of Deptford Creek<http://deptfordcreek.net/>.

Meet MAZI<http://mazizone.eu/> partners from around Europe, Chat to local community groups, and play with our technology that support local networks and discuss what’s next for Deptford. You can attend all or parts of these events over the two days by registering with Eventbrite here:

Tuesday 21st June 2017
Wednesday 22nd June 2017

For further information please visit this website.

This week starting Monday 12 June, we have a busy schedule to install equipment, complete work and do last minute promotion. (really!). Today we are meeting at the Undercurrents Gallery in the Birdsnest pub to update the mazizone prototype there and meet with local mariners and artists to discuss their network systems. On Tuesday it’s an early Lowtide and 10AM return to the Hoysteps to complete clearup work and prepare for a visit the following week, refreshments provided. After lunch we will be installing bluetooth beacons along the creek to mark out the Anchorhold locations

Wireless Wednesday at http://bit.spc.org this week is dedicated to preparation of print materials for distribution during the Creeknet Symposium so please come along and help out, but please hold off on the broken PC’s for a couple of weeks! On Thursday and Friday, We will be testing the Creeknet Anchoholds app, a guide to the DIY networks of Deptford Creek. If you would like to help out please call for more details as we will be working along the length of the tidal creek from Brookmill Park to the Swing bridge.

http://friends.deptfordcreek.net

Don’t forget to tell us you are attending Creeknet Symposium, not least so we can arrange catering! Please register.

Creeknet meet-up @ Hoy

The MAZI Project is working on an alternative technology, Do-It-Yourself networking, a combination of wireless technology, low-cost hardware, and free/libre/open source software (FLOSS) applications, for building local networks, known as community wireless networks.

Posted on 1 June 2017 by d.tv news, reports

Surrender to Surveillance

Our friend Heath Bunting gives a talk @virtualfutures:

Virtual Futures presents a discussion on technologies of surveillance, the infringements on privacy by the state, restrictions of individual freedom and the mutation of identity. Underlying the platforms that make digital communication possible are massive stealth efforts in social profiling. This reality has become passively accepted by a user base who are sold the promise of personalisation and customisation in exchange for allowing increased data extraction and analysis.
Corporations target social life itself, aiming to monitor their users ever more effectively and regulate certain types of action. As identity, social interaction and profit overlap it threatens core human values such as freedom and privacy, as well as posing new ontological questions concerning what constitutes identity. Join an artist who has been described as ‘a disciplined advocate of a transgressive social and political anarchy’ a professor who is exploring the impact of digital media on society and politics, a journalist who specialises in privacy, and others to discover how we might develop a toolset for escaping the ever-intensifying surveillance and monitoring of our society.

Virtual Futures presents a discussion on technologies of surveillance, the infringements on privacy by the state, restrictions of individual freedom and the mutation of identity.

Underlying the platforms that make digital communication possible are massive stealth efforts in social profiling. This reality has become passively accepted by a user base who are sold the promise of personalisation and customisation in exchange for allowing increased data extraction and analysis.

Corporations target social life itself, aiming to monitor their users ever more effectively and regulate certain types of action. As identity, social interaction and profit overlap it threatens core human values such as freedom and privacy, as well as posing new ontological questions concerning what constitutes identity.

Join an artist who has been described as ‘a disciplined advocate of a transgressive social and political anarchy,’ a professor who is exploring the impact of digital media on society and politics, a journalist who specialises in privacy, and an expert on corporate data monopolies to discover how we might develop a toolset for escaping the ever-intensifying surveillance and monitoring of our society.

Fireside Chat

Heath Bunting, Artist

Heath Bunting is known as an early practitioner of the net.art movement. As his online biography reports, “He is banned for life from entering the USA for his anti-genetic and border crossing work. He has had multiple works of art censored and permanently deleted (including all copies and backups) by the UK security services.

He has had an artwork exploded by the SAS and is prevented from talking about this in public. He has been detained, arrested multiple times and classified as a terrorist by UK security services for his art projects. He is subject to constant global state and corporate hostile interventions. He is denied full access to the internet and is almost constantly unemployed as a result of being politically blacklisted. In an environment where the UK Ministry of Defence can publicly state that their primary global adversary is the non-state individual artist, he now produces his art projects securely and in secret.

He has been approached by both state and corporate security organisations on several occasions, but mostly declined these offers of work, especially when it involved the assassination of social justice activists. His main work, The Status Project, involves using artificial intelligence to search for artificial life in societal systems. Aside from this, he is currently training artists in security and survival techniques so they can out-live organised crime networks in the forest during the final crisis.

Panelists

Prof. David Berry, Co-Director of the Sussex Humanities Lab and the Research Centre for Digital Materiality, University of Sussex (@BerryDM)

Prof. Berry researches the theoretical and medium-specific challenges of understanding digital and computational media, particularly algorithms, software and code. His work draws on critical theory, political economy, medium theory, software studies, and the philosophy of technology.

Heath Bunting, Artist

Early practitioner of the net.art movement.

Wendy M. Grossman, Technology Journalist (@wendyg)

Freelance technology writer specializing in computers, freedom, and privacy. She has written for the Guardian, the Daily Telegraph, Scientific American, New Scientist, Infosecurity Magazine, and Wired, and was the 2013 winner of the Enigma award for lifetime achievements.

Roger Taylor, Chair, Open Public Services Network (@RTaylorOpenData)

Roger Taylor is an entrepreneur, regulator and writer. He is chair of Ofqual, the qualifications regulator, and works with The Careers & Enterprise Company on the use of technology and data in career decisions. He has written two books: God Bless the NHS (Faber & Faber 2014); and Transparency and the Open Society (Policy Press 2016) which outlines the dangers of government and corporate data monopolies. He founded and chairs the Open Public Services Network at the Royal Society of Arts; he is a trustee of SafeLives, the domestic abuse charity; and he sits on the advisory board to HM Inspectorate of Probation. He has worked with governments, NGOs and leading media organisations globally on the use of open data and public reporting. Roger began his career as a journalist working as a correspondent for the Financial Times in the UK and the US and, before that, as a researcher for the Consumers’ Association.

Dicussion moderated by:

Luke Robert Mason, Director of Virtual Futures (Moderator) (@LukeRobertMason)

Schedule

06:30pm – 07:00pm: Registration & Drinks

07:00pm – 07:30pm: Fireside chat with artist Heath Bunting on ‘The Staus Project.’

07:30pm – 08:30pm: Panel Dicussion on ‘Surrender to Survailance’ with Prof. David Berry, Heath Bunting, Wendy M. Grossman & Others (TBC)

8:30pm – Late: Audience Q&A, Drinks & Networking

Posted on 24 April 2017 by admin Deptford.TV, mazi, news, regeneration, Report, reports, research, ReSynced

Creakynet

We visited the Hoy Steps again today to view the condition of the street level area inside the gates and assess the clean up task. After 20 years of restricted access, an accumulation of old wheels, wooden pallets and tangle of Buddleia block the steps. There is also a large amount of scaffolding framing the space which can be used again in any reconstruction plan. High tide at midday prevented us seeing more than half a dozen of the twenty steps that lead down to the muddy shoreline at low tide. A ferry once transported people across the creek to Greenwich at this point. The ‘hoy!’ call out to summon a boat was first heard here hundreds of years ago.

Our previous Creeknet meet-up started out at Laban Dance cafe’ from where we walked down Creekside and over the Ha’penny Hatch footbridge to the fork in the path on the Norman Road side. Thames Tideway are rapidly completing this controversial diversion, whilst setting out their groundwork for an 18m diameter x 60m deep excavation to a 12m diameter 30km sewage overflow tunnel from Ealing on route to Becton.

Waste removal from the Greenwich Pumping station site will add 100 trucks a day to the roads already overloaded with heavy construction services. Earlier suggestions to use huge river barges have been kicked into the long grass in favour of the pre-approved and cheaper option.!

Continuing on our way up to Creek Bridge, we stopped off at the far end of Hiltons Wharf, to step out on to the tiny mooring point in time to catch departure of the Prior’s aggregate ship to Gravesend for a refill. Opposite, the race for construction of two huge towers crashes on, sucking up the entire concrete capacity of Euromix!

After a well deserved coffee at Hoy Kitchen and visit to the steps we were picked up by Camden for a fantastic river trip aboard a motorised lifeboat, which first took us out onto the Thames before returning us to the nest of houseboats at 4 Creekside.

Please take that trip sometime, till then check this video! More photos here.

At the furthest reaches of the tidal creek, Friends of Brookmill Park held their quarterly meeting to map out activities for the rest of spring and early summer. Their re planting program in the formal garden adjacent to Stephen Lawrence centre is proceeding well with fresh lavender beds and new roses. Mariner and beekeeper Julian Kingston will talk about local shipbuilding at a fundraiser event in Brookmill pub on June 7th, space is limited to 30 seats so get your ticket soon!

That’s just a few weeks before the Creeknet Symposium on 20th and 21st June. DIY networks of Deptford Creek host partners from the MAZI project in Germany, Switzerland and Greece to attend this ‘cross pollination event’, all are welcome.

The first day begins at Hoy Kitchen on Creek Road with rolling breakfast welcome, exhibition of local images and stories followed by mass low tide walk at Creekside Discovery Centre at 3pm. The second day starts with project presentations and lunch at Stephen Lawrence Centre, followed by a visit to Redstart Arts and picnic in Brookmill Park. Finally take a walkshop to the Creek Mouth, crossing bridges and exploring the Creeknet trail.

Posted on 9 February 2017 by admin Announcement, Events, ideas, news, presentations, Report, reports, research

Algorave @ Transmediale – ever elusive

This year we took our Digital Media students from Coventry University to an exchange with Digital Media students from Leuphana Unviersity to Berlin, during the Transmediale Festival. A student excursion as a collaboration between Leuphana University, Coventry University and transmediale whereby students from the digital media bachelor programs of both schools can engage with the content of the festival while also having space and time for guided reflection, led by the organising faculty and invited guests, in the period of February 2nd through February 5th, mixing groups of digital media bachelors students from
Leuphana University and Coventry University. The aim will be for students to engage with the festival activities while having moments to reflect theoretically, artistically and technically with the material at hand.

I made a note of the following sessions at Transmediale:

Material Flows: Rafts and Bodies at Sea

Starting from the project Plastic Raft of Lampedusa (by YoHa, 2016–17), featured in the exhibition “alien matter,” this session discusses moments where technical objects such as watercraft and human life becomes inseparable. By dismantling the type of rubber boat used by refugees for crossing the Mediterranean, the project addresses an underexplored space where technical objects and human bodies historically and contemporaneously conjoin and merge into new entities. Placelessness is contrasted with the forms of governance, materials, and technical standards that have the power to hold a body afloat or allow it to drown. It is an extreme metaphor for our relationship to digital technologies, where bodies emerge that are in transversal collaboration with technical objects and the administrative machinery of advanced capitalism. This is not a project that is concerned with the morals of the European migrant crisis, nor is it an attempt to re-invoke the sublime of European aesthetics. This project is about a plastic boat whose journey takes place in the sea’s lack of fixity, the space between different state actors and scales of administrative discipline.

YOHA–PLASTIC RAFT OF LAMPEDUSA
As part of the special exhibition “alien matter” at Haus der Kulturen der Welt, The DAZ (Deutsches Architektur Zentrum) hosts the disassembled rubber raft of _Plastic Raft of Lampedusa_ by artist duo YoHa. In their work, the artists explore the circulation of economic, material, and human flows that have a mutual influence on one another. 2–8 FEBRUARY 2017, DAILY 15:00–20:00 Deutsches Architektur Zentrum DAZ Köpenicker Straße 48/49, 2. courtyard, 10179 Berlin
www.daz.de

TRACING INFORMATION SOCIETY–A TIMELINE
In collaboration with the Technopolitics working group, transmediale presents the exhibition “Tracing Information Society–a Timeline” at neue Gesellschaft für bildende Kunst (nGbK). Technopolitics turns the
exhibition venue into a curated space for knowledge. A twelve-meter-long timeline depicts the development of the Information Society from 1900 until today.

Elemental Machines

The concept of machines generally describes an assemblage of parts assigned to an overall function, designed by a human. Yet, the entwined histories of science, technology, and art are filled with ideas about nature functioning like machines, and of visions where machines become “natural” and organic. These two paths seem to merge as machines increasingly communicate autonomously and operate in fields beyond human perception and influence. Can we devise new perspectives for understanding the elemental machines that now seem to operate contingently within hybrid techno-ecologies like the forces of nature? What are the new aesthetic and political affordances or subjectivities involved in the process of technology becoming environmental?

Becoming Infrastructural – Becoming Environmental

What does the infrastructural and environmental becoming of technology really mean? Which economic, cultural, and geopolitical factors become apparent when we overcome the purposeful dematerialization of media? How can new infrastructural imaginaries, escaping anthropocentrism, embrace a different understanding of the role and impact of technology today? To address these questions, different emerging ecologies and multiple paradigms become the starting point for a keynote conversation. Lisa Parks examines entanglements of the natural with the technological, and presents the unknown use, adoption, and interruption of infrastructural sites by nonhuman species, pointing towards new conceptualizations for their uses beyond the human. Erich Hörl approaches “environmentality” as a new contemporary condition, discussing how within this new “General Ecology,” we must take into account the environmental becoming, not only of technology, but also of power, thinking, and the world itself. The keynote conversation explores the challenges and limitations of this new infrastructural and environmental condition.

Excursion: Ecologies

The event features new artistic research into messy, disperse ecologies, which characterize planetary life, as it is re-constructed in flows of data, capital, and natural resources. In order to make the underlying planetary systems more tangible, the micro- and macro-political will be connected and the problematics of scale are brought to the foreground through the projects Mycelium Network Society and Shift Register.

Mycelium Network Society, a brand new network initiative situated in a post-internet mudland, diverts the pursuit of magic mushroom, from a state of hyper-hallucination to collective fungal consciousness, and investigates the fungi culture, its network capacity to communicate and process information.

Shift Register is a research project investigating how human media, technological and infrastructural activities have marked the earth. It investigates and renders legible the material evidence of human activities on earth, registering these not as indicators of human achievement, but as ambiguous negotiations and signposts of planetary exhaustion.

Friendly Fire: What Is It to Re-think Radical Politics, Today?

In light of recent political events like Brexit and the Trump victory, the Left must re-think its approaches. The rise of Right-wing populism is transforming the arena of conflict, struggle, and antagonism, marking it with increasingly xenophobic and nationalistic politics. How can the Left question and understand this arena anew? Is there an emergent politics, which can design effective forms of organization and confrontational strategies, and extend the logics of political communication? How should the Left reconsider radical agendas and strategies? And how can it effectively adjust trajectory and mobilize forces to confront the increasingly hostile, cynical, and polarized social, economic, and political terrain? Central to this new terrain is a rapid re-articulation of relationships between the masses, communities, movements, infrastructures, and media, both old and new. This panel reflects on the role of digital media in the political field, the data infrastructure of the public sphere, and a politics of re-collectivity that reexamines conflict and struggle as progressive forces in democracy.

This panel is a cooperation between Berliner Gazette and transmediale and launch for the Berliner Gazette annual project FRIENDLY FIRE

Hegemonic Media and Their Opponents

Persistent inequalities continue to prevail on the dark side of today’s powerful media platforms. Companies like Facebook and Google possess the power to shape ideologies, beliefs, and desires by offering a range of services from providing Internet access to supplying infrastructures for the accumulation and organization of information. The panel will discuss emerging forms of digital colonialism while looking into various examples of opposition and resistance. Can we confront the subtle and hidden forms of this new cultural hegemony? Who are (or aren’t) the new digital subalterns? Focal points of discussion include the defeat of Facebook’s Free Basics service in India, the politics of the Google Cultural Institute, and new transcultural forms of resistance.

Immediate & Habitual: The Elusiveness of Mediation

With the increased networking of our digital world, media technologies—once stable apparatuses of communication—have dissolved into new ecologies. Being composed of and affected by human and nonhuman actors, users and machines, fleshy bodies and digital objects, such media ecologies overcome previously conceived separations and dichotomies between culture and technology. How does this ongoing yet unnoticeable shift transform our everyday life? And what renders the processes behind media technology today so elusive? During this keynote conversation, two prominent Media Studies scholars shed light on these questions from different angles. Richard Grusin emphasizes the role of a new immediate, radical, and ubiquitous form of mediation that transcends communication, affecting future-oriented events. Wendy Chun stresses the importance of the habitual character of media technologies today, through which media becomes part of our lives, and in reverse our lives become part of a new technological culture.

Middle Session: The Elemental Middle

As media steadily melt into the environment, they become both more naturalized and estranged in the sense that we understand the way they work less and less. The “Elemental” Middle Session highlights the unnoticeable media we live and work among, focusing equally on their material (technical) properties and their cultural meanings. Rather than relying on the worn-out critical mechanisms of “revealing what lies beneath” or “exposing hidden truths,” the discussion focuses on de-naturalization and re-familiarization. Speakers discuss areas of infrastructural intersection and entanglement, identifying ways in which structures of power reinforce each other through ubiquitous media. What are the “elemental” substrates of contemporary media? Is it helpful or possible to try and reduce a complex ecosystem of human and nonhuman actors to its elementary particles?

Prove You Are Nonhuman

From the time of the famed Turing test until today, humans have engaged with different forms of artificial intelligence, drawing comparison to possibilities of the human brain. The role of the human, capable of complex processes that machines cannot perform, has often been to intervene and secure proper functioning of machine learning systems. In today’s entangled condition, with examples of bots tweeting as humans, filtering and moderating news content, or as high frequency traders defining financial flows, it is increasingly difficult to tell who or what is acting. Is it possible to locate and comprehend the role and function of nonhuman actors? Which old and new approaches are might be of use? What would it take and what would it mean to stop anthropomorphizing computers and obtain a machinic point of view?

Singularities

A singularity is a point in space-time of such unfathomable density that the very nature of reality is brought into question. Associated with elusive black holes and the alien particles that bubble up from quantum foam at their event horizon, the term ‘singularity’ has also been co-opted by cultural theorists and techno-utopianists to describe moments of profound social, ontological, or material transformation—the coming-into-being of new worlds that redefine their own origins. Panelists contend with the idea of singularities and ruptures, tackling transformative promises of populist narratives, and ideological discrepancies that are deeply embedded in art and design practices. By reflecting on Afrofuturism and digital colonialism, they will also question narcissistic singularities of ‘I,’ ‘here,’ and ‘now’, counter the rhetoric of technological utopias, and confound principles of human universality.

Strange Ecologies: From Necropolitics to Reproductive Revolutions

In this keynote conversation Steve Kurtz and Johannes Paul Raether explore the less visible or even unacknowledged territories associated with the politics of death and reproduction in the Capitalocene. The impact of excessive human influence on life and our planet’s environments frame most progressive discussions about ecology today, simultaneously making the world both naturalized and denaturalized. Humans are typically treated as a dangerous alien force upsetting the balance of nature, and a force of reduction in terms of diversity and complexity in nature. At the same time, humans have long known that life and the environment are not balanced, nor do they have any necessary direction or purpose. Situated in the middle of strange ecologies, the challenge is to confront the full spectrum of power mechanisms and politics behind our environmental and evolutionary thinking. Through two talks and a conversation, Steve Kurtz and Johannes Paul Raether address the environment, death, and the practices, ethics, and politics of reproduction, questioning their contradictions and paradoxes.

Thanks to C-Base we had the perfect location for this series of student workshops during the Transmediale Festival. The Program was as follows:

THURSDAY, FEB 3

Presentations by Future Design City Feb 2, 15:00 – 16:00 @ C-Base Towards Urban Interactions The rise of computation embedded into objects, walls, and buildings introduces a new paradigm for the way humans interact with their environments. How will we design the relationship between people and such connected spaces? How might interactive systems scale across everyday human experience? And which new opportunities and challenges could appear, when we imagine future cities as networks of overlapping, dynamic data points?

Bio Andreas Rau
Andreas Rau is an interaction designer, creative coder and jazz pianist based in Berlin. As co-founder of the Institute for Urban Interactions, he researches the interplay of people and their environments in emerging interactive spaces. His concepts and prototypes aim to create meaningful experiences across the physical and digital worlds, always questioning the relationship between the two.
www.andreasrau.eu
www.urbaninteractions.org

Live Code and Live Algorithms – Feb 2, 16:00-18:00 @ C-Base

CTM 2017 – Fear Anger Love Feb 2, 22:00 – 05:00 Berghain/Panoramabar

FRIDAY, FEB 3

ACTIVITIY STREAM A:
TidalCycles Workshop – Feb 3, 12:00-17:00 @ C-Base led by Alex McLean & Alexandra Cardenas

TidalCycles (or Tidal for short) is a language for live coding patterns of events in time. It allows you to make musical patterns with text, describing sequences and ways of transforming and combining them, exploring complex interactions between simple parts. Tidal does not make sound itself, but is designed for use with the SuperDirt synth, and can control other synths over Open Sound Control or MIDI. This workshop will explore the expressive power of the Tidal language as a way of generating and performing musical sequences. Tidal is a very intuitive language, and thus should be accessible to total beginners using the built-in sound material Tidal provides. For those with experience in SuperCollider, you’ll be happy to know that Tidal can be used as a sequencing language for all the sophisticated synths and sample playback mechanisms you’ve created in SuperCollider. https://tidalcycles.org/

PREPARATIONS FOR THE WORKSHOP
It is important that all students attending this workshop bring a laptop and install all the pre-requisite software in advance. This means you need to install Haskell, Atom, SuperCollider (3.7 or later) and
Git.

For installation instructions use the following links:
Installation instructions for Mac Users https://www.youtube.com/watch?v=dJTfGv2sT-w
Installation instructions for all platforms https://tidalcycles.org/getting_started.html

ABOUT THE WORKSHOP LEADERS

Alex McLean (UK) has been active across the digital arts since the year 2000, including live coding music, and software art for which he won the Transmediale award in 2002. Alex co- founded the TOPLAP and Algorave movements, and has collaborated widely including as part of Slub, Canute, aalleexx, and xynaaxmue. He completed his PhD thesis on Programming Languages for the Arts at Goldsmiths London, during which time he initiated the free/open source live coding environment TidalCycles, connecting code and music to create a rich approach to pattern making. Alex is based between Sheffield UK, and the research institute in the Deutsches Museum in Munich, where he uses live coding techniques to explore the ancient thought processes of textile weavers, for the European project PENELOPE lead by Ellen Harlizius-Klück. He releases his solo music as Yaxu on the Computer Club label, including the EP Peak Cut and forthcoming album Spicule. He curates the Festival of Algorithmic and Mechanical Movement, and is co-editing the Oxford Handbook on Algorithmic Music with Roger Dean, due out during 2017. yaxu.org

Alexandra Cardenas (CO) is a composer, programmer, and improviser of music born in Bogotá, Colombia in 1976. She studied composition at the Universidad de Los Andes where she also carried studies in mathematics and classical guitar. Using open source software like SuperCollider and TidalCycles, her work is focused on the exploration of the musicality of code and the algorithmic behavior of music. Alexandra is among the pioneers of live coding in electroacoustic music and part of the forefront of the Algorave scene. Currently, she lives in Berlin, Germany, and is doing her masters in Sound Studies at the Berlin University of the Arts. cargocollective.com/tiemposdelruido

ACTIVITIY STREAM B:
Exhibition Tour – Feb 3, 12:30-17:30

To facilitate reflection, we ask the organisers of transmediale for a spacewhere the students can convene at specific times on a daily basis with the faculty from Coventry and Leuphana, as well as guests invited from the festival roster. For this we would only need a room to convene in at a specific time each day.

The students at Leuphana will have had a course on live coding performance and be able to contextualize and deeply appreciate the artists who perform during the Algorave events put forth in the second proposal of this package.

While the younger group of students from Coventry will be able to experience this event as an expose of what is artistically possible with code. The more advanced students from the Leuphana group will have the option to perform their work during the early slot of the proposed Algorave night.

1 – Critical Constellations of the Audio-Machine in Mexico
Kunstraum, Mariannenplatz 2 12:30

This year’s exhibition takes as its focus the history and current state of electronic music and sound art in Mexico, guiding visitors through the various different musical styles and sound experiments that have emerged in the country since the beginning of the 20th century. Curated by sound researcher Carlos Prieto Acevedo, the exhibition features work by a number of active members of the Mexican sound art community, including Ariel Guzik, Angélica Castelló, Guillermo Galindo, Roberto Morales Manzaneres, Verónica Gerber, Mario de Vega and Carlos Sandoval. Talks and performances featuring Mexican music from the last 20 years as well as reworks and reconstructions of pieces from the beginnings of experimental music in Mexico link the exhibition to a larger international context

2 – Primitives
HAU2, Hallisches Ufer 32 15:00

Alan Warburton’s “Primitives” installation will be on display during the festival week, free of charge, exploring the intersection of entertainment and science using cutting-edge CGI “crowd simulation” software. This technology is normally used in Hollywood blockbuster films to fill out cities, stadiums and battlefields and also by researchers and engineers working in crisis mapping, city planning and events management. Warburton’s AV project explores this simulation software to “liberate the digital crowd” and allow it to live and explore more experimental parameters.

3 – On the Far Side of the Marchlands
Schering Stiftung, Unter den Linden 32-34 16:30

The exhibition “On the Far Side of the Marchlands” at Schering Stiftung explores the potential of radically new topographies through border regions (marchlands) created by the artists, composed from inextricably linked realms of experience, culture, and materiality. The 3D Additivist Cookbook, conceived and edited by Morehshin Allahyari and Daniel Rourke, is the point of departure for the exhibition, bringing together radical projects by over one hundred artists, activists, and theorists.

Algorave – Feb 3, 20:00 - 00:00 @ HKW

Algorave embraces the alien sounds of raves from the past, and introduce alien, futuristic rhythms and beats made through strange, algorithm-aided processes. It’s up to the good people on the dance floor to help the musicians make sense of this unstable situation and do the real creative work in making a great party. These days just about all electronic music is made using software, but with artificial barriers between the people creating the software algorithms and the people making the music. Using systems built for creating algorithmic music and visuals, these barriers are broken down, and musicians are able to compose and work live with their music as intricate processes. Algorithmic music is no new idea, but Algorave focuses on humans making and dancing to music. Algorave musicians don’t pretend their software is being creative, they take responsibility for the music they make, shaping it using whatever means they have. More importantly the focus is not on what the musician is doing, but on the music, and people dancing to it. Organized in collaboration between transmediale, Alex McLean, Alexandra Cardenas and Jonathan Reus, the Algorave at this year’s transmediale is the first event of its kind in Berlin. It is a kind of “coming home”, a celebration of transmediale’s history of supporting the early development of live coding since the early 2000’s, as well as celebrating how far live coding has come as a practice since then. With sets by: Alexandra Cardenas & Camilla Vatne Barratt-Due (CO/NO) | Alex McLean (UK) | coï¿¥ï3⁄∕4¡pt (UK) | La verbena electronica (ES) | Belisha Beacon (BE) | Fredrik Olofsson (DE) (visuals) | Miri Kat (UK) (visuals)

ORGANISERS

Jonathan Reus-Brodsky (Leuphana University, DE)

Jonathan Reus-Brodsky is an American composer-performer whose musical work blends machine aesthetics with free improvisation. In 2009 Jonathan received a Fulbright Fellowship to conduct research into computationally-mediated music systems at the Studio for Electro-Instrumental Music (STEIM) in Amsterdam. Afterwards he worked at STEIM as a curator, research coordinator and educator. He is a founding member of the Instrument Inventors Initiative performative media collective based in The Hague. He is lecturer for Computational and Coded Cultures at Leuphana University, Lüneburg.

Adnan Hadzi (Coventry University, UK)

Adnan Hadzi undertook his practice-based PhD onFLOSSTV – Free, Libre, Open Source Software (FLOSS) within participatory TV hacking Media and Arts Practices’ at Goldsmiths, University of London. Adnan’s research focuses on the influence of digitalization and the new forms of (documentary-) film production, as well as the author’s rights in relation to collective authorship.

Rob Canning (Coventry University, UK)

Rob Canning is a composer and performer with a research focus centred around networked creativity and open working methodologies. His recent work explores possible interplays between performers and network delivered instruction sets; these range from traditional ensemble pieces which utilise browser based net-scores to simultaneous network streamed sonic drifts as in his Streamscape project.

PROFILE OF STUDENT GROUPS

The organizing faculty from Leuphana and Coventry will each bring a group of approximately 25 students to participate in the excursion. Leuphana University, Bachelors Major of Digital Media

The Major of Digital Media bachelors at Leuphana University aims to educate students to have a wholistic view of the digital as it exists in its myriad formations in science, culture and aesthetics. The program originates out of a joint cooperation between the Digital Cultures Research Lab and Institute for Culture and Aesthetics of Digital Media. Students receive a mixed course load from diverse teachers in computer science, history and epistemology of computing, software studies, creative coding, digital art, electronic music, net critique and similar topics. The group attending the excursion will be in their 3 rd year of study in the new digital media major, and have already completed much of the above coursework. The excursion will serve as the culmination of a hands-on seminar on livecoding and computer music.

Coventry University, Digital Media Bachelors
The group of Digital Media students from Coventry will be in their first year of study, and therefore be extremely new to digital cultures and creative use of digital media. We see the pairing of these students with the more advanced group from Leuphana as an ideal informal mentorship situation.

REFLECTION SPACE
In order to facilitate daily theoretical discussions around the experiences of the festival, we ask that transmediale provide a meeting space once per day for the organising faculty and the student groups to convene. The space should provide adequate seating for up to 50 students, a video projector and stereo sound.

ALGORAVE SHOWCASE

SYNOPSIS

We propose an Algorave showcase night as part of transmediale’s activities for 2017 – organized in collaboration between transmediale, Jonathan Reus-Brodsky, Alex McLean and Alexandra Cardenas, artists from the live coding scene who are eager to realize Berlin’s first Algorave as a celebration of transmediale’s history of supporting the early development of live coding since the early 2000’s. Next to the main Algorave club night we also propose a possible mini-symposium and public live coding workshops.

PROPOSAL

We propose an Algorave club night as part of Transmediale’s activities for 2017. The Algorave will be the first event of its kind in Berlin, and will be organized in collaboration between transmediale, live coding pioneer Alex McLean, Mexican live coder/composer Alexandra Cardenas and American live coder/instrumentalist Jonathan Reus-Brodsky. The Algorave showcase at transmediale’s historic 30 year anniversary comes out of a desire to celebrate transmediale’s history of supporting the early
development of live coding since the early 2000’s. In this way, the Algorave at transmediale is a kind of coming home, a celebration of how far live coding has come as a practice and a focal point for thinking where it may go. Along with the club night, we propose a mini-symposium and public workshops around the Genesis and Cultures of live coding.
The students from Leuphana University described in the student excursion proposal of this package will have just had a course on live coding performance and be able to contextualize and deeply appreciate the artists who perform during this event, and hopefully participate as part of an early slot during the club night.

ORGANISERS

Jonathan Reus-Brodsky (Leuphana University, DE)

Jonathan Reus-Brodsky is an American composer-performer whose musical work blends machine aesthetics with free improvisation. In 2009 Jonathan received a Fulbright Fellowship to conduct research into computationally-mediated music systems at the Studio for Electro-Instrumental Music (STEIM) in
Amsterdam. Afterwards he worked at STEIM as a curator, research coordinator and educator. He is a founding member of the Instrument Inventors Initiative performative media collective based in
The Hague, and teaches as lecturer for Computational and Coded Culture at Leuphana University, Lüneburg.

Alexandra Cardenas (MEX/DE)

Alexandra Cardenas is a Colombian composer and improviser based in Berlin, who has followed a path from Western classical composition to improvisation and live electronics. Her recent work has included live coding performance, including performances at the forefront of the Algorave scene.

Alex McLean (UK)

Alex McLean is a software artist, live coding musician and researcher based in Sheffield UK. He is active in the live coding community, including creating the live-coding environment TidalCycles, an co-founding the TOPLAP and Algorave movements. He has performed widely since the year 2000 in several collaborations including Slub with Dave Griffiths and Adrian Ward, Canute with Yeeking (Rephlex), and aalleexx with Alexandra Cardenas. Alex performs solo as Yaxu, releasing music on the Computer Club label, including Peak Cut EP which Bleep.com described as a “.. polyrhythmic and hyperreal strand of techno .. showcased on cuts like Public Life and Cyclic showing that he is not just testing the confines of how music can be consumed but also how genres can sound.” He won the Transmediale Software Art award in 2001, the British Science Association Daphne Oram Award Lecture in 2015, and is sound artist in residence at the Open Data Institute during 2016. He is currently
co-editing the Oxford Handbook on Algorithmic Music with Roger Dean.

ALGORAVE CLUB NIGHT

We propose a club night featuring a showcase of some of the top artists from the Algorave scene, presenting a whole night of live coded electronic dance music and presented in collaboration with
Alexandra Cardenas and Alex McLean . The club night ideally begins early (7pm), with an early slot
for the more advanced students of Leuphana University’s digital media program to perform with
their work from the previous semester’s seminar on live coding. After the early slot we transition
into a full club evening with the featured artists, going late into the night. Leuphana University is
able to contribute towards the fees of the artists, as they will also participate in more intimate
encounters with the students.

VENUE & TECHNICAL REQUIREMENTS

• A medium-sized dance venue with loud stereo sound system
• Multiple projectors & projection screens for visualists and projection of code.
• A long standing-height table where multiple artists can set up simultaneously.
• It will be necessary to have a sound technician for the evening.
ARTIST TRAVEL & FEES
• Leuphana University is able to provide fees for a limited number of invited artists in so far as
they provide guest tutoring/mentorship for the student groups.
• transmediale provides assistance with artist travel and lodging costs.
DOCUMENTATION OF PAST ALGORAVES
Algorave article in Wired
• http://www.wired.co.uk/article/algorave
Algorave at OCCII, Amsterdam
• http://motherboard.vice.com/nl/read/algorave-coden-in-de-club
Algorave at Leeds Digital Festival, 2016
• https://www.youtube.com/watch?v=NTBMHE1Tj48&feature=youtu.be&t=33m11s
Canute at Algorave Karlsruhe 2015
• https://www.youtube.com/watch?v=uAq4BAbvRS4

LONG LIST OF ARTISTS MUSICIANS
• Jonathan Reus-Brodsky (US/NL) + Colin Hacklander (US/DE)
• Alexandra Cardenas (MEX/DE)
• Alex McLean (UK)
• Renick Bell (JP)
• Hlodver Sigurdsson (IS)
• Alberto de Campo (AT/DE)
• Frederik Oloffson (SW)
• Benoit and the Mandelbrots (DE)
• Shelly Knots + Jo Anne = ALGOBABEZ (UK)
• Nick Collins (UK)
• Thor Magnusson (UK)
• The Void* (NL)
• Till Bovermann (DE)
• Luuma (UK)
• Sean Cotterill (UK)
• Calum Gunn (UK)
• Polinski (UK)
• Belisha Beacon (UK)
• Anny (UK)
• Lil data (UK)
VISUALISTS
• Jack Rusher (DE)
• Francesca Sargent (chez) (UK)
• Dan Hett (rituals) (UK)
• Antonio Roberts (hellocatfood) (UK)

ALGORAVE WORKSHOPS AND MINI SYMPOSIUM

Taking advantage of the high caliber of invited artists, we propose the possibility for doing one or two public workshops related to live coding and Algorave. And potentially a small symposium or panel discussion on the Genesis & Cultures of Livecoding. The workshops and mini-symposium follow a successful similar format to those presented in Amsterdam during their Algorave events in 2014. Two workshops from that event, an introduction to SuperCollider and a more advanced workshop of livecoding with live instruments could be presented, as well as a possible workshop on Alex McLean’s Tidal environment, which is beginner friendly and would potentially appeal to a larger public audience.

POTENTIAL WORKSHOPS
• Intro to SuperCollider
• http://www.codedmatters.nl/workshop/learn-basics-sound-synthesis-supercollider/
• SuperCollider & Live Instruments
• http://www.codedmatters.nl/workshop/supercollider-live-instruments/
• Intro to TidalCycles
• http://tidalcycles.org/
• Link to mini-symposium held in Amsterdam
• http://www.codedmatters.nl/workshop/algorave-mini-symposium/
SPACE & TECHNICAL REQUIREMENTS
• A medium-sized workshop space with tables and chairs
• stereo sound system
• projector/screen

Throughout the run of the festival, excursions, and closing weekend, around 180 international thinkers and cultural producers will reframe the question of the role of media today through panels, performances, workshops and screenings.

FESTIVAL 02.–05.02.2017 [1]

transmediale’s new publication _ACROSS & BEYOND – A TRANSMEDIALE READER ON POST-DIGITAL PRACTICES, CONCEPTS, AND INSTITUTIONS_ is out now! This collection of art and theory analyzes today’s post-digital conditions for critical media practices–moving across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art.

In the keynote conversation _Becoming Infrastructural – Becoming Environmental_ (Fri, 03.02.2017, 18:00), LISA PARKS and ERICH HÖRL discuss entanglements between nature and technology, where infrastructural sites are interrupted by nonhuman species and a “General Ecology” of new power
structures emerges.

WENDY CHUN and RICHARD GRUSIN talk about mediation beyond the media and the habitual patterns of immediate communication in the keynote conversation _Immediate & Habitual: The Elusiveness of Mediation_ (Sat, 04.02.2017, 18:00).

In the keynote conversation _Strange Ecologies: From Necropolitics to Reproductive Revolutions_ (Sun, 05.02.2017, 18:00), STEVE KURTZ and JOHANNES PAUL RAETHER explore unacknowledged territories amid the politics of death and ethics of reproduction in the Capitalocene, questioning their
contradictions and paradoxes.

transmediale and CTM Festival [2] will feature _LEXACHAST_, a collaboration between PAN label founder BILL KOULIGAS and futuristic sound design duo AMNESIA SCANNER. The performance introduces a mangled dystopian soundtrack that revolves around generative live-streaming visuals by artist Harm van den Dorpel (Fri, 03.02.2017, 21:00).

Another highlight is the screening of _THE SPRAWL (PROPAGANDA ABOUT PROPAGANDA)_: With their debut feature film, METAHAVEN investigates the role and power of propaganda in the social media age. The film is a paranoid digital trip in which form and content continually influence each
other. The screening is followed by a talk between Metahaven and artist and researcher Susan Schuppli (Sat, 04.02.2017, 21:00). Trailer [3]

Find a list of confirmed participants on our updated website [1]. The full program is soon available. read more [4]

EXHIBITION 02.02.–05.03.2017 [1]

Within the scope of _ever elusive – thirty years of transmediale_, the special exhibition “ALIEN MATTER”, curated by Inke Arns, will be on view at Haus der Kulturen der Welt from 2 February to 5 March 2017.

“Alien matter” refers to man-made, and at the same time, radically different, potentially intelligent matter. It is the outcome of a naturalization of technological artefacts. Environments shaped by technology result in new relationships between man and machine. Technical objects, previously defined merely as objects of utility, have become autonomous agents. Through their ability to learn and network, they challenge the central role of the human subject.

Approximately 20 exhibiting artists from Berlin and around the world will present works about shifts within such power structures, raising questions about the state of our current environment and whether it has already passed the tipping point, becoming “alien matter”. Find the full list of artists and their artworks here [5]. [6]

ACROSS & BEYOND – A transmediale Reader on Post-digital Practices, Concepts, and Institutions

In the upcoming weeks transmediale is publishing a selection of essays of this publication on transmediale/journal [6]. You can already read the introductory essay “Across and Beyond: Post-digital Practices, Concepts, and Institutions” by Ryan Bishop, Kristoffer Gansing and Jussi Parikka here [7].
_across & beyond_ was developed by transmediale and Winchester School of Art, University of Southampton.

Order your copy now or grab it at transmediale 2017 _ever elusive_! read more [8]

Links:
——
[1] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1741&qid=123250
[2] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1742&qid=123250
[3] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1743&qid=123250
[4] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1744&qid=123250
[5] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1745&qid=123250
[6] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1746&qid=123250
[7] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1747&qid=123250
[8] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1748&qid=123250
[9] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1749&qid=123250
[10] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1750&qid=123250
[11] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1751&qid=123250
[12] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1752&qid=123250
[13] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1753&qid=123250
[14] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1754&qid=123250
[15] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1755&qid=123250
[16] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1756&qid=123250
[17] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1757&qid=123250
[18] https://spot.transmediale.de/sites/default/modules/civicrm/extern/url.php?u=1758&qid=123250
[19] https://spot.transmediale.de/civicrm/mailing/optout?reset=1&jid=2081&qid=123250&h=0f7a801e00d63ed2

360º Video and Interactive Storytelling

Alexa, Who is Joybubbles?

CAPS Community workshop is taking place on the 12th July

10/7/2017

Welcome and introduction to MAZI

Keynote talk: Digital Commons, Urban Struggles and the Right to the City?

MAZI stories

The MAZI toolkit and its applications

Hands-on experience with the MAZI toolkit and participatory design

Wrap-up of the workshop

11/7/2017

12/7/2017

13/7/2017

14/7/2017

Crowd4roads: crowdsensing and trip sharing for road sustainability

Collaborative monitoring of road surface quality

Car pooling and trip sharing

Hands on the first release of the Crowd4roads app

Hands on Crowd4roads open data

Gamification strategies for engagement

Fireside Chat

Panelists

Schedule