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María Ignacia Edwards (CL) works with equilibrium, the lightness and weightlessness of objects that she brings into balance by deploying their own weight or counterweights.
credit: tom mesic
The first recipient of the residency staged under the auspices of the Art & Science Network is María Ignacia Edwards (CHL). She was selected from among the 140+ applicants from 40 countries and will be spending her residency at the European Southern Observatory (ESO) in Chile and at the Ars Electronica Futurelab in Austria. Picture is showing María Ignacia Edwards at the SEST in La Silla during her pre-visit in Chile.
Credit: Claudia Schnugg
Proteus 2.0 is an installation that modulates ferrofluid patterns, with both human and machine intelligences, in a closed loop. Through an individual and prolonged visual experience, it immerses the visitor in an implicit interaction with the material through a brain-computer interface. A pre-trained dedicated machine learning model is informed by real-time neural signals, produced by the visitor’s gaze while being exposed to the rapid serial change of patterns without any explicit instructions to follow. Over the time of the gaze experience, visitors may witness a certain stabilization of their own modulated picture of the material.
Credit: tom mesic
María Ignacia Edwards (CL) works with equilibrium, the lightness and weightlessness of objects that she brings into balance by deploying their own weight or counterweights.
credit: tom mesic
A hand rolled felt brooch (1 of 6) inspired by a combination of electron photo micrographs and looking at cells through an optical microscope. The purple and pink colours are approximations to the pigment used to stain specimens to show particular structures. The beads and the stitching represent organelles and the cell wall.
Patricia Piccinini is presenting “The Listener”. This humanoid figure that her crew painstakingly put together out of silicon, fiberglass and human hair doesn’t seem the least bit threatening. Actually, its vulnerability is what leaves the strongest impression. With a friendly look on its face, it seems to be seeking acceptance and hoping that we are not put off by its strangeness.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
The UK artist duo Ruth Jarman and Joe Gerhardt aka Semiconductor during their introduction visit at CERN in Switzerland, preparing their residency after they have recieved the 2015 Collide@CERN Ars Electronica Award. Picture is showing them in talk with Michael Doser, CERN.
Credit: Claudia Schnugg
For more information on the artist, visit: www.kenleslie.net/
Leslie, Ken., Miniature Book Society. Measure. Hardwick, VT: K. Leslie, 1996.
See MCAD Library's catalog record for this book.
The Fashion & Technology students’ examples range from a reinterpretation of traditional craft techniques through biochemical kitchen experiments to the emergence-and death-of digital bodies. In a laboratory situation in POSTCITY, these projects are playfully and seriously investigated.
Credit: Jürgen Grünwald
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
Picture showing Diane Mc'Sweeney (IE), educational and european projects coordinator in Science Gallery Dublin, and Horst Hörtner (AT), head of Ars Electronica Futurelab, during the jury session.
Credit: Martin Hieslmair
I got my hair cut today. I was getting bored of having the same style, so wanted a change. And this was it. More layers, shorter and a different shape from what I've had lately. Hopefully, it will be slightly easier to style, since perfection is not key with this cut.
Cocoon transplants ongoing research at the MIT Media Lab’s Dream Lab into the electronic arts context. We will perform live experiments that focus on tracking, influencing and extracting content from dreams. We present three custom-built wearable electronics for sleep science which make this interface across levels of consciousness possible: Masca, Essence and Dormio. Our wearables gather eye, heart, brain, breath, muscle and skin biosignals for sleep staging and in turn output smell, audio and electricity to manipulate the dreaming brain. The intersection between signals and stories where we work, between concrete inputs and the algorithms which abstract them in the mind, offer a unique meeting point for scientific regiment and experiential art. The nightly dissolution of our perceptually grounded experience into dreams, and the clear signals associated with them, link science and the imaginary.
Credit: tom mesic
For more information on the artist, visit: www.kenleslie.net/
Leslie, Ken., Miniature Book Society. Measure. Hardwick, VT: K. Leslie, 1996.
See MCAD Library's catalog record for this book.
The first recipient of the residency staged under the auspices of the Art & Science Network is María Ignacia Edwards (CHL). She was selected from among the 140+ applicants from 40 countries and will be spending her residency at the European Southern Observatory (ESO) in Chile and at the Ars Electronica Futurelab in Austria. Picture is showing María Ignacia Edwards during her pre-visit in Chile, watching at the Hand in the Desert Monument.
Credit: Claudia Schnugg
The organized game "Otelo Futurespace – The Digital Playground" took place at Ars Electronica Center from April 4 to 8, 2018. In eight labs, each focusing on a different aspect of digitization, 10-18-year-olds acquire the skills that will help them get the final "Robo-Challenge" up and running. In these lab settings, the accent is on hands-on practice—the participants are encouraged to try out new things, experiment and learn.
Credit: Vanessa Graf
The UK artist duo Ruth Jarman and Joe Gerhardt aka Semiconductor during their introduction visit at CERN in Switzerland, preparing their residency after they have recieved the 2015 Collide@CERN Ars Electronica Award. Picture is showing the CLIC unit.
Credit: Claudia Schnugg
The organized game "Otelo Futurespace – The Digital Playground" took place at Ars Electronica Center from April 4 to 8, 2018. In eight labs, each focusing on a different aspect of digitization, 10-18-year-olds acquire the skills that will help them get the final "Robo-Challenge" up and running. In these lab settings, the accent is on hands-on practice—the participants are encouraged to try out new things, experiment and learn.
Credit: Vanessa Graf
Adding an exceptional length of time in comparison to common studies, in The 101-Nights we perform the recording of her sleep with 256 EEG channels, a performance in which her dreams were electronically recorded and stimulated with audios. These stimuli occasionally demonstrate their influence in the account of her dreams.
Credit: tom mesic
For more information on the artist, visit: www.kenleslie.net/
Leslie, Ken., Miniature Book Society. Measure. Hardwick, VT: K. Leslie, 1996.
See MCAD Library's catalog record for this book.
Proteus 2.0 is an installation that modulates ferrofluid patterns, with both human and machine intelligences, in a closed loop. Through an individual and prolonged visual experience, it immerses the visitor in an implicit interaction with the material through a brain-computer interface. A pre-trained dedicated machine learning model is informed by real-time neural signals, produced by the visitor’s gaze while being exposed to the rapid serial change of patterns without any explicit instructions to follow. Over the time of the gaze experience, visitors may witness a certain stabilization of their own modulated picture of the material.
Credit: tom mesic
María Ignacia Edwards (CL) works with equilibrium, the lightness and weightlessness of objects that she brings into balance by deploying their own weight or counterweights.
credit: tom mesic
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
Picture showing Emiko Ogawa (JP), Ars Electronica, and Diane Mc’Sweeney (IE), educational and european projects coordinator in Science Gallery Dublin, during the jury session.
Credit: Martin Hieslmair
Receiving cosmic muons (one of the fundamental particles constantly created by the interactions of the cosmic rays at the top of the atmosphere) through a scintillator detector, this postbox subtly emits sound and light as a direct consequence of every particle it detects. It is through this process that the implied aesthetics of the unperceivable are explored, as are the means by which it could be indirectly appreciated in different ways through the bodies and minds of humans.
Credit: Jürgen Grünwald
The organized game "Otelo Futurespace – The Digital Playground" took place at Ars Electronica Center from April 4 to 8, 2018. In eight labs, each focusing on a different aspect of digitization, 10-18-year-olds acquire the skills that will help them get the final "Robo-Challenge" up and running. In these lab settings, the accent is on hands-on practice—the participants are encouraged to try out new things, experiment and learn.
Credit: Vanessa Graf
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
A group photo showing the jury 2016 consisting of representatives of Ars Electronica, ESO and members of the cultural partner institutions.
Credit: Martin Hieslmair
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
Picture showing Horst Hörtner (AT) and Martin Honzik (AT) from Ars Electronica.
Credit: Martin Hieslmair
The first recipient of the residency staged under the auspices of the Art & Science Network is María Ignacia Edwards (CHL). She was selected from among the 140+ applicants from 40 countries and will be spending her residency at the European Southern Observatory (ESO) in Chile and at the Ars Electronica Futurelab in Austria. Picture is showing María Ignacia Edwards at her studio in Chile with Fernando Comeron (ESO).
Credit: Claudia Schnugg
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
Picture showing the logo of the art and science network.
Credit: Martin Hieslmair
This is grown. was motivated by a frustration with plastics and a visible disparity between scientific research and design manifestations around natural materials. Taking an organism-driven approach to material design, the project began under the premise that a greater understanding of nature could help us not just replace the petrochemical based materials of today with more sustainable ones, but perhaps allow us to devise entirely new systems of making and categories of materials previously unimagined. After all, nature has had 3.8 billion years to perfect the ultimate circular economy: Life. Maybe we can still learn something.
Credit: Jürgen Grünwald
Proteus 2.0 is an installation that modulates ferrofluid patterns, with both human and machine intelligences, in a closed loop. Through an individual and prolonged visual experience, it immerses the visitor in an implicit interaction with the material through a brain-computer interface. A pre-trained dedicated machine learning model is informed by real-time neural signals, produced by the visitor’s gaze while being exposed to the rapid serial change of patterns without any explicit instructions to follow. Over the time of the gaze experience, visitors may witness a certain stabilization of their own modulated picture of the material.
Credit: tom mesic
Adding an exceptional length of time in comparison to common studies, in The 101-Nights we perform the recording of her sleep with 256 EEG channels, a performance in which her dreams were electronically recorded and stimulated with audios. These stimuli occasionally demonstrate their influence in the account of her dreams.
Credit: tom mesic
The UK artist duo Ruth Jarman and Joe Gerhardt aka Semiconductor during their introduction visit at CERN in Switzerland, preparing their residency after they have recieved the 2015 Collide@CERN Ars Electronica Award.
Credit: Claudia Schnugg
The organized game "Otelo Futurespace – The Digital Playground" took place at Ars Electronica Center from April 4 to 8, 2018. In eight labs, each focusing on a different aspect of digitization, 10-18-year-olds acquire the skills that will help them get the final "Robo-Challenge" up and running. In these lab settings, the accent is on hands-on practice—the participants are encouraged to try out new things, experiment and learn.
Credit: Vanessa Graf
In his work “Synthetic Memetic”, Matthew Gardiner composed a DNA sequence in such a way that the series of nucleotide bases in it correspond to the letters of the song title “Never Gonna Give You Up” by Rick Astley, and then integrated them symbolically into a pistol.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
Picture showing the jury consisting of representatives of Ars Electronica, ESO and members of the cultural partner institutions.
Credit: Martin Hieslmair
The UK artist duo Ruth Jarman and Joe Gerhardt aka Semiconductor during their introduction visit at CERN in Switzerland, preparing their residency after they have recieved the 2015 Collide@CERN Ars Electronica Award. Picture is showing the Antimatter Factory.
Credit: Claudia Schnugg
“Gene Gun Hack” by Rüdiger Trojok (DE) is a scientific instrument. The biologist Rüdiger Trojok succeeded in building one of his own and in slashing its cost to a mere 50 euros. Normally the gene gun is one of the most important tools used in modern biology.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
Proteus 2.0 is an installation that modulates ferrofluid patterns, with both human and machine intelligences, in a closed loop. Through an individual and prolonged visual experience, it immerses the visitor in an implicit interaction with the material through a brain-computer interface. A pre-trained dedicated machine learning model is informed by real-time neural signals, produced by the visitor’s gaze while being exposed to the rapid serial change of patterns without any explicit instructions to follow. Over the time of the gaze experience, visitors may witness a certain stabilization of their own modulated picture of the material.
Credit: tom mesic
Cocoon transplants ongoing research at the MIT Media Lab’s Dream Lab into the electronic arts context. We will perform live experiments that focus on tracking, influencing and extracting content from dreams. We present three custom-built wearable electronics for sleep science which make this interface across levels of consciousness possible: Masca, Essence and Dormio. Our wearables gather eye, heart, brain, breath, muscle and skin biosignals for sleep staging and in turn output smell, audio and electricity to manipulate the dreaming brain. The intersection between signals and stories where we work, between concrete inputs and the algorithms which abstract them in the mind, offer a unique meeting point for scientific regiment and experiential art. The nightly dissolution of our perceptually grounded experience into dreams, and the clear signals associated with them, link science and the imaginary.
Credit: tom mesic
The first recipient of the residency staged under the auspices of the Art & Science Network is María Ignacia Edwards (CHL). She was selected from among the 140+ applicants from 40 countries and will be spending her residency at the European Southern Observatory (ESO) in Chile and at the Ars Electronica Futurelab in Austria. Picture is showing María Ignacia Edwards' studio in Chile.
Credit: Claudia Schnugg
Free Space Loss is an electronic media installation which readdresses the immersive
experience of early Virtual Reality systems. Using an older technological model of Virtual Reality—the Head Mounted Display (HMD)—viewers are able to visually explore series of panoramic photographs. As the viewers wear the HMDs they become linked to a network where their physiological outputs are tracked, measured and then sent to a computer software program which, using methods comparable to gaming and scientific computer modelling, alters the panoramic image. Over time the image becomes entirely different from the original, exposing the panorama as a symbol that can be easily constructed and manipulated.
Photos from the 2010 Too Cool for School Art and Science Fair that was was held at Harbourfront Centre in Toronto on 8 May 2010.
Learn more at www.artandsciencefair.ca.
The UK artist duo Ruth Jarman and Joe Gerhardt aka Semiconductor during their introduction visit at CERN in Switzerland, preparing their residency after they have recieved the 2015 Collide@CERN Ars Electronica Award. Picture is showing them in talk with Rolf-Dieter Heuer, Director General of CERN.
Credit: Claudia Schnugg
Proteus 2.0 is an installation that modulates ferrofluid patterns, with both human and machine intelligences, in a closed loop. Through an individual and prolonged visual experience, it immerses the visitor in an implicit interaction with the material through a brain-computer interface. A pre-trained dedicated machine learning model is informed by real-time neural signals, produced by the visitor’s gaze while being exposed to the rapid serial change of patterns without any explicit instructions to follow. Over the time of the gaze experience, visitors may witness a certain stabilization of their own modulated picture of the material.
Credit: tom mesic
In cooperation with seven artistic & cultural institutions as well as the ESO–European Southern Observatory, Ars Electronica has launched "art & science", the European Digital Art and Science Network, an international initiative offering artists the chance to spend several weeks at both the ESO and the Ars Electronica Futurelab.
Picture showing the jury consisting of representatives of Ars Electronica, ESO and members of the cultural partner institutions.
Credit: Martin Hieslmair
The first recipient of the residency staged under the auspices of the Art & Science Network is María Ignacia Edwards (CHL). She was selected from among the 140+ applicants from 40 countries and will be spending her residency at the European Southern Observatory (ESO) in Chile and at the Ars Electronica Futurelab in Austria. Picture is showing María Ignacia Edwards' studio in Chile.
Credit: Claudia Schnugg