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Davide Grassi, Bergamo, 1970. Davide Grassi is a Slovenian artist of Italian origin, who lives and works in Ljubljana, Slovenia. His work has a strong social connotation and is characterized by an intermedia approach. He is the author of numerous videos, performances, installations, documentaries and intermedia projects. He is co-founder and member of the Bast Collective (1999) and of the open research platform for interventions in public spaces SilentCell Network (2003). He is co-founder (2002) and artistic director of Aksioma -Institute of contemporary art. Davide Grassi, Bergamo, 1970. Davide Grassi is a Slovenian artist of Italian origin, who lives and works in Ljubljana, Slovenia. His work has a strong social connotation and is characterized by an intermedia approach. He is the author of numerous videos, performances, installations, documentaries and intermedia projects. He is co-founder and member of the Bast Collective (1999) and of the open research platform for interventions in public spaces SilentCell Network (2003). He is co-founder (2002) and artistic director of Aksioma -Institute of contemporary art. https://performingtheeast.com/davide-grassi/ <<-- Back Brainloop, 2007 The work of Slovenian artist Davide Grassic consists of an interactive platform that uses a BCI computer system that can be operated only by imagining specific motor commands. In the performance "Brainloop", the subject, Markus Rapp, is able to investigate urban areas and rural landscapes that he sees on Google Earth. He selects the location, camera, angles and positions and records the images in sequences in a virtual world. In the second part of the performance, he returns to the footage and uses Brainloop to compose a soundtrack, selecting and manipulating audio recordings in real time, which sound designer Brane Zorman places in the physical space. The virtual environment allows the audience to perceive the events in 3D. The work is the result of a collaboration between Slovenian artists and Austrian scientists. https://www.youtube.com/watch?=_BRJyl8WBK0&ab_channel=MediaArtTube

Paolo Cirio, Torino, 1979. Paolo Cirio’s art practice embodies the conflicts, contradictions, ethics, limits, and potentials inherent to the social complexity of information society through a critical and proactive approach. Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a wide public in works of art about critical issues. His aesthetic investigations are highly conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions. Paolo Cirio’s fine art translates critiques of information systems into artifacts to visually document and illustrate social structures examined by his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general audience in experiencing and discovering subjects, outcomes, and significance of his interventions and concepts. Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, NYC; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennial; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo. Work at the collection: Michael Rogers Paolo Cirio, Torino, 1979. Paolo Cirio’s art practice embodies the conflicts, contradictions, ethics, limits, and potentials inherent to the social complexity of information society through a critical and proactive approach. Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a wide public in works of art about critical issues. His aesthetic investigations are highly conceptual with layered and interconnected meanings, functions and agents presented as whole closed referential system of interrelated ideas and actions. Paolo Cirio’s fine art translates critiques of information systems into artifacts to visually document and illustrate social structures examined by his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general audience in experiencing and discovering subjects, outcomes, and significance of his interventions and concepts. Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, NYC; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennial; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo. Work at the collection: Michael Rogers https://www.paolocirio.net/ https://en.wikipedia.org/wiki/Paolo_Cirio <<-- Back Michael Rogers, 2015 This artwork is part of a series of nine unauthorized photos of high-ranking U.S. intelligence officials of NSA, CIA, NI and FBI that were related to the Edward Snowden’s revelations. Michael S. Rogers has served as Director of the National Security Agency (NSA), Commander of U.S. Cyber Command, and Chief of the Central Security Service since April 3rd, 2014. The photos were found by monitoring the Internet public platforms with selfies and images of informal situations published without the control of the officials. Ultimately, the images were reproduced with the street art HD Stencils technique and they were disseminated onto public walls throughout major cities. The artwork satirizes the era of ubiquitous surveillance and overly-mediated political personas by exposing the main officials accountable for secretive mass surveillance and over-classified intelligence programs. New modes of circulation, appropriation, contextualization, and technical reproduction of images are integrated into this artwork. Work on deposit from LaAgencia Collection. https://youtu.be/bB8Iv8bL5co

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 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 <<-- Back 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 REALtime, 2021 In REALtime, Antoni Abad has created a clock with an international sign system that shows the variety and complexity of linguistic registers and, at the same time, the (im)possibility of translating the real dimension of time.

Alba G. Corral, Madrid, 1977. Based in Catalunya is a Visual Artist and creative coder with a background in computer engineering, Corral has been creating generative art using software and coding for the past decade. Her practice spansacross live performance, video, digital media and installation, exploring abstract narratives and expressing sensitivity and taste for colour. By combining generative systems with improvised drawing techniques, her digital language becomes organic, creating mesmerising digital landscapes. Corral is known for her stunning live audio-visual performances where she integrates real-time coding and drawing in collaboration with musicians. Alba G. Corral, Madrid, 1977. Based in Catalunya is a Visual Artist and creative coder with a background in computer engineering, Corral has been creating generative art using software and coding for the past decade. Her practice spansacross live performance, video, digital media and installation, exploring abstract narratives and expressing sensitivity and taste for colour. By combining generative systems with improvised drawing techniques, her digital language becomes organic, creating mesmerising digital landscapes. Corral is known for her stunning live audio-visual performances where she integrates real-time coding and drawing in collaboration with musicians. https://blog.albagcorral.com/ <<-- Back "Papallona de l'Alfocada" 2021 The work of Alba G. Corral invites you to contemplate a butterfly in the L'Alfacada Lagoon, one of the main biodiversity reserves in the western Mediterranean located in the Delta de l'Ebre Natural Park. Papallona de l'Alfacada recreates through algorithms the beauty and fragility of a butterfly, the beauty and fragility of an ecosystem, our environment, our land. It preserves it for future generations since, without a drastic change in our environmental policies, they will only be able to enjoy it from the melancholic delicacy of the memory of Alba's work. "Mercuri" 2023 Three concepts united in one work that give rise to an audiovisual piece of dreamlike abstract shapes and textures: the Roman god; the planet named after him; the chemical element used in UHP projector lamps, about to disappear and be replaced by other technologies. An exploration of the beautiful complexity of algorithms that create generative art using open source tools. A piece that explores the contemplation of organic digital aesthetics speculating with new textures, movements and volumes.

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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 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

Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” https://es.wikipedia.org/wiki/Antoni_Muntadas <<-- Back “Tasmanian Tiger: case study of the Museum of Extinction” (2022). Faithful to his personal language, alien to any current and label, Muntadas presents a project about an extinct animal, the Tasmanian Tiger, and he does it with an endangered technology, holography, and a totally strange installation in high tech aesthetics, which rather evokes the charm of the old natural science museums. The work raises the debate on obsolescence and the eternal race to create new and sophisticated technologies, which ultimately generate a deepening social gap. The work recreates a room in a natural history museum, with three showcases and a 1.5 m. hologram, which had to be produced in Lithuania, as it is the only place capable of making it of such dimensions. The showcases contain photographs of the research carried out and some moving images on tablets; another showcase shows DNA studies on how to revive disappeared animals, the Tasmanian tiger being one of the most studied cases; and there is a third showcase with merchandising, which is what keeps the Tasmanian tiger alive in popular culture (T-shirts, beers, coasters, postcards...). These are elements that allow it to remain very present in Tasmania. https://www.arshake.com/en/antoni-muntadas-and-the-tasmanian-tiger-at-ars-electronica/ https://bist.eu/science-and-art-ibec-collaborates-on-a-work-by-antoni-muntadas-at-ars-electronica-2022/

Concha Jerez (Las Palmas de Gran Canaria, 1941) José Iges (Madrid, 1951) Concha Jerez and José Iges are two prominent artists who have collaborated closely since 1989, exploring the intersection of conceptual art, performance, and audiovisual media. Concha Jerez is a pioneer of conceptual art in Spain. She studied piano at the Royal Conservatory of Music in Madrid and Political Science at the Complutense University of Madrid. Since 1970, she has developed a prolific artistic career focused on the critique of media, censorship, and self-censorship. Her work encompasses installations, performances, and sound art and has been recognized with awards such as the Gold Medal for Merit in Fine Arts (2011), the National Award for Visual Arts (2015), and the Velázquez Award for Plastic Arts (2017). José Iges is a composer, sound artist, and industrial engineer. He studied composition at the Royal Conservatory of Music in Madrid and has built an extensive career creating works that integrate electroacoustic music, radio art, and sound installations. He was the director of the Ars Sonora program on Radio Clásica (RNE) from 1985 to 2008, promoting the dissemination of sound art and experimental music in Spain. Together, Jerez and Iges have created numerous works that merge visual and sound elements, exploring interactivity and audience participation. Their collaboration has materialized in projects such as Media Mutaciones, presented at La Tabacalera in Madrid in 2015, where they revisited their joint career and evolution in the use of technological and conceptual media, or in the exhibition Resignifications at the Galician Center for Contemporary Art, revisiting their work 10 years later. Throughout their collaboration, they have addressed themes such as memory, identity, and communication, using various formats including interactive installations, performances, and radio works. Their joint work has been exhibited at numerous international festivals and exhibitions, establishing them as key figures in the field of interdisciplinary contemporary art. Concha Jerez (Las Palmas de Gran Canaria, 1941) José Iges (Madrid, 1951) Concha Jerez and José Iges are two prominent artists who have collaborated closely since 1989, exploring the intersection of conceptual art, performance, and audiovisual media. Concha Jerez is a pioneer of conceptual art in Spain. She studied piano at the Royal Conservatory of Music in Madrid and Political Science at the Complutense University of Madrid. Since 1970, she has developed a prolific artistic career focused on the critique of media, censorship, and self-censorship. Her work encompasses installations, performances, and sound art and has been recognized with awards such as the Gold Medal for Merit in Fine Arts (2011), the National Award for Visual Arts (2015), and the Velázquez Award for Plastic Arts (2017). José Iges is a composer, sound artist, and industrial engineer. He studied composition at the Royal Conservatory of Music in Madrid and has built an extensive career creating works that integrate electroacoustic music, radio art, and sound installations. He was the director of the Ars Sonora program on Radio Clásica (RNE) from 1985 to 2008, promoting the dissemination of sound art and experimental music in Spain. Together, Jerez and Iges have created numerous works that merge visual and sound elements, exploring interactivity and audience participation. Their collaboration has materialized in projects such as Media Mutaciones, presented at La Tabacalera in Madrid in 2015, where they revisited their joint career and evolution in the use of technological and conceptual media, or in the exhibition Resignifications at the Galician Center for Contemporary Art, revisiting their work 10 years later. Throughout their collaboration, they have addressed themes such as memory, identity, and communication, using various formats including interactive installations, performances, and radio works. Their joint work has been exhibited at numerous international festivals and exhibitions, establishing them as key figures in the field of interdisciplinary contemporary art. <<-- Back Diario, 1997-2024. The work originates from the InterMedia concert "El Diario de Jonás", commissioned by the CDMC for its premiere at the Alicante Festival in 1997. For that occasion, all the scores were prepared, along with forty phrases, and the sequences were mixed. In 1998, the artists created a first version as an installation at La Gallera (Valencia), within the framework of the ENSEMS festival. Additionally, they produced a radio work titled "Tagebuch", commissioned and produced by WDR in Cologne. Studio recordings of selected scores from the concert, made to assemble this radio work, were the sole material for that installation, along with phrases recorded by the two authors with their individual memories; these phrases became the starting point for the entire compositional process. This new version, which is a reinterpretation of the concert in installation format, introduces new materials not included in the original 1998 installation, such as the sequences mixed in 1997 for the concert. Furthermore, the eight sound sources projecting the work are controlled by an application that, through a computer and sound card, selects in real time, based on pre-established patterns, the sound to be played and the speaker through which it is broadcast. In this way, the process partially retains the mobile and unpredictable nature of the concert, where chance and randomness were also welcomed. The software for the artwork was developed by sound artist Josep Manuel Berenguer. This project, produced by the NewArtFoundation, has been made possible thanks to a research program carried out in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat de Catalunya.

Julius von Bismarck & Benjamin Maus, Breisach, 1983 / Berlin, 1984. ​Julius Von Bismark y Benjamin Maus are two German artists, based in Berlin, who often work together on diverse projects, always related to media art. Julius von Bismarck, studied visual communication at the University of the Arts in Berlin and was a member of Joachim Sauter’s ‘Digital Class’. In 2013, he was doing his Master as a student of Olafur Eliasson and his Institute for Space Experiments at University of Arts in Berlin. He also participated in the MFA program at Hunter College in New York. Julius von Bismarck shows his works worldwide and was awarded with several prizes, among others: The Golden Nica Award 2008 and Prix Ars Electronica Collide @ CERN 2011. Benjamin Maus, works as an experimental designer and artist in Berlin. After he had finished his studies at the University of Arts in Berlin, he took a semester focusing on research at the Tokyo Daigaku University. Benjamin Maus is the co-founder of Studio FELD and is mainly working on projects exploring the interface between crafts and digital media. Their work “Perpetual Storytelling Apparatus” won the 5th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Perpetual Storytelling Apparatus Julius von Bismarck & Benjamin Maus, Breisach, 1983 / Berlin, 1984. Julius Von Bismark y Benjamin Maus are two German artists, based in Berlin, who often work together on diverse projects, always related to media art. Julius von Bismarck, studied visual communication at the University of the Arts in Berlin and was a member of Joachim Sauter’s ‘Digital Class’. In 2013, he was doing his Master as a student of Olafur Eliasson and his Institute for Space Experiments at University of Arts in Berlin. He also participated in the MFA program at Hunter College in New York. Julius von Bismarck shows his works worldwide and was awarded with several prizes, among others: The Golden Nica Award 2008 and Prix Ars Electronica Collide @ CERN 2011. Benjamin Maus, works as an experimental designer and artist in Berlin. After he had finished his studies at the University of Arts in Berlin, he took a semester focusing on research at the Tokyo Daigaku University. Benjamin Maus is the co-founder of Studio FELD and is mainly working on projects exploring the interface between crafts and digital media. Their work “Perpetual Storytelling Apparatus” won the 5th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Perpetual Storytelling Apparatus http://juliusvonbismarck.com https://www.allesblinkt.com <<-- Back Perpetual Storytelling Apparatus, 2009 The “Perpetual Storytelling Apparatus” is a drawing machine illustrating a never-ending story by the use of patent drawings. The machine translates words of a text (e.g. a novel) into a stream of patent drawings. Eight million patents – linked by over 22 million references – form the vocabulary. By using references to earlier patents, it is possible to find paths between the patents that have been found for word-combinations in the story. Those connections form a subtext. New visual connections and narrative layers emerge through the interweaving of the story with the depiction of technical developments. The apparatus takes a combination of words in the story and searches for a patent document, whose text contains those words. Then it extracts the main drawing from the patent document and draws it. Advancing in the story, it finds the next patent document. Between the found patent and the previously drawn patent, the patents that connect the two are drawn in between. This process repeats and ingests one story after another, and generates an endless stream of patent drawings. The first two instances of the “Perpetual Storytelling Apparatus” are using the database of the US Patent and Trademark Office. The third apparatus, which has recently been installed at the German Patent Office in Munich, uses the whole backlog of patents applied for in Germany.

Weidi Zhang, Beijing, 1991. ​Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. Weidi Zhang, Beijing, 1991. Weidi Zhang is an LA-based new media artist and researcher. Her current research and media art practices investigate A Speculative Assemblage – interactive image-data-based visualization of a human-machine reality in the context of data visualization, responsive Intelligence system design, and immersive media. Her works are featured at international venues, such as the SIGGRAPH Art Gallery Best In Show, ISEA, Times Art Museum (CN), Japan Media Arts Festival, Lumen Prize (UK), SIGGRAPH ASIA, IEEE VISAP, Planetarium 1 (RUS), Zeiss-Planetarium (GE), Society For Arts and Technology (CAN), and others. Currently, she is a Ph.D. candidate in the Media Arts and Technology Program and a graduate researcher in Experimental Visualization Lab. She lectures at UC Santa Barbara and The Ohio State University. She holds her MFA degree in Art + Technology at the California Institute of the Arts and a BFA degree in Photo/Media at the University of Washington, Seattle. https://www.zhangweidi.com/ <<-- Back Ray ,2021 Ray is an interactive multi-modal Intelligent system that is designed to re-interprets Rayograph, a modern image-making technique, through visualizing the hidden information of live streaming video in the context of AI and surveillance. In the art installation, the intelligent system RAY constantly observes audiences via a camera and translates the live streaming data of audiences into an ever-evolving semantic Rayograph in real-time. https://www.zhangweidi.com/ray