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The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Picture showing Gerfried Stocker (AT), artistic director of Ars Electronica.
Credit: Sergio Redruello / LABoral
My project is an attempt to reproduce the human body while blurring the boundaries between the real and the artificial. The sculpture/anatomical model is a life size reproduction of a human hand, leg and head with a bronze skeleton and a translucent wax that has similar feel to real flesh. The limbs are direct casts of real human parts so in close view one is able to see fingerprints and any other texture that would appear on human skin. The limbs are on a stainless steel table.
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.
In Anti-Gravity Soundscape, small Styrofoam particles are made to hover in midair by so-called acoustic levitation. Levitation is defined as the process by which an object is held aloft in a stable position without contact to the ground or any mechanical support.
Credit: Martin Hieslmair
“Biopresence” by Shiho Fukuhara (JP) and Georg Tremmel (AT) creates “Human DNA Trees” by transcoding the essence of a human being within the DNA of a tree in order to create “Living Memorials” or “Transgenic Tombstones”. “Biopresence” is collaborating with scientist and artist Joe Davis on his “DNA Manifold algorithm”, which allows for the transcoding and entwinement of human and tree DNAs.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
VIRT-EU aims to intervene at the point of design to foster ethical thinking among developers of IoT solutions. In fact, addressing social concerns in new technologies not only impacts changes in regulatory regimes, but also influences the process of imagining and developing the next generation of digital technologies within European clusters of creative innovation.
Credit: tom mesic
Aoife van Linden Tol (IE) is the first artist-in-residence hosted jointly by Ars Electronica and the European Space Agency (ESA). Photo showing a talk with ESA engineer Thomas Walloschek (DE).
Credit: Ars Electronica / Martin Hieslmair
With its inhumane and environmentally destructive production methods, fast fashion has long since surpassed all boundaries. Fashion & Technology offers alternatives to the system with new, sustainable processes. The participatory workshop situation *In the Lab: Processing Fashion* aims to make them visible and tangible. Material development, shaping techniques and design processes that take place before product solutions, are the focus of attention.
Credit: Jürgen Grünwald
Mit Organs Sound The Body will Kal Spelletich, die Maschinenkunst-Ikone aus San Francisco, „Ersatzorgane für KünstlerInnen schaffen, die noch nie eine Krankenversicherung hatten“. Dabei versteht er eine Reihe von hybriden menschlichen Organen (Lunge, Herz, Nieren, Haut) als spielerische und reaktive Metaphern für Überleben, Identität, Aktion und Verantwortung in einer Zeit, in der zunehmend „nützliche“ Werte die Fähigkeit der Technologie zur Poesie überschatten können. Als tiefgründige Meditation über die Gesundheitskrise dienen diese interaktiven Arbeiten auch als Zeugen im Alterungsprozess.
Credit: Jürgen Grünwald
VIRT-EU aims to intervene at the point of design to foster ethical thinking among developers of IoT solutions. In fact, addressing social concerns in new technologies not only impacts changes in regulatory regimes, but also influences the process of imagining and developing the next generation of digital technologies within European clusters of creative innovation.
Credit: tom mesic
VIRT-EU aims to intervene at the point of design to foster ethical thinking among developers of IoT solutions. In fact, addressing social concerns in new technologies not only impacts changes in regulatory regimes, but also influences the process of imagining and developing the next generation of digital technologies within European clusters of creative innovation.
Credit: tom mesic
artist: Linda Yuen
part of collaborative effort to create a mountain meadow infographic with John Muir Laws Nature Journal Club members
There is no region of the world from which we receive more media coverage than the Middle East. The images are of places completely destroyed by war. Some may still remember that the cradle of our culture lies between the Euphrates and Tigris. However, it is nearly impossible for most people to imagine that between bomb attacks and ruins there exists young, contemporary art which continues to develop, which both attaches importance to the preservation of its culture and seeks connection to the Western world.
Credit: tom mesic
“Drosophila titanus” by Andy Gracie (UK/ES) is an ongoing and long-term project which through a process of experimentation and artificial selection aims to breed a species of the fruit fly, drosophila, that would theoretically be capable of living on Saturn’s largest moon, Titan.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
Origin stories of a multi-planetary diaspora
In the coming century, humans will become a space-faring species, forming settlements on other planets, even traversing the solar system as wandering nomads. Advancing technologies for inter-planetary habitability to enable new market prospecting underpins current goals to achieve low earth orbit to the moon and Mars by 2033. Energy, water, food and material security – innovations developed for extreme conditions “out there” – are set to be generators of wealth and utopian earthly futures. Seventy-two countries have a space program, while only the government space agencies NASA, CNSA, and RFSA possess human space flight capabilities. Meanwhile, the private sector is propelling advancement. Urgent questions arise: who gets to colonize the life beyond Earth, and what does it mean for those ideas to seed those human futures? Is it possible to dream of other worlds beyond those presented to us through a privatized “cosmos Imaginarium”?
Credit: Jürgen Grünwald
Mit Organs Sound The Body will Kal Spelletich, die Maschinenkunst-Ikone aus San Francisco, „Ersatzorgane für KünstlerInnen schaffen, die noch nie eine Krankenversicherung hatten“. Dabei versteht er eine Reihe von hybriden menschlichen Organen (Lunge, Herz, Nieren, Haut) als spielerische und reaktive Metaphern für Überleben, Identität, Aktion und Verantwortung in einer Zeit, in der zunehmend „nützliche“ Werte die Fähigkeit der Technologie zur Poesie überschatten können. Als tiefgründige Meditation über die Gesundheitskrise dienen diese interaktiven Arbeiten auch als Zeugen im Alterungsprozess.
Credit: Jürgen Grünwald
Aoife van Linden Tol (IE) is the first artist-in-residence hosted jointly by Ars Electronica and the European Space Agency (ESA). Photo showing turned off computers of the Rosetta mission at ESOC.
Credit: Ars Electronica / Martin Hieslmair
Swamp Radio takes on the challenge of giving a voice to many who are unheard and invisible. The swamps, these vast wetlands with their ancient ecosystems, are like time-capsules. Yet they are also key players for providing a variety of ecological services for our modern society. Escaping from intensive agriculture, the swamps contain dormant resources, and myriad other species, with whom we share life on this planet.
Credit: tom mesic
Aoife van Linden Tol (IE) is the first artist-in-residence hosted jointly by Ars Electronica and the European Space Agency (ESA). Photo showing Aoife Van Linden Tol in front of the Schiaparelli lander model at ESOC Darmstadt.
Credit: Ars Electronica / Martin Hieslmair
There is no region of the world from which we receive more media coverage than the Middle East. The images are of places completely destroyed by war. Some may still remember that the cradle of our culture lies between the Euphrates and Tigris. However, it is nearly impossible for most people to imagine that between bomb attacks and ruins there exists young, contemporary art which continues to develop, which both attaches importance to the preservation of its culture and seeks connection to the Western world.
Credit: tom mesic
Still FWD/AWD.
It's been 16 years since the death of the Fleetwood Brougham, and Cadillac STILL has no large RWD flagship to compete with the Mercedes S-class, BMW 7-series, Jaguar XJ and Lexus LS.
Lincoln has the same problem since the Town Car was discontinued. All they have is smallish, FWD/AWD badge-engineered Fords.
There is no region of the world from which we receive more media coverage than the Middle East. The images are of places completely destroyed by war. Some may still remember that the cradle of our culture lies between the Euphrates and Tigris. However, it is nearly impossible for most people to imagine that between bomb attacks and ruins there exists young, contemporary art which continues to develop, which both attaches importance to the preservation of its culture and seeks connection to the Western world.
Credit: tom mesic
There is no region of the world from which we receive more media coverage than the Middle East. The images are of places completely destroyed by war. Some may still remember that the cradle of our culture lies between the Euphrates and Tigris. However, it is nearly impossible for most people to imagine that between bomb attacks and ruins there exists young, contemporary art which continues to develop, which both attaches importance to the preservation of its culture and seeks connection to the Western world.
Credit: tom mesic
Aoife van Linden Tol (IE) is the first artist-in-residence hosted jointly by Ars Electronica and the European Space Agency (ESA). Photo showing a talk with ESA engineer Thomas Walloschek (DE).
Credit: Ars Electronica / Martin Hieslmair
50 years after the Apollo 11 lunar landing, we are seeing another strong push for space exploration: from new and renewed space programs in developed and developing countries to innovative technologies and commercial services from private industry. Along the way, cultural production for outer space becomes crucial for humanity as we expand beyond the earthbound. In the past, the desire for exploration and expansion had a profound impact on how we imagined planetary futures. What shall we imagine now? In this exhibition, six projects from the Space Exploration Initiative of MIT Media Lab are asking the same question and bringing possibilities to the (im)possible space: All the projects were successfully deployed and performed in a zero-gravity parabolic flight last year. They are hopes beyond solutions, imaginations, more than facts. Our effort addresses outer space as a critical territory that must be inhabited—imaginatively, artistically, scientifically and collaboratively.
Credit: Jürgen Grünwald
The interactive installation LightWing II creates a mysterious sensation of tactile data. It allows the visitor to navigate through holographic spaces and to explore responsive narratives.
Credit: Uwe Rieger & Yinan Liu (arc/sec Lab)
50 years after the Apollo 11 lunar landing, we are seeing another strong push for space exploration: from new and renewed space programs in developed and developing countries to innovative technologies and commercial services from private industry. Along the way, cultural production for outer space becomes crucial for humanity as we expand beyond the earthbound. In the past, the desire for exploration and expansion had a profound impact on how we imagined planetary futures. What shall we imagine now? In this exhibition, six projects from the Space Exploration Initiative of MIT Media Lab are asking the same question and bringing possibilities to the (im)possible space: All the projects were successfully deployed and performed in a zero-gravity parabolic flight last year. They are hopes beyond solutions, imaginations, more than facts. Our effort addresses outer space as a critical territory that must be inhabited—imaginatively, artistically, scientifically and collaboratively.
Credit: Jürgen Grünwald
In the midst of exploring and understanding cyberspace, it is intriguing to ask about the boundaries of computation itself. Ludwig Wittgenstein said the limits of our language define the limits of our world. What limits the language of computation? And how is it defining our worldview? This set of experiments asks the computer to perform a simple task, placing two differently colored rectangles at the same position in a three-dimensional space. As none of the two is in front of the other, the machine is confronted with a problem of what color to show. The decision for one color and against the other happens on the lowest level of computation in which electricity flows through the silicon circuits. The computer represents one or the other, but never an in-between. The vagueness of our world, the betweenness is nothing that could be computed. This certainty in the uncertain shines through on every level of mediation between us and the computer.
Credit: Kim Albrecht
The year 2016 hosted a new fair within Frankfurt Book Fair: THE ARTS+ was home to the culture and creative scene. On October 20, 2016, art&science Residency winners Quadrature and Aoife Van Linden Tol presented their innovative concepts, projects and ideas at the "Espresso for the mind" event. Photo shoing Aoife Van Linden Tol (IE).
Credit: Ars Electronica / Martin Hieslmair
Keeping Abreast
(A Video Blog on the making of the video “ Biology of the Breast and Breast Cancer)
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.
Impression from the opening of the exhibition "The Alchemists of Art and Science" at the Ars Electronica Center Linz.
Credit: Ars Electronica / Martin Hieslmair
Impression from the opening of the exhibition "The Alchemists of Art and Science" at the Ars Electronica Center Linz.
Credit: Ars Electronica / Martin Hieslmair
"Portrait on the Fly" consists of a series of interactive portraits and plotter drawings. For the series "Portrait on the Fly" Sommerer and Mignonneau modeled virtual insects that can align themselves so as to compose human portraits in real time. Photo showing Gerfried Stocker (AT), artistic director of Ars Electronica.
credit: Martin Hieslmair
Within the framework of Art & Science, the Fraunhofer Institute for Image-Based Medicine MEVIS and the media artist Yen Tzu Chang (JP) conducted a workshop for pupils at the Ars Electronica Center in June 2017.
Credit: Ars Electronica / Martin Hieslmair
The year 2016 hosted a new fair within Frankfurt Book Fair: THE ARTS+ was home to the culture and creative scene. On October 20, 2016, art&science Residency winners Quadrature and Aoife Van Linden Tol presented their innovative concepts, projects and ideas at the "Espresso for the mind" event. Photo shoing Aoife Van Linden Tol (IE).
Credit: Ars Electronica / Martin Hieslmair
50 years after the Apollo 11 lunar landing, we are seeing another strong push for space exploration: from new and renewed space programs in developed and developing countries to innovative technologies and commercial services from private industry. Along the way, cultural production for outer space becomes crucial for humanity as we expand beyond the earthbound. In the past, the desire for exploration and expansion had a profound impact on how we imagined planetary futures. What shall we imagine now? In this exhibition, six projects from the Space Exploration Initiative of MIT Media Lab are asking the same question and bringing possibilities to the (im)possible space: All the projects were successfully deployed and performed in a zero-gravity parabolic flight last year. They are hopes beyond solutions, imaginations, more than facts. Our effort addresses outer space as a critical territory that must be inhabited—imaginatively, artistically, scientifically and collaboratively.
Credit: Jürgen Grünwald
LightWing II creates a mysterious sensation of tactile data. In this interactive installation, a kinetic construction is augmented with stereoscopic 3D projections and spatial sound. Flexible carbon fiber rods hold a large transparent membrane in tension. A light touch sets the delicate wing-like structure into a rotational oscillation and enables the visitor to navigate through holographic spaces and responsive narratives.
Credit: tom mesic
Impression from the opening of the exhibition "The Alchemists of Art and Science" at the Ars Electronica Center Linz.
Credit: Ars Electronica / Martin Hieslmair
Wakeful Rests juxtaposes the possibility of multiple, simultaneous, “lapse-less” visual realities with the singular, deeply personal act of human seeing. On a large screen, live video is pulled from over one hundred 24-hour webcams around the world to create a real-time, spontaneous cinema experience. Meanwhile, a computer vision module detects the viewer’s blinks. Afterwards, the corresponding “missed frames” are played back via the Blinkstream: an infinitely accumulating sequence of recalled images—each uniquely unseen by a preceding viewer.
Credit: Jürgen Grünwald
The next chapter of the human story will see us become a space-faring species, wandering nomads traversing the solar system within a century. Today public and private sectors across the world are developing strategies to expand cosmic exploration, beginning with the moon, then to Mars by 2033. New technologies, infrastructure for long-term planetary habitation, and emergent markets are the primary drivers of a colonial space expansion. Innovations required to exist “out there” will generate unimaginable wealth and so-called techno-utopian futures for life “down here”. Urgent questions arise: who gets to colonise the solar system and what does it mean that their ideas seed those human and non-human futures? Is it possible to dream of other worlds beyond the those presented to us through a privatised “cosmos imaginarium”? What new stories could we tell so other ways and reasons to be multi-planetary can emerge?
Credit: Natsai Audrey Chieza, Karl Aspelund
Agnes Mayer Brandis’s “Teacup Tools” are part of a “Global Teacup Network” and draw attention to climate-related sciences. Her work consists of a table and machinery for raising two or more teacups individually. Various measuring instruments are built in and onto the tea cups, measuring the environment of the cup.
The Materia Prima exhibition has been produced jointly by LABoral Centro de Arte in Gijón, Spain, and Ars Electronica Export.
Credit: Sergio Redruello / LABoral
There is no region of the world from which we receive more media coverage than the Middle East. The images are of places completely destroyed by war. Some may still remember that the cradle of our culture lies between the Euphrates and Tigris. However, it is nearly impossible for most people to imagine that between bomb attacks and ruins there exists young, contemporary art which continues to develop, which both attaches importance to the preservation of its culture and seeks connection to the Western world.
Credit: tom mesic
Aoife van Linden Tol (IE) is the first artist-in-residence hosted jointly by Ars Electronica and the European Space Agency (ESA). Photo showing Johann-Dietrich Wörner, head of ESA, and Igor Komarov, head of Roskosmos, at the press conference on October 19, 2016, in Darmstadt.
Credit: Ars Electronica / Martin Hieslmair