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Eva London 2019 Day 3

Event two:

soundcatart john weijl

visualising music

vj stuff

based on sinus and cosines functions for movement and colours etc.

a lot work is done in forehand and then in a kind of dj remix “again” to finalize the work

augmented reality paintings kind of sketches related to the work

vj frames are integrated into paintings

into virtual reality

kind of fly through experience digital dystopia (pattern usage) recombine half painted backgrounds

Interactive Visual Music

synthesis between audio and visual - synaesthesia

non representational and non narrative

modernist approach abstract animations (started 1920s)

effect by the sublime, gestures, to change how it is perceived and created and returned

-> turner <- broke the canvas

“singing light” but ofter presented as cinema

now interaction is possible by VR - AR? the observer as participant

morphing simple shape (triangle, circle, square) [extruding them to] tunnels of light

breaking up [the idea of] projections - one can see the light on oneself [and interact]

reactions with the movement of the people

taking things off the screen and present them in the environment

here light and flags nothing is hidden everything is clear social interactions / awareness playing , a basic idea/experience of 3d immersive dynamic viewpoint aka real space

stuart faromarz batchelor a framework for future paintings

music jam artist sketch learning through physical play

aural, tactile, spatial …

“computer’s access is this superflat behind glas”

the matters of painting (What happens, if you remove them?) allow creation through code, drawing - be responsive

camera recording the painting process and process the information while the code can be tweaked that processes the data

the artist has the choice


Sound and the Feeling of Presence

What is sound? Where is sound? Presence - Environment and world ….context

a. Sound is a perception basically (Oscillation in pressure) b. auditory sensation evoked by [a]

mc gurk effect - collision of what you hear with what you see [bar-far] aka “illusion like” but this is how we human hear

reality as an abstraction of “reality” aka world out there environment is an interface to the world how we create this artifact

emergence ?vs? presence

localization significant: where is the sound - we localize the sound where it makes sense - not where it might coming from physically. but also sound is in the ear. sonic virtuality a binding problem

thunder and lightning (example)


VR researcher Slater (2009) simulated presence - vs being here

gilkey and weisenberger 1995 cartesian dualism the importance of audio in visual “worlds” - avoid isolation not so much about sensation and realism but presence

social presence, mediation between people

temperature, tactile, haptic, smell, weight

campbell 1974 organism’s knowledge of the environment/world out there

there is a question: presence how?

paul thomas

kevin raxworthly from south wales australia

nano tech - where does life exist on nano level

quantum computer atoms are not soul, the soul itself is atomic.

talking to an electron

reading richard finemann’s paper and observing the reaction of the electron

where does the ethical responsibility in the world end? On the beings, cellular or beyond the atomic level?

Quantum Chaos

bifurcations, self-similarity soft chaos quantum tunneling, dynamic tunneling

cyberrabbit kybalion

the music album as an collectible artifact

the cover/album-art as an interface for the augmented reality experience

extending to the webpages of the creators

inside a portal to the vr/3d world experience

also the record labels are augmented and the poster that comes with the album

connection to the world?

painting in a/vr and having a share over the vr-world - cyber-meeting point

cooperation with woesome

hosted in the cloud and combined with blockchain

next: maybe AI?

In VR I can create my own imagination, but this time you can step into it.

“Imagine all the people …” … may this is the first step, create.

we live in a time where science fiction becomes science fact

christopher moore

eeg talk demo

The use of human brain activity in the making of art

all art is applied physiology Nietzsche

the brain is bag of salts arranged with membranes

awake drowsy sleep stages I-IV REM abnormalities of brain disorders

(meditation states)Bairn waves gamma, beta, alpha, theta, delta (order of detection)

eeg can be used as the trigger to make art eeg actually quite crude with regard to descreening cognitive function as an artist we should be really careful what we claim

Poetry Based, 3d Printed Sculpture

artist voice ai analysis vector drawing 3d printing conversion 3d printing physical form -> assembling sculpture (by the artist)

Why poetry?

Transporting into notion something that is not notional is very difficult.

Using a poem and the voice enacting of someone(not necessarily a actor) who read the poem

ai detects the emotional states in the voice recordings (that’s the data) (main) reason why the language of the poem has to english The emo-states the ai can detect: disgust, anger, fear, sadness, surprise, happy, neutral male and female differs, counts, too

a lot of data is needed to train a neural network accuracy match is close to 50% much better than pure random (100/14)

artists finding: the idea had way more crazy shapes, the final results are quite “common”


Riding Through Walls a journey of physical computing through Google Street View

Dr. Megan L. Smith University of Regina / Canada

ride a bike in her studio through canada in google street view

projections of images of the location she went through on the right hand side in front the actual street view of the position

went along the trans canada

average speed 19km/h - is comfortable (+ good image refresh frame rate)

sync the experience with instagram, twitter, facebook

data graphs visualize the experience -> biking success, where, … 6420 km biking 337 hours of physical engagement, 942 photos taken to represent the journey

patterns encountered: the people random thinks (like a helicopter on a car) cliches (like a bag in the winter bries) x-mas trees on the street a glitch in google street view system failures (gap in the data, falling down of a highway) time travel (from 2015 to 2014 and suddenly one sees the mountains) google street view captures reality with indifference interaction with people - engagement of people with gsv-cars (stunts weaving) strange things - death - angle appeared moments of love

found a lot more of humanity than anticipated ( blurred images )

the social engagement was huge all over the internet in the virtual experience

project is archived on youtube influence: James Bridle ‘the new Aesthetics and its politics’ Marshall McLuhan

you can pedal through a lot of media like poems

Return to nature: How media art heals

the narrow screen focus of attention

consciousness hacking a service to humanity

maker of kinetical artfair and artworks what makes the artworks so engaging (where does this energy comes from?)

Stephen R Kellet The Biophilia Hypothesis Proximity to greenspace ‘soft fascination’

Techno Biophilia Sue Thomas

Technological nature Peter H Kahn

Digital Forest Mad Boyd and Nye Parry + Polly Dalton

otherworld hackney takes you out of this world into another one

are we experience nature second hand?

swimming with dolphins - a waterproofed vr mask sensory reality pod - a therapy against dementia be-box - not a other world - more going into inside your personal state wave paths space - mendel kaelen - therapeutic use sensortech’s sensora room

At the helm of the burning ship claude

vepstas 1997 millner?

the burning ship is a mandelbrot variation

KI Martin’s SuperFractalThing Laser blaster case analysis Paudelbrot’s glitch detection criterion

code generation can be automated

artistic aspects of where you want to zoom into

beyond the audience seat

360°recording last talk of the day talking about opera and recording for vr

implementation of new techs into the traditional opera


mimetic … diegetic … … qualities of staging

hyperstage close you are part of the stage you can move around far away you see it as part of the audience or recording booth

the closer the louder the voice