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Antoni Abad Antoni Abad, Lleida, 1956. He began his career as a sculptor, and evolved over time towards video art and later in net.art and other forms of new media. His work has evolved away from a traditional sculptural practice to the use of new technologies, and in particular the creation of community-based artworks using cell phones.He moved also from photography to video art, followed by interest in computers Net.art. He uses Internet as a creative & research platform. Antoni Abad's expresses the desire to formal experimentation around the concepts of space and time, always present in his work, not exempt lately of certain ironic and critical aspects. He has presented his work at Fundació Joan Miró, Museu d'Art Jaume Morera, Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Moderno de Buenos Aires, Venice Biennale, P.S.1. – MOMA, Centre d'Art Santa Mònica, MACBA, among others. He got the Premi d'Arts Plàstiques Medalla Morera (medal) 1990, Premi Ciutat de Barcelona in the category of Multimedia (2002), Golden Nica at Ars Electronica[15] within the category of virtual communities in 2006. Considered the most important prize in the world in terms of art and new technologies and the Premi Nacional d'Arts Visuals (National Prize for Visual Arts) in 2006 given by the Government of Catalonia. His work is part of the following collections Artium, CGAC, Centre d’art La Panera, Col·lecció d’art contemporani de Lleida, Colección Caja de Ahorros del Mediterraneo, Colección Sanitas, Fundació “la Caixa”, Fundación ARCO, Fundació LaCaixa, Fundació Suñol, Fundación Unión Fenosa, Generalitat de Catalunya, Grupo Endesa, Künstlerhaus Palais Thurn & Taxis, Bregenz. MACBA, Marugame Hirai Museum, Marugame, Japan.MUSAC, Museo Nacional Centro de Arte Reina Sofía, Museu d Art Jaume Morera, Museo de Bellas artes de Murcia, Museo Morera, Museo de Teruel, Museo Pablo Gargallo, Museu de Granollers, Pinault Collection. Work at the collection: Ego 1999, Spanglish https://catalogo.artium.eus/artistas/antoni-abad https://es.wikipedia.org/wiki/Antoni_Abad_Roses <--Return Ego - Spanglish, 1999 Ego is a computer-based projection that uses drawing software that enables the computer to generate swarms of houseflies that buzz and flit around the space in random patterns. Every few minutes several dozen flies gradually group themselves to spell out a single English or Spanish word: “I,” “Me,” “Yo,” or some variant of the first-person singular. No sooner has the word become eligible, then the flies disperse and scatter to the far margins of the projection wall before reassembling once more. This work was presented in 2001 at the New Museum of NewYork Powered by​ https://archive.newmuseum.org/exhibitions/364 ​ ​

Roc Pares Roc Parés, Mexico City, 1968. Research artist in interactive communication. Doctor in Audiovisual Communication (UPF, 2001), Bachelor of Fine Arts (UB, 1992). Professor at Pompeu Fabra University and Member of the National System of Art Creators of Mexico. His artistic works have been presented in museums, art centers and festivals in Europe, America and Asia. He has published with British Computer Society, Academic Press, MIT Press, among others. Committed to an interdisciplinary culture, which he defends for its emancipatory potential, Parés has spent thirty years exploring the intersections between art, science, technology, thought and society. Work at the collection: Doble Consciència http://roc-pares.net <--Return Doble Consciència, 2020 Doble Consciència is an interactive audiovisual installation, inspired by the stereoscope, invented by Sir Charles Wheatstone, during the first third of the 19th century. Paradoxically, while Wheatstone studied how binocular vision allows us to perceive two different images as a single “solid” object, Parés’s intention is to experiment with binocular rivalry as a way of deconstructing and questioning individual subjectivity: hacking into vision to hack into consciousness. Currently, stereoscopy is used in cartography, surgery, astronomy, microscopy and virtual reality, but the pairs of discrepant images, seen through conventional devices, always construct a unitary vision. According to his proposal, the discrepant vision of our two eyes can become the gateway to a splitting of conscious attention. Technically, the installation is a Digital Haploscope. The images are presented on two side monitors, which are looked at through the two mirrors located in the center of the elevating table, in front of the eyes. Initially the pairs of images presented to the visitor form stereoscopic pairs that present three-dimensional images. Progressively, variations are introduced in the pairs of images, accentuating the difference between them, taking the discrepancy to the limit of binocular rivalry. Finally, the experience ends with pairs of images made expressly in order to overcome the binocular rivalry and to propitiate the hypothetical emergence of the Double Consciousness of each participant. Doble Consciència was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. ​With the support of: https://vimeo.com/457495209 ​ ​

Alex Posada Alex Posada, Santander, 1976. Alex Posada is a digital creator, teacher and researcher in the field of interactivity, digital art and new media. He is a multidisciplinary artist who works at the intersection between art, science and technology through research and the constant development of his own systems and tools. He is also dedicated to teaching in different higher education, masters and postgraduate studies and has led several workshops dedicated to art and interactive technologies in different countries. After finishing his studies in Telecommunications Engineering at the University of Cantabria, he moved to Barcelona in 2002, where he trained in multimedia art and started working on interactive design and electronic art projects. He spent time at Hangar as director of the interactive lab between 2006 and 2015. He currently directs MID Studio. Founded in 2012, it is one of the pioneering studios in electronic art projects in Barcelona in the last 10 years. Its projects have been exhibited at the Olympic Games in Brazil, Phaeno Science Center, Ars Electronica, Kinetica Arte Fair in London, Kernel Festival in Milan, Mapping Festival, LEV Festival, Sonar Festival and Art Rock Festival among others. The studio has also developed projects for museums and cultural centers such as the Picasso Museum, CCCB or MNAC in Barcelona, Círculo de Bellas Artes in Madrid or Roca Gallery Barcelona. He is also an active entrepreneur and co-founder of some start-ups in the technological field such as Smart Citizen, OvalSound and Broomx Technologies. In parallel, he develops projects as an independent multimedia producer and collaborates with other artists and collectives. Work at the collection: “The Particle v2” https://thecreative.net/alex-posada# <--Return “The Particle v2”, 2022 It is a kinetic sculpture that experiments with light, sound and movement. Formally, the piece is a work of generative art, abstracting algorithms and mathematical functions that are interpreted and visualized through light and sound modulating in space and continuously changing the atmosphere and perception of space. The translucent skin created from the moving light becomes visible, creating form and volume supported by visual effects that define the spatial structure of the object. The light form emerges from the movements of each of its 4 rings, rotating at high speed, and the sound is born from the same laws that govern these behaviors. The result is the creation of three-dimensional structures of light and sound. These forms can stop, rotate and move faster or slower creating beautiful synaesthetic effects. The technique used is the perception of apparent motion, that is, the one obtained from the observation of sequences of still images projected successively. This visual effect, also called persistence of vision (POV), is the theoretical capacity of the eye (or retina) to retain the last image that reaches it, making an object continue to be perceived even when it is no longer physically there. Following the evolution of the artist's work in the field of kinetic light and sound sculptures, and the research work in the field of synaesthesia, light, music, technologies free and the creation of generative audiovisual content; this new evolved version of a previous existing prototype of the artist, such as "The Particle" (2010), is presented. The object is at the same time a space for sensory and synaesthetic experience, an organ with its own internal resonance that does not leave the visitor indifferent.​ https://www.youtube.com/watch?v=ND5VeRpkP78 ​ ​

Manuel Fernandez Manuel Fernández, Málaga, 1977. His artistic practice begins at the intersection of art, popular culture and Internet. He explores the impact of technologies on society and their consequences in the way we perceive and experience reality. He investigates on new processes involved in the creation and production of the art object, in its distribution, presentation and in their consumption in the era of Internet of things. Fernández has several works at the Artbase of Rhizome at the New Museum NYC and has been exhibited in the Americas, Europe and Asia, including The Museum of Moving Image, New York, The Armory Show, New York, PHotoespaña Madrid, Art Basel Miami Beach, ARCO Madrid, The Photographers Gallery, London, Galerie Verney-Carron, Lyon, Paradise. A space for screen addiction, Marseille, Xpo Gallery, Paris and Super Dakota, Brussels. Manuel has been one of the jurors of "ERROR 415" Award in New Media organized by ArtSlant in 2013 and has been awarded with the ARCO-BEEP Electronic Art Award in 2014. His work have been featured in multiple outlets, including El País, Liberation, Triangulation Blog, I like this art, Dazed Digital, FastCo Blog, Complex Blog, O Fluxo Blog, trend magazine Notodo and Minus Space Blog, among others. His work “On Kawara Time Machine” won the 9th edition of the ARCO-BEEP Electronic Art Award. Work at the Collection: On Kawara Time Machine http://www.manuelfernandez.name/ <--Return On Kawara Time Machine, 2011 ​Is a Internet work in progress project. A javascript counter automates the On Kawara time based works from the beginning of "Date paintings" in January 4, 1966, to the actual date checked in the operating system clock. The CSS code takes the look of the paintings, using white futura bold typography on black background. The Project will be completed at the date of the death of On Kawara, including a new variable in the code, the counter will count from the origin of "Date paintings" to the date of his dead. ​ http://www.onkawaratimemachine.com/ ​ ​

Charles Sandison Charles Sandison, Haltwhistle, 1969. Charles Sandison was always interested in computing; at the age of 12, he taught himself to code on his computer. He went on to study art (at the Glasgow School of Art) from 1987–1993 and briefly taught there after graduating. In 1995 Sandison moved to Finland and now resides permanently in Tampere. During the early 1990s Sandison exhibited alongside Young British Artists in such shows as; Wonderful Life, Lisson Gallery, London 1993, and Institute of Cultural Anxiety: Works from the Collection Institute of Contemporary Arts, London 1994. During a five year hiatus in which Sandison moved away from the United Kingdom and occupied the position of Head of Fine Art at Tampere School of Art and Media. He came to wider recognition in 2001 after exhibiting in the Venice Biennale. In 2004 Sandison became a visiting professor at Le Fresnoy, Lille. In 2010 Sandison was awarded the Ars Fennica prize by President of Finland Tarja Halonen. Much of Sandison's work involves computer generated video projections that create immersive data installations, placing the viewer at the centre of a changing universe of words, signs, and characters. Sandison's art works to incorporate the viewer into the piece, so that the computer and human mind can work together. Sandison draws inspiration from nature and his surroundings, and attempts to capture elements of human life and the current world that we live in. His work “Nature Morte” won the 8th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Nature Morte https://www.sandison.fi <--Return Nature Morte, 2012 The piece is an accomplished interpretation of baroque vanitis from the viewpoint of new technologies. Convinced that language is our interface with reality, Sandison creates IT programmes controlled by dynamic molecular algorithms that generate words and brings them to life. In the case of the winning work, the artist uses the quartet of Byron that references Carpe Diem, the enjoyment of the instant, in a generative audiovisual work, as such, always distant, that includes elements of literature, romanticism, and textuality, as well as a profound reflection on new media. ​ ​

Christophe Bruno Christophe Bruno, Bayonne, 1964. Christophe Bruno lives and works in Paris. He began his artistic activity in September 2001. His polymorphic work (installations, hacks, performances, conceptual pieces, drawing, sculpture…) has a critical take on network phenomena and globalisation in the field of language and images. He was awarded at the Prix Ars Electronica 2003 and the Piemonte Share Festival in 2007. His work has been shown internationally: Jeu de Paume in Paris, ARCO Madrid, FIAC Paris, Diva Fair in New-York, Palais de Tokyo in Paris, ArtCologne, MOCA Taipei, Modern Art Museum of the city of Paris, Biennale of Sydney, New Museum of Contemporary Art in New-York, National Museum of Contemporary Art in Athens, SMAK in Ghent, NIMk Amsterdam, galerie Aeroplastics Bruxelles, Tirana Biennale of Contemporary Art, HMKV Dortmund, Gallery West in The Hague, Vooruit Arts Center in Gent, Share Festival in Torino, Transmediale in Berlin, Laboral Cyberspaces in Gijon, galerie Sollertis in Toulouse, ICC in Tokyo, Nuit Blanche de Paris, File Festival in Sao Paulo, Centre Pompidou for the Rencontres Paris-Berlin-Madrid, f.2004@shangai, ReJoyce Festival in Dublin, P0es1s.net in Berlin, Microwave Media Art Festival in Honk-Kong, Read_Me Festival in Dortmund and Aarhus, Vidarte in Mexico City, among others. He divides his time between his artistic activity, curating, teaching, lectures and publications. Since october 2013, he teaches art and new media at the École Supérieure d’Art d’Avignon. His work “Fascinum” won the 2nd edition of the ARCO-BEEP Electronic Art Award Work at the collection: Fascinum https://christophebruno.com <--Return Fascinum, 2001 The piece shows in real time the most searched and seen photos in Yahoo ranked from 1 to 100. It was a Yahoo Hack, that became a Google Hack in 2004 after Google’s IPO. It shows in real-time the news pictures the most viewed on different national news feeds. The viewer surfs at the top of the infotainment wave and experiments in a panoptic view the paradoxes of the unique thought. With a selector inside the internet, the most searched images from U.S.A, UK, Italy, France, Spain, Germany and India (updated approximately every two minutes) can be observed. This allows one to make connections between “accounting and globalisation”. http://www.unbehagen.com/fascinum ​ ​

Fabrizio Corneli Fabrizio Corneli, Florencia, 1958. ​The work of poses above all surprise, provokes mystery and astonishment, turning the experience of visuality into an authentic adventure of perception. His works radically transform the space, but with a very slight impact on it: when activated by light, they reveal drawings of shadows, figures of faces, buildings or bodies suspended in mid-flight. In the absence of this activating light, the space of the walls where the forms and drawings appear is almost empty and naked. Only metal slats, combs or other materials protrude from the plane of the wall. As long as there is no light shining on these obstacles, the forms are not "activated". This device, based on the relationship between light and shadow, can be understood as a mechanism of polysemic metaphors that ultimately places the perceptual experience in the foreground. Stories about shadows have fed the imagination since antiquity. The fantastic literature of romanticism has connected the shadow with a certain idea or representation of the soul. So it happens in the well-known story of Adelbert von Chamisso, Peter Schlemihl or the man who lost his shadow, in whose pages echoes Goethe's Faust, and also, although in a different way, in Andersen's tale, entitled precisely The Shadow. This path of imagination, however, also leads us to the shadows of Plato's cave, to his metaphors on knowledge, and also to the myth that Pliny the Elder recounts in his Natural History, to explain the birth of painting. ​The legend tells that the daughter of Butades, a potter from Sicyon, it is not known if it was in this city or in the neighboring Corinth, would have drawn a line on a wall, tracing the silhouette of the shadow of the head of the beloved man, the night before he left the city, in order to remember the features of his face. Shadow and painting establish from this moment on a paradoxical connection, while light assumes the role of illuminating by darkening. In this sense, Corneli's work becomes painting without painting and sculpture without volume that transforms the space, forcing a permanent interaction. The form is the shadow. The image is constructed through darkness that comes from light. The procedure is very simple, but involves a complex process of conception and realization. Fabrizio Corneli uses light as matter and his tool is the trigonometric calculation directed towards the activation of games of perception through a very precise use of perspective that in turn works with shadows and reflections. Mathematics and calculus become a methodology of systematic dematerialization of the work. It brings together optical research and the various traditions of perspective, used since the Renaissance but reinterpreted from the contemporary for an open visuality. The shadow thus functions as an expanded extension of geometry. Corneli's work echoes all these paradoxes and resonances, placing itself outside of any current, but at the core of experimentation on visual perception. Although in the international art scene light and shadow have been worked from a wide variety of perspectives, it is difficult to find a project as coherent and rigorous as Corneli's, which is unique in linking a handmade manufacture with mathematical calculations, where the role of technology is minimal and is generally confined to optics. http://fabriziocorneli.net/ <--Return Halo, 2013 "If we understand white as light and black as shadow, we could say that in my works there is neither light nor shadow, but a continuum of grays. The ambiguity of perception is a fundamental concept to understand the poetics of Corneli, who adds: "Although the approach of my modus operandi is rational and mathematical, the result in the best cases is difficult to focus. The image as meaning wants to be elusive and in any case to refer to a universe, that of shadows, fluid and unreliable. ​ ​

Felicie dEstienne dOrves Felicie d’Estienne d’Orves, Athens, 1979. The work of Félicie d’Estienne d’Orves combines light, sculpture and new technologies. Her research focuses on vision, its processes and conditioning. Her immersive installations use a phenomenological approach to reality, they underscore the perception of time as a continuum. Since 2014, the artist' researches focused on space in relation to astrophysics and to study the natural light cycles. Her work has been shown at the Centre Pompidou , Nuit Blanche, Paris, New Art Space / Sonic Acts Amsterdam, Watermans Arts Center London, Elektra Festival / BIAN Montreal, Maison des Arts of Créteil Créteil, Le Centquatre / Nemo International Biennial of Digital Arts Paris, OCAT Shanghai, ICAS Dresden, Aram Art Museum Goyang /KR, and ArsElectronica, Linz. Work at the collection: Eclipse II http://www.feliciedestiennedorves.com <--Return Eclipse II, 2012 “Eclipse II helps us to experience the inherent game between the relative position of the observer, a light source and an eclipsing disk. By means of a projection on a suspended circular screen, it pretends to question the instinctive and mystic understanding that natural manifestations of light induce. This interaction and alignment of shadow and light evokes the limits of human perception and distant events that create links in the space-time continuum. Like other projections and constructions of radiant colours created by the artist, she seeks to explore the process behind the vision and the forms that condition our gaze.” Jean-Louis Boissier https://vimeo.com/124310756 ​ ​

James Clar James Clar, Wisconsin, 1979 James Clar is a media artist whose work is a fusion of technology, popular culture, and visual information. His work explores the limitations of various communication mediums and its effect on the individual and society. Focusing on the visual arts, his work often controls and manipulates light - the common intersection of all visual mediums. Clar studied film as an undergraduate at New York University focusing on 3D Animation, then continued on to his Masters at NYU's Interactive Telecommunications Program. It was here that he moved away from screen-based work and started working directly with light, creating sculptural lighting pieces. By developing his own systems with which to manipulate light, he discovered he could create unique visual displays, as well as circumvent the limitations of screen-based work, namely resolution and two-dimensionality. ​While his early work dealt with analyzing how technology and media work, a move to the Middle East in 2007 has seen his focus shift to how technology and media affect. As an American living in Dubai, his art work has progressed towards deeper conceptual themes. These include nationalism, globalism, and popular culture in the age of mass information, and often analyses the discrepancy in information between Western media and Middle Eastern media along with its effects on people. The beginning of 2011 sees Clar open “Satellite”, a new studio in a warehouse space that will allow for larger scale experimentation and production. Satellite will also serve as an exhibition space for select works; sculptures, wall pieces, and art installations that take advantage of the space. It will have an open house feel, allowing the public to come inside and have a look at both finished works and the artistic process; a unique opportunity to engage with the artist often before the works are known to the contemporary art world. Clar, who will curate and manage the programming of Satellite, plans to invite other artists passing through Dubai to use the space as a kind of satellite studio while away from home, encouraging experimentation in a new environment and collaboration between artists. Works at the collection: Half Submerged http://www.jamesclar.com/ <--Return "Half Submerged" (2022). An object sits halfway in water, placing itself in two different environments. The object disappears slightly as it enters the water, amplifying light's physical properties while calling attention to the illusion of the object itself. https://www.instagram.com/p/ChAesnXJnFx/?hl=es ​ ​

Sachiko Kodama Sachiko Kodama, Shizuoka, 1970. The surprising techniques developed in her projects by Japanese artist Sachiko Kodama are unprecedented in contemporary artistic practices, inside or outside the field of digital arts. The sounds produced by visitors cause alterations in the magnetic fields of the magnets that make the liquid defy gravity and physics and rise, acquiring three-dimensional forms that mutate every second. A camera amplifies these movements and projects them onto a screen, where it is possible to appreciate in detail the richness and sophistication of the images produced. These images, curiously enough, are not entirely foreign to us: they remind us of synthetic images created by computer, with their shiny surfaces and their ability to change volume and shape in a second. This approach to a virtual aesthetic through a physical substance that we can observe in front of our eyes is one of the most intriguing aspects of this project. Kodama has continued to develop his research with ferrofluids in later works such as Pulsate, an installation in which the magnetic liquid rests on a porcelain plate; Breathing Chaos, where the flickering of candlelight is the element that produces the movement of the fluids, or Morphotower, the most sculptural of his projects, formed by a ceramic cube with holes through which the sinuous forms composed by the liquid emerge. Kodama's works have been shown in the exhibition "Machines&Souls" at the Reina Sofia Museum of Modern Art in Madrid and in "Digital Creatures" in Rome in 2017. His work is an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would have previously thought only possible in the realm of the imagination and the dreamlike. Kodama's work is based on the study and manipulation of specific substances, ferrofluids, whose properties are, at first sight, almost magical. Ferrofluids are liquids that, due to their metallic content, have magnetic properties and respond to the proximity of magnetized fields by vibrating and changing shape. Through a computer system, Kodama controls the strength of these magnetic fields in order to precisely adjust the liquid's response. Protrude, Flow, the project that made his work known, uses this technique to create a liquid sculpture that constantly changes shape in front of astonished viewers. In this installation, a tray containing a solution of water, oil and ferrofluids is placed between two large magnets. The liquid in the tray responds to the sounds it receives from its surroundings. https://www.sachikokodama.com/en/works/ https://www.artfutura.org/v3/sachiko-kodama/ <--Return Morpho Tower white, Morpho Tower black, 2006 ​ First project “Protrude, Flow" used six electromagnets. But, the electromagnets occasionally prevented people from viewing the moving liquid. To solve this problem and to simplify the work, I discovered a new technique called “Ferrofluid Sculpture.” This technique enables artists to create more dynamic sculptures with fluid materials. One electromagnet is used, with an extended iron core that is sculpted into a particular shape. The ferrofluid covers the sculpted surface of the three-dimensional iron shape and the movement of the spikes in the fluid are controlled dynamically on the surface by adjusting the power of the electromagnet. The “Morpho Tower” series in 2006 was my first realization of a “ferrofluid sculpture.” Figure 2 shows the spiral tower covered with numerous ferrofluid spikes. A spiral tower standing on a plate holds the ferrofluid. When the magnetic field around the tower is strengthened, spikes of ferrofluid are generated at the bottom plate and they gradually move upward, trembling and rotating around the edge of the iron spiral. The movement of the spikes in the fluid is controlled on the surface by adjusting the power of the electromagnet. The shape of the iron body is designed to be helical so that the fluid can migrate to the top of the helical tower when the magnetic field is sufficiently strong. The surface of the tower responds dynamically to its magnetic environment. When there is no magnetic field, the tower appears simply as a spiral shape. But when the magnetic field around the tower is strengthened, spikes are generated in the ferrofluid; simultaneously, the tower’s surface dynamically changes into a variety of textures — a soft fluid, a minute moss, spiky shark’s teeth, or a hard iron surface. The ferrofluid, with its smooth, black reaches all the way to the top of the tower, spreading like a fractal and defying gravity. The spikes of the ferrofluid are made to rotate around the edge of the spiral cone, where they either increase or decrease in size depending on the strength of the magnetic field. Using a computer, the transformation and movement of the shape can be controlled along with its speed and rhythm. The rotational speed can be controlled without motors or any shaft mechanisms. It works calmly; simply controlled by gravity and a magnetic field The inspiration for my artwork comes from life and nature. The organic forms and the geometry and symmetry observed in plants and animals are important inspirational factors when considering kinetic and potentially interactive art forms. The behavioral movement of animals and other natural materials is also important. Rhythms of breathing in living things are an excellent metaphor for textures that dynamically change according to time. One of my goals is to apply these dynamic behaviors into computational interface design as well. (Public and Private collections.) https://www.youtube.com/watch?v=u_Qt73Y_zHs ​ ​