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Mark Amerika, Miami, 1960 Artist, theorist, writer and teacher. Founder of the Ph. Program in Intermedia Art, Writing and Performance in the School of Media, Communication and Information. Considered a pioneer of net.art, since the 90s he has developed a solid career based on experimentation with new technologies and media. He has held solo exhibitions at venues such as the Denver Art Museum, the Institute of Contemporary Art in London and the Walker Art Center in Minneapolis. His work has been shown in over 100 international group exhibitions on five continents and, in 2009-2010, the National Museum of Contemporary Art in Athens hosted the exhibition entitled UNREALTIME. Other exhibitions were shown at The Power Plant (Toronto), the Eli and Edith Broad Museum of Art, the Denver Museum of Contemporary Art, the ZKM and the Montreal Biennale. The Abandon Normal Devices Festival in the UK, in conjunction with the London 2012 Olympics commissioned Amerika’s large-scale transmedia artwork, Museum of Glitch Aesthetics [MOGA] which was shown in a solo exhibition in Manchester. He is the author of numerous books, including the cult novels The Kafka Chronicles (FC2/University of Alabama Press, 1993) and Sexual Blood (FC2/ University of Alabama Press, 1995), as well as two books documenting his experiences as one of the first digital artists investigating Internet and remix culture: META/DATA: A Digital Poetics (The MIT Press, 2007) and remixthebook (University of Minnesota Press, 2011). In 2022, Amerika published My Life as an Artificial Creative Intelligence (Stanford University Press), a book of artist writings focused on his experiments with artificial intelligence. https://markamerika.com/ https://www.youtube.com/watch?v=p9feoVWv7H0 <<-- Back Cookie Monster (Gloyaglitch 1) [MOGA], 2005-2006 It was created between 2005 and 2006 when Mark Amerika was beginning to experiment with the low quality imageshe obtained with a cell phone camera. He captured details of important works of art history, such as Saturn devouring his son, one of Goya's black paintings. The animated GIF is a format inherent to today's popular culture, somewhere between photography and video, and where quality is the least relevant. In fact, these images were captured by the artist in the years when cell phones with video cameras were really popular, something that transformed the way we communicate and that was incorporated by some creators to their artistic practices, as it happens with all communication technologies that have emerged in recent decades. The GIF becomes a perfect vehicle to tell a short story, an emotion. We can appreciate how some of these images are directly linked to the history of art, appropriating, reworking with a contemporary vision, and decontextualizing, sometimes in a humorous way. Lake Como Remix [MOGA], 2012 It represents a journey via Google Street View through the Italian Lake Como and the landscape that surrounds it. Described by the artist as a “cyberpsychogeographic” journey, he experiments with the functions of the software, creating images that show the glitch aesthetics inherent to the images that are produced by this type of program. The work is part of the MOGA_Museum of Glitch Aesthetics, a virtual museum and transmedia artwork that hosts various forms of glitch art (video, animated GIF, still images, sound art and electronic literature). It was commissioned by the Abandon Normal Devices Festival on the occasion of the 2012 London Olympics. This virtual museum displays the expressive capacity of error, of failure, and ruptures our mental construction of reality. We live in a post-digital era in which the hyper-real, high-resolution image is being pursued for its resemblance to reality. Glitch art questions this sort of image, typical of the present, through deformation. Value [Value Propositions], 2021 During the pandemic, with the surge of NFTs, digital art became a rising commodity for the first time in art history. Amerika, seeing the recent explosion of interest in digital art online, in 2021, working with an archive on a 1994 Powerbook, the same one he used to create his most iconic artwork, GRAMMATRON, decided to address this new speculative art market and began creating a new series of artwork entitled Value Propositions. These short, conceptual sentences, created on his old laptop and using 30-year-old software, are a direct and playful response to the rapid commodification of digital art. He uses an old Netscape web browser as a framing device to produce fictitious web pages that have been transformed into digital prints whose titles include the word NFT in a 1994 web browser, creating a disruption in the history of net.art. Value Propositions represents a satirical critique of the contemporary art market, especially now that digital art is taken more seriously only because it has increased in monetary value. This series of works is influenced by the work of John Baldessari, Joseph Kosuth and Jenny Holzer.

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.

Stefan Tiefengraber, Baden bei Wien, 1981. After working in a film production company for six years, he changed his main place of residence to Linz where he started studying Timebased and Interactive Media at University of Art and Design Linz in 2010. In 2012/13, he took part in an exchange program at the Korean National University of Arts in Seoul for a year. His work ranges from kinetic sound installations to audio-video noise performances. Tiefengraber experiments with the modification of devices, which are originally manufactured for different purposes. Combined with the perception of the audience, this experimental attempt of exploring old and new materials leads him to new and unpredictable results. The artist’s work has been exhibited at Ars Electronica Garden Barcelona, Barcelona 2021, Ars Electronica Festival 2021-2019 Linz, Galerie gerken Berlin, TodaysArt 2014 Den Haag, New Media Gallery Vancouver, 16th Media Art Biennale WRO 2015 Wroclaw, Piksel Festival 2016 Bergen, among others. Work at the collection: TH-50PH10EK – Wall http://www.stefantiefengraber.com <<-- Back TH50PH10EK WALL , 2021 The title of the work refers to the device designation of the used plasma monitor. It is a common device that has been used for many years in exhibition and event contexts. However, this monitor has become obsolete due to recent technological developments. With the installation TH 50PH10EK – Wall, this object is transformed from a carrier of art into a work of art. A 50-inch plasma monitor is installed as a pendulum, which swings out freely on the wall after being triggered. As soon as the monitor comes to a standstill, it is pulled back into the original position with the help of a cable winch and is made to swing again – triggered by pulling a ripcord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle ends when the monitor has come to a standstill and no sound and video is produced by its movement. The sound is generated by the amplification of the friction which the back of the monitor is subjected to on the wall. The visualization on the screen is a direct translation of the analogue audio signal into an analogue video signal. Voltage and frequency are represented by a loudspeaker in sound on the one hand and as flickering horizontal white lines on the monitor itself on the other. There is no processing of the signal, for example by a computer or an effects device. In his works, Stefan plays with the meaning of the function of the devices and objects used, breaks with their predetermined purposes and modifies them. This experimental approach and exploration of old and new technologies and their combination can also be found in this work. http://www.stefantiefengraber.com/th_50ph10ek_wall.php https://vimeo.com/605657689

Lúa Coderch, Julia Múgica, Lluís Nacenta & Iván Paz Lúa Coderch Artist and associate professor at BAU, Centro Universitario de Diseño de Barcelona. She has a master's degree in Artistic Production and Research and a PhD in Fine Arts from the University of Barcelona, and also trained as a sculptor at the Massana School. She combines narrative and objectual practices in videos, performances and installations that she configures as research devices. Her work is part of the collection of museums and centers such as the MACBA, the Museo de Arte Contemporáno de Castilla y León or the Contemporary Art Collection Cal Cego, among others, and has been exhibited in exhibitions such as Bienalsur (Argentina), the Joan Miró Foundation, Domus Artium, the University Museum of Contemporary Art (Mexico) or SMART (Netherlands). https://www.baued.es/profesores/lua-coderch Julia Múgica is a Mexican scientist currently exploring artistic practices on complex processes in nature. With an interdisciplinary background spanning biology and computational physics, she is deeply interested in understanding how collectives make decisions that result in behavioral synchrony. https://mutek.org/es/artistas/julia-mugica-ivan-paz Lluís Nacenta Lluís Nacenta is a professor, writer and curator in the fields of music and contemporary art. Degree in Mathematics and Music (piano), Master’s Degree in Comparative Studies in Literature, Art and Philosophy and Doctor of Humanities, with a PhD thesis about musical repetition, his research proposes a philosophical perspective on the sonic arts. He has published numerous articles in digital and paper publications, such as Cultura/s de La Vanguardia and Nativa, and has curated exhibitions and concerts for Sónar+D, Arts Santa Mònica, Centre de Cultura Contemporància de Barcelona (CCCB) and Fundació Antoni Tàpies, among others. Since January 2018 is the director of Hangar. https://www.cccb.org/es/participantes/ficha/lluis-nacenta/45208 Iván Paz, Mexico City, 1978 I studied physics and mathematics at the National Autonomous University of Mexico (UNAM). During this period, I have also experimented with music and photography. My main interests involve science, art, technology and how their interaction can create new aesthetic, conceptual and thinking directions. In 2006, I have started working as a professor of sound engineering. From this process, in 2011 I conceived and led a seminar in mathematical methods applied to musical composition at UNAM. The activity developed there produced numerous collaborations and work processes, for example, live coding sessions in collaboration with the Centro Nacional de las Artes de México (CNA). 17th EDITION OF THE ARCO/BEEP ELECTRONIC ART AWARD. Work at the collection: “Echo” <<-- Back “Echo”, 2021 The work Echo has won the ARCO/Beep Electronic Art Award. The prestigious contemporary art fair, held in Madrid from February 23 to 27, has recognized the piece by Lúa Coderch, head of studies of the Bachelor of Fine Arts and BAU professor, Julia Múgica, Lluís Nacenta and Iván Paz. The jury highlighted her contemporary reformulation of the myth of the nymph Echo through a posthuman object (made of upholstered wood and synthetic hair) next to which there is a small stool that allows interaction with the public. So close, so far away According to the authors, the piece functions as "a body among bodies" and points to the difficulties of communication and the search for meaning. "It poses an allegory of our need to find correspondence," they explain. Summoning Echo, therefore, means rescuing the nymph from oblivion and recovering her word after Narcissus' scorn. An eight-handed project Echo was presented at Dilalica during this season's Barcelona Gallery Weekend, and has landed at ARCO by the hand of àngels Barcelona. The collaborative philosophy behind the piece, the result of the joint work of two galleries and four artists, has been one of the most valued aspects of the event. The ARCO/Beep award promotes research, production and exhibition of art linked to new technologies and electronic art.

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 <<-- Back 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

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 <<-- Back 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

Paul Friedlander, Manchester, 1951. Has spent more than two decades researching all kinds of technologies and procedures in order to make light a malleable and flexible material that can acquire any shape and volume. Friedlander's "kinetic light sculptures" are indebted to the work of other great names that have preceded him in the art of light or kinetics, from László Moholy-Nagy to Flavin or Turrell, taking advantage of computerized lighting control systems to highlight the impression of incorporeity and dynamism of his sculptures. Like many other creators who have developed their careers at the crossroads between art, science and technology, Friedlander situates his work in a hybrid space. On the one hand, his works rest on the broad tradition of 20th century kinetic art, which he does not hesitate to vindicate. But, in addition, the British artist cannot dissociate his career from the discipline of large-scale stage lighting in which he began his career and which has been a decisive factor in the development of lighting technology in recent decades. The plastic heritage of the one and the procedures of the other have enabled Friedlander to develop an instantly recognizable body of work. Friedlander's work is also 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 previously have thought only possible in the realm of the imagination and the dreamlike. Paul Friedlander's works have been shown in several ArtFutura in Barcelona, Buenos Aires, Madrid and Montevideo. as well as in the exhibition "Machines&Souls" (Museo de Arte Moderno Reina Sofía de Madrid 2008) and in "Digital Creatures" (Rome 2017). Although works such as The Wave Equation or The Energy Core are not strictly holograms, what the viewer discovers when standing in front of them are large disembodied forms in motion, suspended in mid-air, which by turning on themselves endow the light with a three-dimensionality that we are not used to contemplating in the immediate physical space. In their names, Friedlander's kinetic light sculptures often make references to different aspects of modern science, from quantum physics to string theory. However, their aesthetic construction and the reception of his work by his viewers inevitably hark back to the spiritual and the magical. After all, the physical elements on which Friedlander's sculptures are based are concealed by the mystery of a basic but striking optical effect. Works at the collection: - Tycho;test one - Dancing wales http://www.paulfriedlander.com/ https://www.artfutura.org/v3/a1-paul-friedlander/ <<-- Back Dancing Wales - Tycho;test one, 2018 This is the latest work of this creator, the installation Tycho; Test One. The creation consists of a monolith of luminous cement, a new material developed by Eurecat for the company Escofet, with which the artist has been able to work for the first time. Translucent concrete: It is "an innovative translucent white concrete that can be used in facade panels, interior design or street furniture," says Eurecat's director of Product Development, Irene Rafols, who highlights the "broad future applications offered by this new material" developed by the technology center and Escofet. The installation "Tycho; Test One" has won the first call of the ATA Program for artistic creation and training with advanced technologies. https://www.facebook.com/ArtDomains/videos/tycho-test-one-paul-friedlander-uk/1937324059643754/

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

Shona Kitchen, Ceres, 1968. Shona Kitchen is an internationally recognized artist, designer and educator based in Providence, Rhode Island. Since graduating from the Royal College of Art with a MFA in Architecture, she has divided her time between creative practice and teaching. Her practice is frequently collaborative, research based and site-specific. Using digital, analog and biological elements, Kitchen’s work provides ground for physical and virtual, natural and artificial, and real and imagined to playfully coexist. Throughout her practice, she explores the psychological, social and environmental consequences of technological advancement and failure. Kitchen frequently collaborates with scientists, engineers, writers and software developers. Her work has been exhibited internationally at such venues as the Victoria and Albert Museum, the Kelvingrove Museum, Vitra Museum, Montalvo Arts Center, Center for Contemporary Art (Warsaw), Zero1 San Jose and the International Symposium on Electronic Art, among others. Work at the collection: Other Days, Other Eyes http://www.shonakitchen.com/ <<-- Back Other Days, Other Eyes, 2019 “Other Days, Other Eyes” refers to the evolution of the ubiquitous recording infrastructures that surround us and reflects on the generation and transmission of that information as well as society’s growing abundance of cotidian and banal information. Kitchen combines live footage from cameras with varying curiosities of the everyday, archived elements, and analog glass blobs laden with the weight of the collected digital content. Smaller blobs seep out of the walls, evoking budding newcomers that may very well grow up to become a camera one day speculating on the evolution of live architectural organisms. The work captures the coexistence of the physical and thevirtual, the natural and artificial, the real and imagined and the absurd. This project grew out of IMAGEOBJECTLANDSCAPEEVENT a research project by longtime collaborative team Kitchen-Hooker. Much of Kitchen's work is inspired by the writings of J G Ballard, in this instance a short story called “Sound-Sweep” wherein a passage reads, “the sonic strata of everyday urban life ....is so without respite that it is literally embedded within walls and surfaces”. In Ballard’s book, a sound-sweep is the equivalent of a trash man, collecting the abundance of everyday sounds absorbed into the architecture. The project title is borrowed from another 70s science fiction writer, Bob Shaw. This work has been done in collaboration with glass artist Evan Voelbel.

Ulrich Muchenberger, Basel, 1951. In 1994 Ulrich Müchenberger first discovered the phenomenon of light art. Synergistic combinations of light and color, changing or still, form the basis of his works. In 1995, the artist presented his first dynamic light project. Many other works followed, on the most diverse scale: from fundamental artistic lighting projects for architectural complexes (e.g. the National Museum in Copenhagen) to local light objects exhibited in galleries, even in the artist's homeland of Basel. In Müchenberger's works, both static and dynamic, there are always basic visual themes: the interplay between darkness and light in space and the optical effects of color combinations. The compositions of light are enclosed in a strict geometric form, like ordinary paintings: they change their harmonies of color, intensity, brightness according to the program established by the author. The viewer is immersed in these images and landscapes that, in response to the artist's message, open our imagination. The author tells of his series: "By engaging in a dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is the color, that is, the connection between the internal and the external ". Thus, each viewer opens his or her own visual world. The color transitions in the artist's works change in a measured manner, with intervals of three and four minutes, which allows him to slowly consider all optical transformations and combinations. Visiting the exhibition, one can also appreciate the favorable arrangement of light objects in the interior, which is emphasized by the atmosphere of the "PROSVET" studio. http://umuchenberger.weebly.com/ <<-- Back Ojo a Ojo, The exhibition presents seven works from the Eye to Eye series. Light compositions are enclosed in a strict geometric form, like ordinary paintings: they change their color harmonies, intensity, brightness according to the program established by the author. The viewer is immersed in those images and landscapes that, in response to the artist's message, our imagination opens up for us. The author talks about his series: “By entering into dialogue with my works, the viewer's consciousness generates a response. This bridge between the emotional experience and its manifestation is what color is, that is, the connection between the interior and the exterior. Thus, each viewer opens his own visual world. https://vimeo.com/205356184 https://vimeo.com/119499775