Archivi tag: ars electronica

Alter Itsuki Doi (JP), Takashi Ikegami (JP), Hiroshi Ishiguro (JP), Kohei Ogawa (JP)-Award of Distinction Ars Electronica 2018
1157

Alter is a robot developed for the purpose of exploring what it means to be “life-like.” In contrast with the OtonaroidAlter appears to be a machine that has been stripped bare. However, it expresses life-likeness through complex movements. These movements may look haphazard, but change constantly due to the underlying algorithm that mimics the logic of neural circuits of living things. A moment of “life-likeness” emerges as you observe closely—what is that moment like? Attempt to find your own answer to that question.

 

Alter does not move in ways that are determined beforehand; rather, the movements made by the entire body are created in real-time. Furthermore, your responses are perceived by sensors and reflected into the movements. Sensors that measure the distance between Alter and human beings observe the movements of the people around Alter, and send signals to the program. A central pattern generator (CPG) creates a basic rhythm that is cyclical, yet gradually deviates from the original pattern. A neural network of 1,000 nerve cells is recreated on the computer, and Alter “learns” life-like activities based on signals sent from the sensors. Based on computer signals that are rhythmic and changing, compressed air is sent through 42 joints to create smooth movements.

Alter was born through cooperation between a researcher of androids, which are robots that appear identical to human beings, and a researcher of artificial life, who attempts to recreate life on a computer. Both researchers ask the same question: “What is life?”—but the hypotheses on that are different.

Biografie:

Takashi Ikegami (JP)Takashi Ikegami (JP) is a professor at the University of Tokyo. He specializes in artificial life and complexity, and has been known to engage on the border between art and science.

Hiroshi Ishiguro (JP)Hiroshi Ishiguro (JP) received a D.Eng. in systems engineering from Osaka University, Japan in 1991. He is currently Professor at the Department of Systems Innovation in the Graduate School of Engineering Science, Osaka University, and Distinguished Professor of Osaka University. He is also visiting director (group leader: 2002-2013) of Hiroshi Ishiguro Laboratories at the Advanced Telecommunications Research Institute and an ATR fellow. His research interests include distributed sensor systems, interactive robotics, and android science.

Kohei Ogawa (JP)Kohei Ogawa (JP) is a robotics and Al researcher at Osaka University, where he has been an Associate Professor since 2017. He is working on a robotics and interaction study.

Itsuki Doi (JP)Itsuki Doi (JP) is a sound artist and a PhD candidate at the University of Tokyo, Graduate School of Art and Science, where he also received his Master Degree of Science in 2015.

Credits:
Supported by Osaka University and Tokyo University

La Chute / The Fall, Boris Labbé (FR)-Ars Electronica 2018- Award of Distinction
1155

As celestial beings descend to Earth vitiating its population, the world’s order unbalances. Initiated by these terms, a tragic fall leads to the parturition of crucial opposites: Hell and Heaven’s circles.

 

Boris Labbé got the inspiration for his film from reading Dante’s Divine Comedy, but it isn’t an adaptation. In fact, the work gives a sensation of being an amplified imaginary creation that draws upon art, myths, and the history of mankind. The artist was clearly influenced by Bosch’s The Garden of Earthly Delights, Bruegel’s The Fall of the Rebel Angels, Botticelli’s illustration of Dante, Goya’s The Disasters of War and Henry Darger’s In the Realms of the Unreal. With La Chute Boris Labbé continues his experimental research with a new sense of narrative, and pursues his work around loops, metamorphoses, and the intertwined processes of degeneration and regeneration.

The artist uses traditional techniques combined with computer composition editing. The animated sequences consist of Indian ink and watercolor drawings on paper (21 x 30 cm), approximately 4,000 original drawings were needed to create the whole film. The multilayered compositing as well as the camera movements were made with After Effects during the process. Boris Labbé works with a small team of artists, technicians, and animation students who help him to assume this laborious and non-conventional working process. Parallel to the animation process, the musical composition was created by the Italian composer Daniele Ghisi. He’s worked with database existing music, mainly string quartets, edited digitally in a complex multilayered electronic music composition.

Biografie:

Boris Labbé (FR)Boris Labbé (FR). After obtaining a DNAP (National Diploma in Visual Arts) at the School of Art and Ceramics in Tarbes, Boris Labbé continued his studies at EMCA – École des Métiers du Cinéma d’Animation in Angoulême, where he produced numerous projects, including Kyrielle, awarded with the Special Jury’s prize for Graduation Films at the Annecy International Animated Film Festival in 2012. Simultaneously, he developed his work as an artist and film director. He spent one year as an artist member at the Casa de Velázquez in Madrid, Academy of France in Spain. Later on he started his collaboration with Sacrebleu Productions and directed the short films Rhizome (2015), which was awarded the Grand Prize at Japan Media Arts Festival in Tokyo, and the Golden Nica at Prix Ars Electronica in Linz. La Chute (2018) was selected for special screenings at the 57th Semaine de la Critique, Cannes Film Festival.

Credits:
La Chute (The Fall) is an animated short film directed by Boris Labbé and his second collaboration with Sacrebleu Produtions after his last project Rhizome (Golden Nica, Prix Ars Electronica 2016, Computer Animation, Film, VFX).

Produced in France by Sacrebleu Productions, in association with Boris Labbé, La Chute received support from CNC, Ciclic Animation, Fondation Jean-Luc Lagardère, Strasbourg Eurométropole, France Télévisions, and Procirep – Angoa and Sacem.

Director: Boris Labbé
Music: Daniele Ghisi, www.danieleghisi.com
Producer: Sacrebleu Productions, Ron Dyens
Animation: Boris Labbé, Armelle Mercat, Hugo Bravo, Capucine Latrace
Animation trainees: Claire Boireau, Edgar Collin, Johann Etrillard, Jean Gégout, Alexis Godard, María José Suárez
Compositing: Boris Labbé, Sami Guellaï
Calibration: Yves Brua
Mixing: Régis Diebold

BIO

Graphic artist from his beginning, Boris Labbé has been developing, over the last eight years, an approach in animated video. Experiment after experiment, the film he develops tend to leave the spatio-temporal pattern imposed by the classical cinema, evolving towards video installation devices that include major technological revolutions of the past century, crossed with the latest digital technology generations. All his videos, like a part of the experimental film heritage have the emblem of the palingenesis, concept making both appeal to the loop and regeneration : cyclical return of the same events ; regular reappearance of ancestral characters ; perpetual return to life.

Boris Labbé was born in 1987 in Lannemezan (Hautes Pyrénées, France).
He lives and works between France and Spain (Madrid).
He studied at the School of Fine Arts in Tarbes (ESACT) and in the school of animated film in Angoulême (EMCA) until 2011. Then he was member of the Académie de France in Madrid, as resident at the Casa de Velázquez (2011-2012). After that he was in residence at the HEAR – Haute école des arts du Rhin (oct – dec 2013), as well as at CICLIC Région Centre (apr – dec 2014), and in ESCY in Yssingeaux (nov 2015 – apr 2016) in partnership with the DRAC Auvergne and VIDEOFORMES.

His work has been shown in contemporary art exhibitions in France, Spain, Canada and Japan as well as in over one hundred international film and video festivals.
He received many prizes for his work, so as the Special Jury Prize at the Annecy festival in 2012 forKyrielle, the prize for the Best video installation in roBot festival in Bologna and in the Multivision Festival in St. Petersburg for Danse macabre (2013) among others.
This video installation, exhibited in Montreal (March – May 2016), is now concerved in the Cinémathèque Québécoise collection.

At last, after a short tour around the world and several distinctions in renowned festivals (Annecy, Fantoche, BIAF, CutOut Fest, Stuttgart…), his latest short film Rhizome (2015), produced by Sacrebleu Productions, has been awarded by the Grand Prize at Japan Media Arts Festival in Tokyo and the Goden Nica Animation at Festival Ars Electronica in Linz.

L’Intelligenza Artificiale e la Robotica salverà il mondo (o almeno il Teatro)? cap. 1 ROBOTICA
1146

Articolo di Anna Monteverdi

Girare per eventi come Ars Electronica di Linz o il Festival della Robotica di Pisa ti fa capire come alcuni concetti tecnici abbastanza difficili  (Realtà aumentata, Robotica, Intelligenza Artificiale) siano diventati non solo pratica quotidiana ma ambiti già ampiamente frequentati e applicati con qualche egregio risultato, anche all’arte e al Teatro.

Se è superata facilmente  la prova dell’ “efficacia computazionale” non altrettanto agevolmente si supera la prova dell’efficacia sul pubblico. Anche in questo caso il consiglio è evitare di recuperare documentazione dalla rete e tentare di capire “dal vivo” cosa significhi davvero fare esperienza di teatro con Robot, con visori immersivi, con l’ausilio di un algoritmo di intelligenza artificiale.

Vogliamo parlare di alcune esperienze viste e fatte in giro per Festival.

  1. L’onnipresente automazione nell’industria 4.0 ha reso, anche grazie a varie pubblicità (marchi di automobili per esempio) il robot Kuka molto familiare. Il braccione che sostituzione l’uomo negli impianti di produzione ad elevata automazione non esaurisce la sua attività dentro una catena di montaggio ad assemblare pezzi perché da qualche anno si è sviluppato un ambito piuttosto curioso definito CREATIVE ROBOTICS. L’icona è proprio il braccione arancione Kuka che ha fatto venire in mente le più strane e bizzarre applicazioni agli artisti al punto che Ars electronica di Linz dl 2017 gli ha dedicato una sezione,

    Ecco altri esempi sempre da ARS ELECTRONICA 2017  questa impressionante opera DOING NOTHING che usa un braccio robotico KUKA Quantec prime controllato in tempo reale dal  KUKA mxAutomation interface. La particolarità dell’opera è che adatta la sua coreografia sull’immediata interazione con il pubblico. Il software usato per l’automazione industriale  HMI/SCADA di COPADATA   dà la possibilità di unire i dati raccolti dagli scanner laser e dalla coreografia preprogrammata, visualizzarli e farli passare attraverso il cloud Microsoft Azure. Emanuel Gollob (emanuelgollob.com) con  Johannes Braumann (UFG, Laboratory for Creative Robotic)

  2. ma nel 2015 il braccione robotico in tandem con proiezioni era diventato una delle star dell’Expo di Milano nel padiglione coreano.

    Il settore del fashion design aveva utilizzato il robottone anche per le sfilate. Famosa quella di Alexander McQueen uno dei più geniali e trasgressivi stilisti della nuova generazione morto nel 2010, che spesso usava tecnologie per i suoi fantascientifici abiti in sfilata.

  3.  

    Le applicazioni nel mondo dell’arte sono diventate numerose; nel mondo del teatro sta spopolando il ROBOT YUMI a due braccia che dirige l’orchestra con il tenore Andrea Bocelli che si presta a questa insolita performance a Pisa. La mobilità del braccio sarebbe quello che lo rende più simile all’uomo, in questo caso a un conductor, L’addestramento un po’ lungo, e forse ci si chiede quale utilità ci sia nel replicare una cosa che un uomo può fare e meglio, ma non ci sono limiti allo show business. E infatti l’attrazione del robot che dirige l’orchestra ha fatto l’effetto sperato in termini di pubblicità, pubblico, media ecc Trattasi di un’unità dual-arm progettata da ABB per settori industriale, che ha appreso i movimenti da eseguire con la  tecnologia Lead-Through Programming a imitazione del direttore  d’orchestra Andrea Colombini. La sincronizzazione  musicale è stata efatta con il software RobotStudio.

    https://www.youtube.com/watch?v=Bl1NlHJGWAw

    L’applicazione in teatro con il robot KUKA come interprete è qualcosa di più recente ma ancora una volta sono grandi Festival di tecnologia ad accaparrarsi l’evento TED conference (2015, Vancouver)e ARS electronica : a loro il merito di aver aperto la strada a un’originale espressione d’arte  teatrale robotica.il taiwanese Huang Yi & KUKA si presentano in un ballo a due a ritmo di un violoncello suonato da Joshua Roman. Colpisce la perfetta sincronizzazione, che non può essere frutto solo di una strabiliante programmazione informatica. Qui per maggiori dettagli https://laughingsquid.com/dancer-performs-ballet-with-single-arm-robot/

    Ad Ars electronica il criptico e infernale participative robotic performance project INFERNO di BILL VORN e Louis-Philippe Demers. 

     

    http://prix2016.aec.at/prixwinner/19611/

    Questo esoscheletro viene fatto indossare da attori ma anche da spettatori rapiti. Una riflessione sulla natura del controllo, sia della macchina che umano,  forzato o volontario,  che aveva anticipato già Marcel.lì Antunez Roca con EPIZOO  che era una riflessione sul Cyborg emerso alla fine degli anni ’80.

  4. Quest’anno ricompare il robot Kuka a danzare mentre la Berlioz Orchestra suona e i danzatori creano coreografie contact di danza urbana con la compagnia SILK Fluegge. sulla musica di Symphonie Fantastique di Berlioz in occasione della Grande Concert Night .
    . La coreografia prevede anche un momento di assolo del robot danzante. Elastici collegati al braccio robotico creavano coreografie aeree di grande impatto.
  5. Nell’intervista la danzatrice Silke Grabinger: dice significativamente a proposito del punto di contatto tra robotica e corpo del danzatore:  Si tratta di trovare qualità e perfezione nell’imperfezione. C’è il corpo che può fare certe cose, puoi allenarlo, ma non puoi mai ripetere un movimento uno a uno. È impossibile Ho ballato lo stesso assolo 1117 volte, ma c’erano 1117 versioni diverse di esso, anche se si tratta dello stesso movimento. Un movimento in sé non è mai imitabile. La ricerca della perfezione esiste, ma in realtà è un fallimento perpetuo. Ci sono sempre piccoli errori che hanno nuove possibilità di reinterpretare le cose. Se ora ci scontriamo con la robotica, con una perfezione apparentemente diversa, ma certamente anche con errori, questo apre anche la porta a nuove interpretazioni. 
    Credit: vog.photo

     

  6. una danza molto meno coreografata questa di The giant robot dance sempre col braccione KUKA

    Anche l’applicazione musicale non è male: ci prova con AUTOMATICA  Nigel Stanford, il robot drummer mi sembra funzioni benissimo!

PRIX ARS ELECTRONICA AND STARTS PRIZE 2017
682

Online Submission Deadline (Extended): March 13, 2017 (23:59 CET).

PRIX ARS ELECTRONICA AND STARTS PRIZE

A project may be entered to both the STARTS prize and a Prix Ars Electronica category (Computer Animation/Film/VFX, Digital Musics & Sound Art and Hybrid Art). It is therefore possible to win both the STARTS Prize and a Prix Ars Electronica award at the same time. To do so, submit your project to the specified Prix Ars Electronica category and in the appropriate entry field at the end of the submission confirm that the project is also to be considered for the STARTS prize.
Submitters, who registered already for the Prix Ars Electronica, can use this account also for the STARTS Prize.

GENERAL

  • A work may be entered in only one category. An artist may submit more than one work.
  • Entrants are requested not to submit irreplaceable originals since submitted materials cannot be returned.
  • In addition to the general entry details and rules, special entry rules apply to each individual category.
  • If your entry is awarded a prize or receives a Honorary Mention, your material will be used for the catalog, DVD (CD) and the Prix Ars Electronica website (see Rights), so we ask you to prepare your picture and text material carefully.
  • Employees of the organizers, sponsors and patrons of the Prix Ars Electronica, staff members of organizations that have established and endowed an individual category, as well as the competition’s jurors are ineligible to participate.
  • If you send in additional material pertaining to your submission via post, please mail it by the submission deadline (date of postmark is determinative) to:Ars Electroncia Linz GmbH
    Ars-Electronica-Straße 1
    4040 Linz, Austria
    Code: Prix “Category (e.g. Hybrid Art)”

PUBLIC NOMINATIONS

Works can be nominated online for prize consideration in the individual competition categories until March 3, 2017.

Public Nominations

Public Nominations are recommendations; thus, nominated projects are not automatically entered in the competition. The nominated artists will be contacted by the organizer before the jury convenes. Then, projects must be formally submitted by the artists themselves prior to the entry deadline and in accordance with all competition criteria in order to be entered in the competition.

SCHEDULE

JURY SESSIONS
April 6-9, 2017

NOTIFICATION
Winners of Golden Nicas, Awards of Distinction and Honorary Mentions will be notified before end of April, 2017. (Ars Electronica only notificate in case the project is selected the prize.)

AWARDS CEREMONY
The Prix Ars Electronica 2017 awards presentation will take place during the Ars Electronica Festival 2017 in Linz(September 7-11, 2017).
Winners of Golden Nicas and Awards of Distinction must make a commitment to accepting their awards in person and to presenting their works at the Prix Ars Electronica Forum, an artist symposium. Groups and institutions are requested to nominate a representative to fulfill this commitment. As guests of Ars Electronica, winners will receive complementary hotel and economy class airline tickets for their trip to Linz.

QUESTIONS?

CONTACT

Ars Electronica Linz GmbH
Ars-Electronica-Straße 1
4040 Linz, Austria

Christl Baur
Tel. +43.732.7272-781
info@prixars.aec.at

 

DEEP SPACE 8K Ars electronica center-LINZ
681

A sensational, internationally unique experience awaits visitors to the Ars Electronica Center since August 2015. A 16 by 9 meters wall and 16 by 9 meters floor projection, laser tracking and 3-D animations were the specialities of the Deep Space since 2009. An all-out upgrade of the venue’s technical infrastructure of the Deep Space will enable audiences to enjoy projections at 8K resolution and thus worlds of imagery at a never-before-achieved level of quality! Full HD and 4K—that’s yesterday’s news. 8K is what’s happening now, and that standard is set by the latest update to Deep Space at the Ars Electronica Center. A visit to Deep Space 8K promises to be extraordinary, fascinating, impressive, breathtaking.

Program

WEEKDAYS & WEEKENDS

Enjoy the Deep Space 8K to the fullest extent: gigapixel photographs, lapse videos, historical sites in 3-D, images from inside the human and games to join are repeatedly presented. Because of the diverse opportunities in Deep Space 8K a presentation is never like another! Here you can find the Deep Space program: http://www.aec.at/center/en/programm/deep-space-programm/

DEEP-SPACE-WEEKEND

The Deep Space 8K impresses with such a wealth of program opportunities that they can not be savored in the everyday museum life. Therefore, there are the Deep-Space-Weekends, which are each dedicated to a specific subject: http://www.aec.at/center/en/programm/wochenende/

DEEP SPACE LIVE

The Ars Electronica Center is hosting a Deep Space LIVE event every Thursday (except holidays) at 8 PM. Each presentation will feature ultra-high-definition imagery in 16×9-meter format and will be accompanied by expert commentary, entertaining stand-up repartee, and musical improvisation: http://www.aec.at/center/en/programm/deep-space-live/

Programs at the Deep Space 8K

ausstellungen_deepspace_universummensch_NEU_en1ausstellungen_deepspace_kulturelleserbe_NEU_enausstellungen_deepspace_spielraeume_NEU_enGigapixelsausstellungen_deepspace_astronomie_NEU_enausstellungen_deepspace_medienkunst_NEU_enPlanet EarthAction Packausstellungen_deepspace_best of ars electronica_en

Making-of Deep Space 8K

Interviews and storys

On the Ars Electronica Blog you will find detailed interviews and background stories about the Deep Space 8K: www.aec.at/aeblog

 

Yoichi Ochiai (JP) at Ars electronica
535

Honorary Mention Interactive Art+

Yoichi Ochiai (JP)

Fairy Lights in Femtoseconds is a 3-dimensional holograph that creates a dialogue between the physical and the immaterial, melting the border between matter and images. The result of a successful collaboration between artist Yoichi Ochiai and three Japanese universities, compositions of light fields are created using laser-induced plasma, operating in 30 femtosecond pulses (30 quadrillionths of a second). Exciting the plasma at high intensity for ultra short time periods causes it to emit light arbitrarily outwards into 3D space. Holographic synthesis on light fields has long been the subject of science fiction and is often visualised in moves and computer games. This project employs a method of rendering aerial and volumetric graphics into three-dimensional, computationally controlled matter. It evokes a magical science-fiction narrative, situating the imaginary and intangible within the ordinary world.

Fairylights

Lino Strangis at Ars Electronica, Linz
534

Flying in the Middle of Nowhere

Thu 8 September – Mon 12 September 2016

First Floor / Gallery
POSTCITY
Flying in the middle of nowhereCredit: Lino Strangis

The work was produced at Fondazione Mondo Digitale’s Innovation Gym.

Lino Strangis for six  months at Phyrtual Innovation Gym along with seven young people selected by a call. The Phyrtual Innovation Gym is place where artists can find support to develop their Projects. The work aims at developing new artistic content for immersive platforms such as Oculus Rift. The work is an interactive multimedia application consisting of a 3D virtual set. On the set there are few animated characters with choreographic movements obtained in motion capture. Overturning the classical of video game idea, the audience is free to move in a symbolic environment created and conceived by the artist. Fundamental to this is the contribution of the audio track (electronic/experimental/post-ambient), which characterizes the environment, building up a non-synchronic but “empathic” atmosphere.

Selection from BNL Media Art Festival, Rome (sponsored by Fondazione Mondo Digitale)
selection curated by Valentino Catricalà.

Second Body interactive performance, Ars electronica
352

Second Body by Chieh-hua Hsieh (TW)

“The concept of Second Body comes from the experience of driving cars. If I want to steer the wheel, to brake, to step on the gas, I don’t need to consciously think, yet the car can still go ahead, turn, and park at the correct spot according to my will. Moreover, when I am driving, I know how big my car is when I weave through narrow alleys, and I know where the four wheels are as the car proceeds in its tracks. Maneuvering a car is an experience done almost entirely out of reflex, without the need for the brain to actively think.

This reminds me of the way we move our hands and feet, which move naturally without the need for us to think. When we are infants, we learn how to use our own bodies: we learn to stand on our feet, move, and run, and gradually learn to exercise our bodies as we want. We even learn how to use our bodies to the max in certain sports and exercises. In sum, the accumulation of knowledge, concepts and training allows us to use our bodies without conscious thought, making the use of our bodies an extension of the natural, physical body itself. The same happens when learning to drive, so that driving becomes a process achieved without thinking, with the car becoming an extension of the body.

The present work starts from establishing the presence of the body, while learning the structure of the natural body through setting up knowledge of the body itself. In addition, the knowledge of the structure of exercise is used to represent what we know of our own first bodies in the moment. Afterwards, a fully functional body starts to build up, then change the environment for itself. Gradually, the environment starts to change the body as well. The following section is a 360º full body-length projection that enters the picture to create a non-natural second body, which creates an experience of movement distinct from the movements of the first body. We are re-learning this new body. Adaptation? Conflict? Do we, during the conversion between these two, produce new knowledge to define our bodies with the change in our viewing perspective? Furthermore, how does the second body replace the definition and existence of the first body in the process?”

https://www.youtube.com/watch?v=WFsaTMakWUg

Concept, Choreography: Chieh-hua Hsieh (TW)
Software Architecture, Video Design, Music Design: Ultra Combos (TW)
Music Design: Yannick Dauby (FR)
Lighting Design: We Do Group (TW)
Custom Design: Yu-teh Yang (TW)
Visual Operator: Hsiang-ting Teng (TW)
Dancer: Shao-chin Hung (TW)
Project Support: QA Ring (TW)
Project Mentor: Justine Beaujouan (CH)

Project Consultant: Kevin Cunningham (US)

Commissioned by the Ministry of Culture, Taiwan and Quanta Arts Foundation (TW)

Ars Electronica Festival | Linz, September 3-7, 2015
336

The Ars Electronica Festival that takes place from September 3 to 7, 2015, in Linz is an inquiry into how cities of the future will have to be configured when there are more robots than people working in factories, everything is intelligently interlinked, autos drive autonomously and drones deliver the mail. And what does it mean for future megacities—above all, those on seacoasts—when climate change really does shift into high gear?

The rethinking of urban living spaces has already begun—all over the world, people are coming up with exciting ideas for new architectures and forms of social organization that are able to keep up with the changes the next few decades will bring. 2,889 entries from 75 countries were submitted for prize consideration to the 2015 Prix Ars Electronica. This year’s grand prizewinners are from Japan (Nelo Akamatsu), Mexico (Gilberto Esparza), Indonesia (XXLab), Belgium (Alex Verhaest), Australia (Jeffrey Shaw) and Austria (Gabriel Radwan). The recipients of the Golden Nicas and [the next idea] voestalpine Art & Technology Grant will be honored at the Prix Ars Electronica Gala on September 4, 2015 at the Brucknerhaus in Linz.

:: digital performance interactive arts