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  • Dmitry Gelfand and Evelina Domnitch

    Dmitry Gelfand, St. Petersburg, 1974 and Evelina Domnitch Minsk, 1972. The duo creates installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness. Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion. http://portablepalace.com/ <<-- Back Orbihedron, 2017 Installation in collaboration with LIGO and William Basinski. A dark vortex in the middle of a water-filled basin emits prismatic bursts of rotating light. Akin to a radiant ergosphere surrounding a spinning black hole, Orbihedron evokes the relativistic as well as quantum interpretation of gravity – the reconciliation of which is essential for unraveling black hole behaviour and the origins of the cosmos. Descending into the eye of the vortex, a white laser beam reaches an impassible singularity that casts a whirling circular shadow on the basin’s floor. The singularity lies at the bottom of a dimple on the water’s surface, the crown of the vortex, which acts as a concave lens focussing the laser beam along the horizon of the “black hole” shadow. Light is seemingly swallowed by the black hole in accordance with general relativity, yet leaks out as quantum theory predicts. With the generous support of LIGO, Isabel De Sena and Fulcrum Arts. https://vimeo.com/310659758/

  • Jose Manuel Berenguer

    José Manuel Berenguer, Barcelona, 1955. Director of the Chaos Orchestra and the Música 13 Festival, founder of Nau Côclea, member of the Bourges International Academy of Electroacoustic Music and Honorary President of the UNESCO International Music Council’s International Conference of Electroacoustic Music, he has been bestowed with awards and distinctions from institutions such as the Internationale Ferienkurse Darmstadt, Gaudeamus Foundation, Prix de Musique Electroacoustique de Bourges, Concorso di Musica Elettronica - Fondazione Russolo-Pratella, CIM-UNESCO International Rostrum of Electroacoustic Music, Barcelona Contemporary Music Festival, National Spanish Radio and the Castile-La Mancha Video Award. In recent years, he has tended to express his artistic ruminations through installations and real-time computing devices, therein reflecting on philosophy and scientific history, the limits of language, ethics, life and artificial intelligence, robotics, information metabolism and the limits of human perception and comprehension. His most recent works include installations, such as Silenci, Transfer, La Casa de la Pólvora, Mega kai Mikron and Autofotóvoros, and performances such as Minf, On Nothing, Lambda-Itter (with Jane Rigler), Expanded Piano (with Agustí Fernàndez) and Desde dentro, for microscope, electric guitar and electronic sound and image generation. His work “Luci, sin nombre y sin memoria” won the 3th edition of the ARCO-BEEP Electronic Art Award. Works at the collection: Luci, sin nombre y sin memoria, 64 modules development and 21 modules development (Luci 21 modules is on loan of the NewArtFoundation) http://www.sonoscop.net/jmb <<-- Back Luci, sin nombre y sin memoria, 2008 “Luci” reproduces the functioning of a self-organising system inspired in the behaviour of fireflies in southeast asian mangrove swamps. It has been observed that when the male launches an intermittent signal the female responds with a similar signal. At first, the emissions tend towards similarity before finally matching entirely. This is just an example of what is a general characteristic of nature: the existence of coupled oscillators, systems that tend to stabilise in certain, periodic sequence states as long as fluctuations sufficiently powerful to interrupt the stability of these configurations are not produced. “Luci” consists of 64 units, each composed of 5 transmitters, sensitive to light and sound whose rhythmic behaviour configures innumerable, chaotic patterns that tend towards stability. The individual components lack information regarding the behaviour of the whole and the behaviour of “Luci” is manifestly more complex than that of its components. The alteration of the ambient luminosity produced by the intervention of the visitor stimulates the communication of the components provoking a new coupled configuration. Although the polyrhythmic patterns of adaptation are not always equal, and despite the fact that the starting points and routes may be essentially different, they always end in the same place. Luci is a proof that the world is full of clocks that tend to coincide and whose heartbeats generate a sound of universal dimensions that give us an idea of the order that we believe we perceive in nature. “Luci” is, in the final instance, an allusion to the irreversibleness of nature and the absolute security of death. https://www.youtube.com/watch?v=d8CvsyFvgDg Luci, sin nombre y sin memoria, 2008 ¨Little Luci 16 Modules¨ Donation from the artist

  • toplap

    toplap - Barcelona, 2018. toplap is a worldwide community that since 2004 groups people exploring live coding as a creative technique. In 2018 Lina Bautista and Iván Paz started toplap-barcelona which today is a community for free experimentation on writing source code for sound and visuals generation. post-window originates within this context as a collaboration between their authors. Formed as a classical composer, Lina Bautista AKA Linalab, followed her path through modular synthesizers and electronic gadgets framed into the DIY philosophy. Her work explores sonic spaces ranging from analog to digital by including live coding as a creative practice. Looking thought the lenses of mathematics and sound, Iván Paz explores the possibilities of algorithmic music within the creative technique of on-the-fly programming. His work is framed in critical approaches to technology and from-scratch construction as a guide to conceive and develop his pieces. For toplap live coding is a form of scenic art and a creativity technique focused on real-time writing of source code and the use of interactive programming, is a new direction in electronic music, is improvising and formalizing in public. The live coders expose and modify in real time the software generating music and / or images, while the manipulation of the code is projected to allow viewing process. Live coding works in all musical genres, and by the elements that compose it – art, science and technology – it also configures a social and political discourse. Work at the collection: Post-window https://toplapbarcelona.hangar.org <<-- Back post-window, 2018 post-window reflects on the semantic, semiotic and affective bridges connecting our imaginary sonic and written languages. It is conceived as a high-level device for sound live coding that visualizes algorithmic sentiment analysis. It is a window that invites us to find the nonconformity within the limits of the algorithm. The training bias, the implicit values of humans involved in data collection and processing, might never replicate the plasticity of the individual mind. Yet, the illusion of being read and understood keeps us engaged, while exploring the timbre space as we type, going from harsh electronic soundscapes to smooth cavern spaces. post-window is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .Beep { Collection;}.Special acknowledgments: Andrés Costa/ Matics Barcelona.

  • Patricio Rivera

    Patricio Rivera, Buenos Aires, 1976. He studied art direction and photography and has a master’s degree in business administration from Universidad del Salvador and Universidad de Deusto. He was professor of the photography career track at University of Palermo. In 2012 he was selected in Salón Nacional de Artes Visuales. Between 2016 and 2018 he was a long-time resident artist at Hangar. His works were acquired by collections such as Banc Sabadell. He intervenes in the development of projects that involve programming, mechatronics, robotics and digital manufacturing, preferably with free licenses. He is co-founder of Fase, center of thought and production of contemporary art based in L’Hospitalet de Llobregat and of TMTMTM, a production, research and technological experimentation collective resident at Hangar.org. Work at the collection: Agism http://www.patriciorivera.com <<-- Back Agism, 2019. The piece addresses the declarative character of the shot as a force of performative enunciation and exclamation point of an intention; a statement, although regulated by law, free to be executed within the elusive alibi of an artwork. The kinesis of the weapon becomes an allegory of the visceral drive contained in the fragility of a ball of paint, which faces the inescapable confrontation of a neat wall that always wins. The spill is the defeat that becomes the pleasure and merchandise of the other, but which will forever preserve the trace and sample of an asymmetry of power that subjugates the weakest link in the artistic food chain. Agism is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: TMTMTM and Intra Automation.

  • Patrick Alain Tresset

    Patrick Alain Tresset, Noyon, 1967. From a very young age in France, Patrick discovered and practiced computer science, painting, drawing and sculpture. After graduating in computer science, Patrick moved to London to devote himself to painting. Between 1991 and 2003, his work was shown in solo and group exhibitions in London and Paris. Artist and researcher Ateliers Tresset Goldsmiths College, U. of London Especially for his performative installations that use robotic agents as stylized actors who follow a set of instructions and for his exploration of the practice of drawing through the use of computer systems and robots. In "Human Study #1", a multi-award winning series of performative installations, a human being is drawn live by various robots in a twenty-minute session. Both viewers and participants often define the robot's attention as a surprising element. In the last three years, Tresset's research has focused on creating other series of installations, including the development of a new robot (RNR). Instead of making it strongly influenced by human behavior that is perceived as familiar, like the robots in "Human Study #1," he is exploring ways to make the robot (RNR) be perceived as something alien, unfamiliar, and strange. https://patricktresset.com/new/ <<-- Back "RNR" 2022 It is a mediating piece, in which the author investigates how having a robot looking at us with a different and unknown perception system affects our perception. As animals, if attention is directed towards us, we have to evaluate it instantly: can we eat it? Will it eat us? As humans, the way we are observed triggers a flood of emotions. What if we can't decode the observer's intent? And what will the robot draw if it sees it differently? The goal of the final installation will be to get the emotions of the human being being drawn during ten-minute sessions to progressively shift from unease to intrigue, reassurance, attraction and fascination. This project has been awarded the ISEA2022 Barcelona Grant from .Beep Collection and NewArtFoundation. https://www.youtube.com/watch?v=bbdQbyff_Sk

  • Jose Antonio Orts

    José Antonio Orts, Meliana, 1955. Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed. The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion. Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun. Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss. Work at the collection: - Duo Fa-la - Sin Titúlo https://joseantonioorts.com/ <<-- Back Duo Fa-la , 2004 Sin Titúlo , 2004 The installations, visual and sound, are made with electronic objects (sculptures) sensitive to the presence and movements of the spectator. The form of these objects has emerged from their function, so there is a very intimate relationship between their visual form and the sound, light or effect produced. These electronic objects capture the presence of the spectator (by the changes of luminosity and the shadows that they project, or by the small movements of air that they cause when passing) and transform these movements of the spectator into progressive variations of sound rhythm or luminous rhythm.

  • 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 <<-- Back 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.

  • Peter Weibel

    Peter Weibel, Odessa, 1944 - 2023 Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science. From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde. Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art]. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow. Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. Works at the collection: Das Tangible Bild, The Endless Sandwich, Media May Rewind Reality http://peter-weibel.at <<-- Back Das Tangible Bild, 1991 / 2019 In the interactive computer installation Das tangible Bild [The Tangible Image], you are standing in front of a Cartesian coordinate grid. You are filmed standing in front of this grid by a camera, you see the image projected on the opposite wall. When you touch the rubber screen of the monitor, which stands on a pedestal in the middle of the room, the projected image warps. Thus, you can interact with the image via a three-dimensional “touch screen” in real time. Each time you touch the screen, behind which sensors are installed, information is sent to a computer to which the camera’s live images are transferred. In the computer, the signals of the warping of the screen converted into digital data influence the data representing your image within the space. The screen and the Cartesian grid become identical. Real distortions of the rubber screen appear in the projection image as distortions of the grid in front of you. An interface (the rubber screen) is switched on between the grid and the projection image. It is not the changes in the grid that affect the projection, but the changes in the interface. Is our world merely the product of an interface technology, the interface of the natural body ? The Endless Sandwich, 1969 Between the TV set and viewer, a function exists whereby the user switches on and off the appliance. He has reproduced this function and made it the content of the TV programme. Sandwich character of real process and reproduction process, of reflection and action. On the screen, a series of viewers is seen sitting in front of TV sets. A fault occurs in the last set shown, meaning the next viewer has to get up in order to repair the fault. This repair brings about a disruption in the next viewer’s screen. The disruption propagates itself until it reaches the real TV set, meaning the real viewer has to rise and eliminate the fault. Time delay: the real procedure is the conclusion of the reproduced procedure. https://youtu.be/FVTlqewBTo4 Media May Rewind Reality, 1969 A video of a lighted candle plays in reverse in a TV set, gradually growing as time passes, while a physical candle sitting on the monitor slowly dwindles. “Media May Rewind Reality” is a sort of “vanitas” in which the simple image of a candle flame rethinks temporariness and finitude in a loop in which whatever is consumed also grows in a sort of strange spectacle that inverts appearances. Awarded with the XVIII ARCO-BEEP Electronic Art Award.

  • Santi Vilanova

    Santi Vilanova, Vila-Real, 1980. Graduate in graphic design and passionate about sound art, Santi Vilanova has been able to combine these two disciplines through the catalyst of "creative technologies", of which he is a self-taught developer. (de)Formed at the rave scene of the early 2000, his sound work has been evolving to integrate this underground influence into new territories. His recent research blend together digital algorithms or sonification engines with classic staves and acoustic ensembles, focusing on the idea of a visual music. He is founder, with Eloi Maduell, of the Playmodes audiovisual research studio, where they develop projects at the edge of design, art and science. Interests related to acoustics, mathematics, perception psycology or light phenomena crystallize at the shelter of Playmodes. Their projects, eclectic in nature -from opera scenography to immersive installations- always have as a common element a creative use of digital tools and the search for a unified audio+visual language. As part of this collective, his works have been exhibited at light festivals (Fête des Lumieres, Signal, LlumBCN, Mapping Festival, LIT Bogotá, Chartres a Lumière ...), at electronic music events ( Sónar, Mira, LEV, DGTL, D4N Houston ...), at contemporary art or performing arts institutions (ZKM, Macau Arts Festival, In Between Time, Copenhagen Opera), and has been awarded with international distinctions in the field of new media (Ars Electronica Honorary Mention, LAUS, Visual Music Awards or LAMP awards). He is also currently a university professor at the EINA school (Universitat Autònoma de Barcelona), UOC and BAU (Universitat de Vic), teaching new generations of multimedia creators. Work at the collection: Forms - Screen Ensemble http://www.playmodes.com <<-- Back Forms -Screen Ensemble, 2020 Forms - Screen Ensemble is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski. Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture. Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats. Forms – Screen Ensemble was presented at 2020’s edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and Hangar.org. Design Forms is thought to be a flexible instrument in terms of formats and aspects. Because its fundamental nature is rooted in visual music algorithms rather than in a matter-specific phisicality, it can take many different forms. Although the Screen Ensemble takes the form of an automata inside boxes containing screens and speakers, we’re working on multiple derivatives that transcend this format: a live performance where a string quartet interprets the realtime generated scores; an immersive installation based on video-projection and multichannel audio; a software for live computer music or an internet streaming bot. Engineering Forms is engineered by means of 2 main processes: -A generative graphics software coded in Processing (javascript) -A sonification algorithm developed in Max/MSP On the graphic side, a deep mathematical research has been done in order to code timbrically and musically coherent graphics that create appealing rhythms, harmonies or textures. On the sonic side, a number of ideas from the field of spectral synthesis and FFT are deployed. In addition, a set of control routines command the evolution of compositions over time through weighted probabilities, Markov chains and chance algorithms. Music The main feature of Forms is its visual music nature. It creates music you can see in an appealing yet scientifically coherent way. It is also a step forward towards a way of presenting and enjoying algorithmic compositions. It is a whole new way of creating music, based on visual compositions rather than on staves or piano-rolls. Its generative nature provides endless, unique, unrepeatable and rich music detached from the constrains of traditional language. Forms embraces the expressivity of drawn gestures and microtonality, unifying the visual and aural experience. Forms - Screen Ensemble was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. https://www.playmodes.com/home/forms-screen-ensemble/ https://vimeo.com/464531284 https://www.twitch.tv/playmodes

  • 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 <<-- Back 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

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