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Preview: Cluster21 : la communauté du digital, des médias à la e-démocratie... - Jeux mobiles - INNOVATION


Artificial Imagination: Is it just an illusion? (1/2)

Thu, 28 Dec 2017 12:33:25 +0000

As present time felt obsolete compared to the new realm of AGI everywhere, I started wondering about the possible consequences of Artificial Imagination and Intelligence on human creativity and subsequently on the arts in the post-Anthropocene. From the technical realm of Samuel Doogan’s computing scope throughout the critical positioning of Johannes Bruder’s research, these discussions inquires topics such as whether AI could create art? What could be the philosophical, political and sociological "consequences" of such progress? And Could this change our anthropomorphic vision of creativity? Hoping you will enjoy the speculative ride.   allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="" webkitallowfullscreen="" width="610"> Video showing “A journey trough all the layers of an artificial neural network” by Johan Nordberg based on the work of Google researchers Alexander Mordvintsev, Christopher Olah and Mike Tyka. Samuel Doogan is undertaking a PHD on computational linguistics at the University of college Dublin where he researches AI’s creativity in the field of linguistic throughout generated forms of written texts such as stories, poetry, metaphors, films scripts, etc. Juliette Pépin: Do you think an AI can be creative and ultimately make works of art? Samuel Doogan: Well... We could have AI generated art which is indistinguishable from human made art, thus I personally don’t think it is very likely. Whereas, an AI could create works which are as valuable yet totally different from traditional forms. This AI would create things that a human would not even be capable to think of and therefore initiate a form of completely new art. But let me know a bit more what you mean by creativity? JP: Well, if you legitimately prove that an AI can be creative could it then have a form of subjectivity applied to a creative practice. For instance, I often cross my knowledge irrationally to create new works, could an AI also achieve such “irrational” type of associations? SD: That’s interesting and it happens that I have a colleague that works on this. Basically, and not to get too technical, he’s training a neural network that uses word and image vectors combined in a generative language which tries to create things like metaphors. You also have systems based on a purely descriptive form of world ontology which tries to merge two things together. For instance, the experiment “Horse-bird” consists of asking an AI to combine the ontology of a horse with the ontology of a bird and ultimately create something close to a Pegasus. To achieve that the system uses a genetic algorithm assessing which “blending” of the bird and horse are bests. To some extend it is criticizing itself to come up with the best solution. Thus, we have a long way to go before it reaches the subtlety level that humans uses when self-assessing.      Images showing Human made Pegasus in relation to the “Horse-Bird” experiment. JP: But how can you judge an AI creativity? How is the value of its “art” assessed? SD: You first need to define what is “creativity ” and there is a lot of debate about whether such thing can be described and used by a computational system. The two main commonly accepted criterions are so far Novelty and Quality. Regarding novelty, a lot would argue that making something completely new is not enough. I could go and do something random and it would be novel, but it could still be bad and uncreative. Yet, by trying to find ways to address and compute these inquiries a computer could eventually asses how creative something is. What I’m working on now is an AI which looks at films and aims to compute their novelty by using the descriptions and critics provided online by platforms such as IMDB or Wikipedia. It puts the analyzed film in a space where it asses it b[...]

Green fingers: digital and botanical art (1/2)

Fri, 15 Dec 2017 19:51:18 +0000

Artistic practices involving video, robotics and biotechnology have completely changed our aesthetic perception of nature. We have moved from depicting "still life" to using living materials. The following is an overview of a few creations with digital combining with plant. By Lityin Malaw Ecological warning In tune with our era, artists have also become watchdogs and sometimes even hackers. Many committed artistic initiatives have arisen from issues surrounding ecology and climate change. Alexandra Regan Toland alerts us to the valuable role flowers play in our urban ecosystems by photographing their stamens and collecting dust from their spores on the streets of Linz. The Dust Blooms: a research narrative in artistic ecology project was exhibited in the Hybrid Art category at Ars Electronica 2017. The duo YoHa (Graham Harwood & Matsuko Yokokoji) are among activists who document, denounce and expose damage to the environment. Their project Wrecked on the Intertidal Zone is a kind of "exhaustive foray of a place"; in this case the Thames estuary, painstakingly identifying the flora, rubbish, mud, junk, etc. The collective Critical Art Ensemble, also involved in this project and whose fight against "economic rationale" we are familiar with, furthermore rallied against GMOs through a performance where the public was invited to test fruit, vegetables and food items (Free Range Grain, 2003-2004). Bad seed The mammoth project involving a vault buried in the ice in the far reaches of Norway, with almost a million seeds stored since 2008, in theory forever protected from any human or natural disaster, emerged as a response to the issue of food risks. In 2016, global warming gave rise to melting permafrost, and the access gallery to this "Noah’s Ark of plants" was flooded…Magali Daniaux & Cédric Pigot staged a sit-in in front of this entrance forbidden to the public, then published an inventory of the place and the context online (video, sound, texts), and a 3D device depicting, like an allegory, desperately empty tunnels like the end of time (Svalbard Global Seed). In this spirit of conservation, they also initiated another project this time aiming to collect plants from wherever their work takes them (The First Garden, 2015). Magali Daniaux & Cédric Pigot build on green strategies to devise models of society (with) the idea that flora, given its active immobility, plasticity and adaptability, could be viewed as a relevant model to envisage new economic and social structures. This is also the philosophy behind the Vegetation as a Political Agent exhibition that was held in Turin in 2014-2015 initiated by the artist Piero Gilardi, extending the reflections and actions of artists, activists, architects and theorists on the subject. allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="" webkitallowfullscreen="" width="610"> Vegetation as a Political Agent curated by Marco Scotini at the PAV 2014 (trailer) from Dan Halter   allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="" webkitallowfullscreen="" width="610"> MAGALI DANIAUX & CÉDRIC PIGOT : « Devenir Graine »   During this event, Dan Halter attracts public attention to the proliferation of invasive species (Mesembryanthemum Space Invader, 2014) with his intervention that resembles Land art — a space invader formed by a bed of flowers. Inès Doujak also focuses on invasion, more precisely the colonisation of living species, reworking the packaging and codes on seed packets in order to expose the theft — biopiracy — performed by multinational companies with their patents and genetic modifications (Siegesgärten, 2007). Roots & cyberculture Despite its familiarity the plant world is full of myst[...]

Liam Young - "I don't think there's anything new or radical about VR"

Mon, 13 Nov 2017 11:54:13 +0000

This November, renown speculative architect Liam Young honored the Impakt festival: haunted machines and wicked problems with one of his atypical video performance, depicting a brave new world of digital myths and natural catastrophies. Internationally acclaimed architect, his works plays of the thin line between design, fiction and futures. He is at the origin of the think tank Tomorrow’s Thoughts Today and also co-runs the nomadic research studio Unknown Fields Division. From the death of VR to the designers duty of critical thinking, here’s what we talked about. You were educated as an architect, what made you take this radical shift into speculative design throughout fictional story telling? Liam Young: I was trained quite traditionally since in Australia the dominant form of architecture is based around genius local place specificity. It inquires the meaning of designing something on a particular site or context. Yet, as the conditions of that context are now mediated through technologies, it's no longer sufficient to use the skills of traditional architecture. To understand these new relationships I moved toward forms of speculation, of story telling and future making. In order to apprehend the room we’re sitting in we need to think about the shadows casted by the iPad you are reading your question on, the landscape that produced it and the mines which were hollowed out in order to make those things. And that's really what I do, telling stories about this messy present and how we might start to engage with it in ways that are productive. "New City: The Edgelands" (vidéo) Would you say that there is a disparity emerging between storytellers and traditional designers? L.Y: No, I just think designers need to open up their forms of practice to include methods that allows sufficient engagements with the complexity of our reality. We are at a time where Facebook is a new kind of public space, and it is not managed by an elected government but by a dude in sneakers and hoodie. And if a designer confines himself within the realm of its own discipline, based on what he expect the public space used to be, then he denies this kind of mediated reality that we all occupy. You know, we use words like “virtual” and “real” and describe them as being different but those terms are just outmoded. Our modern context is just a contradictory reality formed of all kinds of influences, some of which have a physical footprint, some of which don't. "Rare Earthenware: Radioactive Ceramics by Unknown Fields"; Film Still © Toby Smith/Unknown Fields Your projects are deeply involved in revealing the new victims of modern industries and by that dealing with urgent topics such as mass surveillance, technology everywhere… Is being a speculative architect a form of political activism? L.Y: Telling stories is a primarily political act, I mean, fiction is an extraordinary shared medium, it is how cultures have always disseminated ideas and that is the way I seek to operate. Within the film we make and stories we tell, I encode important critical ideas about what it means to exist today… And hopefully they will operate like Trojan horses in these mediums of fiction and popular culture. We are in this urgent reality where we desperately need to change our relationships to computers, to technologies and this is not going to happen with small, incremental steps since it needs to be, and will be, a cultural change. Therefore, storytellers, film makers, game designers are on the front line of this battle for a preferable future. How do you deal with the paradoxe of using the the technology you/we are ethically questioning? L.Y: I am a techno optimist actually! This claim for a return to the hills to live off the lands and grow carrots is not a reality I believe in. I see localism as a myth especially since we are not going to retrieve from this glittering luminous world [...]

Robotic: Do androids dream about media art? (2/2)

Mon, 07 Aug 2017 14:11:39 +0000

We are not facing a "complete replacement" just yet, but robots have never been as present as they are right now: they integrated the presidential campaign 2017; there is a French union for professional robotics (Syrobo); a moratorium on killer robots is being explored by the UN; in Japan the first funeral rites for robotic toys have taken place, as is right and proper, in a temple, with a Buddhist monk, incense and prayer wheels, etc.  Read first part The aim of certain choreographers who have created performances with robots is to find a body language to minimise this menacing appearance. In Robot (2013-) by Blanca Li, eight dancers share the stage with strange musical machines by Maywa Denki and seven Nao (small humanoid robots created by Aldebaran Robotics). It is quite moving to see these high-tech mechanical dolls adopt contemporary dance moves. The choreographer Éric Minh Cuong Castaing also uses Nao robots, two dancers and children invited to participate in the performance space, for his piece School Of Moon (2016) created like a metaphor for post-humanity awakening. With Link Human/Robot (2012-15), Emmanuelle Grangier also engages with a small Nao, but she initiates a more intimate dialogue, establishing a link between humans and machines. allowfullscreen="" frameborder="0" height="343" src="" width="610"> Robot, Blanca Li allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="" webkitallowfullscreen="" width="610"> Link Human/Robot - Emmanuelle Grangier 20.02.2015  This approach is more apparent when the robot has a more obvious humanoid shape. We are not then far from the famous "uncanny valley", the stage when according to the roboticist Masahiro Mori "geminoids" resembling human beings, with the technical imperfections that exist in the current state of scientific progress, cause feelings of unease. Until this gap, this valley, is overcome this feeling is no doubt also prevalent when watching Oriza Hirata’s theatrical performances. With this stage director, the robots "play" with the actors and are part of the cast, but it is above all their "being" — the texture of their "skin", the clothes, their posture, presence and facial expressions— that disconcerts the audience. It is especially evident in the play called The Three Sisters Android version, a story in which one of the dead sisters has been replaced by an android by her father, a robotics researcher. Also in Sayonara ver.2 presenting the everyday dreariness of a young patient assisted by a humanoid robot reciting poetry to them... In his theatre adaptation of The Metamorphosis by Kafka, the character transforms into a robot of course and not into a cockroach!    Sayonara ver.2, Oriza Hirata La Métamorphose, Oriza Hirata In another genre, the "cyber-dolls" by France Cadet, who also produced performance installation with robot dogs, are equally disconcerting with their soft erotic charge; even if they are ensconced in a virtual world of 3D and holographic projections. The common feature of these different robotic creations is therefore the humanoid form, but other options are possible. For his installation called Sans Objet/No Object (2014), the choreographer Aurélien Bory (Cie 111) has chosen to conceal his robot under black tarpaulin. As a result, any movement causes circumstantial folds in the plastic material that become a moving sculpture. Aurélien Bory, Sans Objet    For his mechanical ballets,Peter William Holden chose to structure his devices around several central components, and not a complete robot: mannequin arms and legs for Arabesque, shoes and mechanical feet for Solenoid, hands and metal armatures for Vicious Circle, hats and articul[...]

11 Startup Skills that Schools Fail to Impart

Sat, 22 Jul 2017 12:29:01 +0000

  Start-ups are mushrooming all around the globe, and so are training institutes that offer to coach aspiring individuals in the skills required for setting up one. Some go in for advanced management degrees, while some benefit from formal entrepreneurial training. However there are some things that the best of schools cannot imbibe in an aspiring entrepreneur, things which only-hands on experience can teach, as testified by a few successful entrepreneurs.   One classic example of a startup that has became successful in a short span of time is the business venture of Gupta Family. Initially, entrepreneur Atul Gupta started off with local hardware distribution in 1990’s, but over the decades this company has evolved into becoming South Africa’s most sought after ICT solutions provider.   Such entrepreneurs have a few tips to share with the budding business men of today, lessons that they have picked up long the way:   1) Need a new facet of leadership: A small team set up completely differs from a ripe corporate environment. There is a lot of multitasking to be done, no chalked out ladder for progress, and people who need to train themselves and get cross trained as well. Startup employees need to be much more forward thinking and empowered in comparison with their peers working in traditional set ups. A school may not be able to teach this.   2) Networking dynamics: A major chunk of success in an entrepreneurial venture can be attributed to the contacts you have and the power that your circle exhibits.  Schools usually fail to talk about cultivating and growing networks or the many realms of networking, either passively or actively, but every beginner needs a network and building on it would help grow the business.   3) Grit in the aftermath of failure A classroom does not teach grit. It is all about creating something meaningful from nothing. You need grit, determination and dedication to overcome all hurdles, and jump back to your feet if all goes wrong, even if it means this happens more than once. Success has its cost and you need grit to invest 100 percent energy in times of uncertainty, and even more of it to come back again the next day and pursue the same.   4) Need to deal with the loneliness of being the founder: Yes, being a founder is lonely as you have nowhere to run, nowhere to go and no one to fall back on. You have to be there and solve the problems, find solutions and spread positivity to keep the flame of motivation burning. Nevertheless it is an interesting challenge for those who enjoy living on the edge, and getting hold of valuable mentors and advisors is a very crucial part of the game.   5) It’s not a sprint, but a reckless marathon Schools hone the talents of ambitious individuals who rush to the finish line and try to answer every question in class, but in the real world outside it is a different ball game altogether. You will learn from the mistakes you make, and there will be unavoidable disappointments. At such a time instead of drowning in self-pity or playing the blame game, you need to remind yourself of your true purpose and larger goal. Winning the war is more important than revelling in the victory of small battles.   6) Determining exact time to scale-up None of the schools can teach you when would be the appropriate time to expand, take on newer responsibilities and ramp up the hiring process. Many times this comes from the strategic relationships you have built and more often than not from a gut feeling. Text books fail to impart this skill.   7) The intricacies of an impactful sales process are a matter of trial and error: Schools hone your skills as far as marketing is concerned, but skip the effective sales part. You have to learn it yourself, all along the way, from prospecting to suspecting, lead generation and nurturing, to eventually closin[...]

Sport and digital creation: when athletes and artists share the same playground

Thu, 27 Apr 2017 11:38:29 +0000

In the wake of the new modes of creation from digital cultures – and of the big principles of hybridisation it highlights – the sport and technological creation recently operate a singular coming together, as much around shared pedagogical and social emulating experiences (MOOC, hackhaton, fitlab) as for the definition of the latest tools proceeding from gaming and virtual reality devices: new configurations that even attract professional athletes and in which digital artists have obviously their say.   As an important element of social connection, sport does not escape to the growing digitisation of our society. Besides regular platforms and websites dedicated to practices and structures (clubs, federations, associations, etc.), its way of teaching gets up to date of new digital tools, notably with new online courses embodied by MOOC (Massive  Open Online Courses). This is what is brought out for instance by the sport digital project carried out by University of Valenciennes – named MOOC Num e-Sport – and that has for main target “to retain organisers, coaches, coordinators and sport directors with new tools and customs to optimise their activities of organisation, teaching and performance”. allowfullscreen="" frameborder="0" height="343" src="//" width="610"> FUN MOOC : Num e-Sport. Le numérique sportif par fr-universite-numerique This logical – because societal - digitisation of access to sport practices is not one-way oriented though. The sport itself – of rather its expression – influences some new digital practices, often themselves coming from the hacker culture. This is for example the case of the hackhatons (associating the terms hacking and marathons) that want to establish a kind of festive competition gathering participants during a short time to work together around innovative projects. Team management, designing of software, game or other application: this creative race is aimed mainly at developers, designers and gaming fans. And behind the finishing line symbolised by the allocated time and the vote of a jury, it warrants a grant with incubation of the best project. First initiated by the corporations of web and Silicon Valley, on both internal and external ways, the hackhatons have recently come bigger. In France, several important business groups such as Orange or the railway company SNCF, the Société Générale, Pernod Ricard or Axa have organised one. In 2016, Museum of Louvre Lens has even set up the first Culturathon on this model, praising this way all the prospective pertinence of the process and its adaptation to the cultural sector.   Connected sport, health sport and gaming culture: Sportmania at MAIF Social Club As a matter of fact, this idea of sport practiced in a hacking way, in a Lab approach, is gaining ground and is growingly appearing in events as much intended for digital culture fans as for a general audience. This is the case for instance of the Sportmania event, organised from 21st of April to end of July at MAIF Social Club in Paris, a recently open venue dedicated to artistic interventions but conceived itself like a real innovative social Lab. Sleep workshop, nutrition workshop, Fitlab entitled Un Esprit Sain Dans Un Corps Sain (A Fit Mind In A Fit Body): all well-being activities involved during Sportmania hang together with an environment of sport practices directly inspired by a Lab culture merging technological and participative spirit. To refine this link, some artists have been invited to include in the menu hybrid propositions– like the Bookfightings of Yves Duranthon and the Philosophical Aerobics of Pascal Lièvre – and installations more specifically digital, drawing a natural technological connection between gaming culture and augmented sport culture. T[...]

Reaching for the sky: artists conquering space

Thu, 23 Mar 2017 14:32:09 +0000

Art has always been inspired by the cosmos. However, it wasn’t until well after the end of the Apollo programme that artists really started to become familiar with the stars. Space is now the key to "new boundaries" for artistic creation. Space exploration was, for a long time, a field exclusively limited to the military and scientists. Things have changed with the arrival of digital transforming research data into potential creative material, as well as the implementation of art/science laboratories. Beginning with the CNES (National Centre for Space Studies) responsible for the Sidération Festival entirely dedicated to performances and installations influenced by space… In addition, parabolic flights are being opened to a limited public, a way of simulating weightlessness and, on this basis, extrapolating new creative avenues. Use of scientific data and converting it into "a potential piece of art" is quite a recent phenomenon. Emblematic of this "art/science" collusion, the duo Evelina Domnitch & Dmitry Gelfand appropriate, for example, biochemical processes and physical principles and glorify them in devices. In this way, they use the phenomenon of photophoresis to animate, with bluish laser pulses, diamond dust trapped in a vacuum chamber (Photonic Wind, 2013). An illustration of what happens with "photonic wind" on a cosmic scale; this swirl of interstellar dust driven by starlight that accounted for planet formation. Other installations by Evelina Domnitch & Dmitry Gelfand incorporate planetary phenomena (Transit Of Venus, 2004), force fields (Orbihedron, 2017), cosmic flows and lights, etc. This is also the case with Félicie d'Estienne d'Orves and her series of light sculptures Light Standard (2016), where each "light standard" is linked to an object in the solar system. The intensity varies according to the time the light takes to reach us (8 minutes from the sun, over 4 hours for Neptune). Félicie d'Estienne d'Orves, EXO (2015) She is also remembered for her audio-visual device EXO (2015), where lasers were pointed towards hundreds of celestial bodies, thus revealing an unexpected sky map. Like new navigators, artists focus on the "residual" light of stars: through spectral installations like Cosmic Dust and 163,000 Light Years (2016), the monumental production (Galaxy Forming Along Filaments…, 2009), Tomás Saraceno alerts us to the interplanetary vastness in which we are immersed. Tomás Saraceno. “Galaxies Forming along Filaments, photo © Fabian Birgfeld, PhotoTECTONICS and Studio Saraceno. With his installation Unfold (2016), Ryoichi Kurokawa also takes us to the far reaches of the galaxy "staging" data collected by the space telescope Herschel about how stars form. From this crude star cluster, Ryoichi Kurokawa makes a geometric and acoustic ballet projected onto 3 panels uniting our field of vision. Beyond telescopes, exploring the outer reaches of the solar system started with the Pioneer X and XI probes launched in 1972-73, then Voyager 1 and 2 launched in 1977. Rémi Tamburini reinterprets part of the famous pictorial message on the Pioneer probes representing humanity, a hydrogen atom, the solar system and its position in relation to pulsars that he symbolises by neon lights positioned like stars (Neon Pulsar, 2010-2011). This message is featured on the engraved golden record aboard Voyager probes. These are the most distant devices of terrestrial origin, photographed for the last time almost 15 years ago: Voyager 1 is currently at 136,63 AU (i.e. 20,43 billion km). Its twin Voyager 2 is "only" at 112,64 AU on a different ellipsis. The artists Špela Petrič, Miha Turšič, Dunja Zupančič and Dragan Živadin have developed a series of fair[...]

When digital artists take up the challenge of new stakes in artificial intelligence

Thu, 02 Mar 2017 11:47:17 +0000

  Whereas the Web giants prepare their industrial and commercial strategies around new stakes of AI (Artificial Intelligence), how do digital artists seize this new technological implementation and how do they devise a simultaneously creative and premonitory outlook of the concerns that stress out this two-faced new IT technology advances? If the virtual reality tools (Oculus Rift, HTC Vive or Sony PlayStation VR headsets) are still today on top in terms of hi-tech communication and financial investments within the new devices of digital entertainment (1.48 billion dollars invested in 2016 in VR sector against 331 million dollars in 2015, according to Pitchbook), and this in spite of disappointing sales figures1, the big multinational companies of new media platforms, of internet and other social networks (the main tech giants are of course Google, Apple, Facebook, Amazon and Microsoft) seem already turned towards another target – and its economical, strategic and technological main stakes -, the one of AI, for Artificial Intelligence or Advanced Informatics. This is anyway what some specialists of this virtual assistant technology imply, when talking of this functional entity that will serve us soon as a double, a ghost, attentive and rational, coming to substitute to all our non-perfect and disorganized human quirks by nature, in a generalised and home automation controlled digital environment system. 
Last October, during “Artificial Intelligence, where are we now?” conference held at Grenoble’s Maison Minatec during sixth edition of Experimenta show organized by Atelier Arts Sciences, CEA and Hexagone Scène Nationale, the researcher Vincent Le Cerf, counsellor in digital future, demonstrated the current strong reflection of Web giants about brand new developments in this field. According to him, Watson, the AI made by IBM should do 50% of the company’s revenues in 2018.   Artificial Intelligence: the necessity of a shared creative impetus is a must In this economic perspective that seems to happen, how appears the artistic positioning that has always closely followed (sometimes even preceded) the big technological advances by shaping the aesthetic subtleties and thinking proceeding from computing art, web art and, widely speaking, from digital arts? Let’s making it clear first for the most curious ones, the current artistic propositions directly coming from the AI – notably the much talked about automated visual tool of Deep Dream (a program created by Google) – is perplexing. But the techniques in continual improvement allowed by the teaching of deep learning assiduously granted to these new non-organic intelligences open wide many perspectives. For several AI specialists, the necessity of a creative impetus that would associate the artists to the general thinking in this domain is a must. This is what has recommended, still in Experimenta conferences cycle, the CNRS/INSHS researcher Véronique Aubergé who makes the wish of an “algorithmic revolution”. A premise, shared by other actors of this area (cognitive psychologist and CEA scientific counsellor Théophile Ohlmann, French Ministry of culture’s digital politics coordinator Eli Commins or Atelier BNP Paribas vice director Philippe Torrès), to express in the first place some hesitations on the way the big corporations appropriate themselves a new power de facto over the citizen/consumer, throughout these new code lines that could have great influence, thanks to your new personalized virtual avatar, on your daily life. What are ethical choices of these algorithms? What global legislative framework to find for them in this new and always reminded ratio of power between omnipotent companies and traditional nation states? Should we let[...]

Augmented reality and artistic experience(s)

Tue, 20 Dec 2016 11:43:08 +0000

As the popularity of virtual reality continues to soar, augmented reality experiences less gravitas despite providing exciting innovation in terms of technology, namely injecting reality with a virtual world. In terms of creativity, AR is not resting on its laurels. Of course prominent in the visual and digital arts, but also in publishing, architecture and street art, AR offers wonderful things. It proposes a rejuvenation of artistic experiences and is certainly no less interesting than virtual reality. Aren’t the really innovative artistic challenges the ones that often take place in these creative crannies? Let’s take a closer look.  “Augmented reality and artistic experience(s)”: the choice of title is not down to chance. In effect, if there is one area that indeed proposes to “augment” the artistic experience, both in its creative process – the production - but also in our experience, apprehension and discovery of art, it is virtual reality and its associated technologies, mixed reality and augmented reality. Perhaps even more than its contemporary virtual reality – that has benefitted for two years from disproportionate prominence –augmented reality or AR, appears capable to us, on a daily basis, and very simply (AR only requires a smartphone or a tablet) of transforming both creativity AND artistic experiences. Through detailed examination, Digitalarti will aim to provide support for this theory, but also to offer examples of what is being done, attempting to highlight the pertinence and the originality of the proposed approaches. In short, we will present a panorama of art in augmented reality.  Giving a virtual dimension to the real world From its appearance in laboratories fifteen years ago to its use by artists over the last few years augmented reality has undergone many changes. There have been many commercial applications, including within the entertainment sector, for example the augmented reality edition of Esquire magazine, the latest advert for the Citroën C3 Picasso or the use of AR by the brand of ski goggles Oakley (without mentioning the Pokémon Go media and commercial phenomenon this summer). In his 2003 novel, Pattern Recognition , William Gibson described the chance to admire geolocalised virtual works of art with a headset like Google Glass, before it hit the market in 2014. Even if it was not as successful as anticipated, Google Glass nonetheless enabled the general public to envisage the possibility of  “augmented reality through art”. However, Google Glass was something of a flop. Visibly it did not deliver what the general public expected from AR, traditionally defined by the ability to integrate 3D computer graphics, in real time, into someone’s field of vision and convince that they are as real as the physical objects surrounding them.  allowfullscreen="" frameborder="0" height="343" src="" width="610"> Vidéo concept of the project Google Glass by Google (2012) However, it is interesting to note that current AR technology has abandoned this potential for poetical immersion of the virtual world in reality in favour of practical and pragmatic applications such as finding a local restaurant or to automatically find out the name of a monument that is already displayed on any tourist’s map. Will augmented reality augment art? The invention of the Screencatcher series in 2014 by the French artist Justine Emard provided a reasonable picture of the way in which artists, even those from non- technology oriented spheres, took advantage of it to create. A brief summary of the Screencatcher project: to begin with a drawing and exploration project on the theme of abandoned American drive-in t[...]


Mon, 30 May 2016 09:21:01 +0000

Are we now fully immersed in the age of machines? This is the question that we will all be asking, from 3rd June to 3rd July 2016, during the international cultural rendezvous organised by ELEKTRA and the Arsenal Contemporary Art space in Montreal, as part of the major exhibition for the 3rd International Digital Art Biennial (BIAN). An exhibition with as theme AUTOMATA: art made by machines for machines. It is impossible to make an exhaustive list of events gracing Montreal with their presence this year. Indeed, it’s a double (or even triple!) celebration for this Quebec metropolis, since in addition to the 17th unrivalled Elektra festival, devoted to digital artistic practices, from 1st to 5th June, the International Digital Art Biennial (BIAN) is also taking place, for the 3rd time. Elektra/BIAN have a particularly intriguing and exciting theme lined up, since the event is reviewing the advent of artificial intelligence and robotics, from the perspective of their impact on contemporary artistic production. An opportunity to discover works combining robotics, virtual reality and augmented reality, as well as immersive installations, sculptures and videos, produced by - or thanks to - technological, mechanical and electronic artefacts. Under the heading “Art made by machines for machines”, visitors are therefore invited to discover tomorrow’s artistic practices.  Matthew Biederman, Serial Mutations (modulus)   AUTOMATA at Arsenal Contemporary Art The AUTOMATA exhibition, the focal point of the international event, obviously places great emphasis on Quebecois and Canadian artists. This is an opportunity to discover works by Matthew Biederman (QC-CA/US) who will present Serial Mutations (modulus), Tom Sherman (US/CA) with the moving and amazing video Learning to see the laboratory where the robot is programmed to work in which a robot is invited to describe its environment with a video recorder. There will also be Bill Vorn (QC-CA) in attendance with the impressive performance INFERNO, Nicolas Baier (QC-CA) and his monumental mirror sculpture Eternity, Ben Bogart (BC-CA) and his interpretation of the impact of foresight in the technological and artistic imaginary world, with Watching and Dreaming (2001, A Space Odyssey) Version 1, Laura Kikauka and Norman White (ON-CA), Philippe Internoscia (QC-CA), Kenny Wong (HK/CA) as well as Paolo Almario (QC-CA) presenting the overthrow of man by machine in the dystopia dyforme. Not to be missed, the INFERNO performance that will take place at the Arsenal on the 3rd and 4th June. A participative creation by the Montrealers Louis-Philippe Demers and Bill Vorn inspired by Dante’s Inferno. The particularly impressive, INFERNO comprises twenty-five exoskeletons, made and controlled by the artists, with intoxicating and coercive abilities that the audience will be able to test in situ!    PE Lang moving objects | n ° 1703 – 1750   Switzerland as guest of honour For this third edition, BIAN welcomes Switzerland as the guest of honour. This is a chance to browse the full area of research and creation proposed by the Swiss Confederation, with a selection of artists including P.E. Lang with the works Moving Objects n ° 1703 – 1750, Moving Objects n°1415 -1702 and positioning systems VI. Also exhibited, the hypnotic bright mechanism Full Turn by Benjamin Muzzin, Déjà Entendu and Opera Automaton by Lukas Truniger (read Prix Cube portrait), as well as Tower the impressive sound sculpture by the Bernese artist, Zimoun, Turn Back Time, Let's Start This Day Again by the Ticino Ugo Rondinone whose I, John Giorno we were able to see at the Palais de Tokyo this year, and works by the collective A Normal Working Day.  Repre[...]

Whistleblowers, virtual reality, robotics and the future of culture at European Lab 2016

Wed, 11 May 2016 11:04:21 +0000

The Arty Farty team (Nuits Sonores) has achieved a superb European Lab Forum centred on attentively and proactively involving the youth of Europe in terms of cultural policy against a European backdrop under strain. Is culture a factor for democracy? This is no longer an issue for the organisers of the biannual event (winter edition in Paris), leading by example at the heart of a definitively political and connected forum. Culture, exchange and openness are of course factors for democracy, also thanks to new communications technology that helped (and still help) for example, Arab Spring participants to speak freely. However, use of this technology is predominantly developed by huge economic consortiums (the renowned GAFAM, for Google, Amazon, Facebook, Apple and Microsoft) requires vigilance by public authorities as well as civil society. Themes such as global monitoring, privacy protection, understanding alternative technologies and activism (but also opening up borders, European support for creation, cultural development) were at the forefront of European Lab Forum 2016. Many subjects revolving around high-tech ‘enhanced’ this Lab, with round tables, workshops, a Hackathon and conferences based on virtual reality, the robotics revolution, the action of whistleblowers and big data. Sarah Harrison ©Marion Bornaz  Monitoring and digital vigilance in public Whistleblowers and big data formed a constituent part of the meetings and conferences spanning three days at European Lab held at the Musée des Confluences. For this, three specialists were amongst the wide panel of guests: the Belorusian researcher Evgeny Morozov, who discussed ‘the digital mirage’ (the title of his eponymous book) and the need for a policy on big data; Sarah Harrison, the spokesperson for WikiLeaks, a journalist and a researcher in law, also came and spoke about the ‘danger of big data’ as well as about protection for whistleblowers, such as Julian Assange, Edward Snowden and Edward Manning (now Chelsea Manning) going with a round table alluding to the deviation of states and big companies in general; amongst the ‘positive’ opinions (still very vigilant), Dominique Cardon, a sociologist and author of the excellent publication A quoi rêvent les algorithmes ?, presented a more nuanced view of the problem. Cartes Blanches, forums for reflection on sensitive and/or artistic and political subjects on these themes, were also available to the public, such as “Personal data, our smartphones are spying on us”, or the broadcast of a Tracks/Arte programme on Pussy Riot and whistleblowers. To ground all these discussions, workshops were also available, like Freedom Box, survival kit for the Internet, co-scheduled with Elevate - Discourse & Activism. Back to the Future Revolutions like robotics and virtual reality are amongst future upheavals to bring about an unprecedented transformation of our society. These two areas are indeed addressed by speakers at European Lab 2016, with the participation of many specialists, researchers and philosophers, as well as writers (like Alain Damasio, Catherine Dufour, David Calvo and Norbert Merjagnan from the Zanzibar group), entrepreneurs and artists. Therefore, for the discussion Robolution between Seoul and Lyon we listened to the famous entrepreneur, campaigning for the introduction of service robotics in Europe, Bruno Bonnell (Robopolis) expand upon his vision of a future where robots will serve humanity. Interactive Room © Gaetan Clement Virtual reality had its rightful place at the heart of the forum in the encounter between Tyrone Rubin from SenseVirtual, Antoine Cayrol co-founder of the French Okio-Studio, a leader in the product[...]

Device_Art // Triennial : 5th International Art Triennial of Robotics, Gadgets and Devices

Mon, 09 May 2016 15:10:31 +0000

First initiated in 2004 by Croatian organization KONTEJNER | bureau of contemporary art praxis, Device_art is a triennial international festival exploring the relationship between technology, art, and utility. The project is focused on exploring and communicating an artistic medium, which takes the shape of a technological device in a critical, provocative, or playful manner. It aims at contextualizing and presenting works that are the result of creative tendencies located at the crossroads of art-design, gadget-hack, and hybrid technologies. The fifth edition of the Device_art triennial will be presented at Eastern Bloc in Montreal, Quebec, featuring an exhibition and performances by Croatian, Slovene and Japanese artists: Martina Mezak, Vitar Drinković, Davor Sanvincenti, Margareta Lekić, Lightune.G, Marko Batista, Robertina Šebjanič, Ida Hiršenfelder & Aleš Hieng-Zergon, Saša Spačal, Takeshi Oozu, and Hiroo Iwata. Opening : May 12, 6 PM Duration : May 12 - June 1 2016 Gallery hours : Tuesday – Sunday | 12 PM – 5 PM Free*   Martina Mezak (Croatia) Vitar Drinković (Croatia) Davor Sanvincenti (Croatia) Margareta Lekić (Croatia) Lightune.G (Croatia) x2 Hiroo Iwata (Japan) Marko Batista (Slovenia) Robertina Šebjanič, Ida Hiršenfelder & Aleš Hieng-Zergon (Slovenia) Takeshi Oozu (Japan) Saša Spačal (Slovenia)   MARTINA MEZAK (Croatia): Urania Urania (Martina Mezak) is a cloud-making device that allows the control of a cloud's density by blowing on it. This installation deals with the technological simulation of nature through the means of an interactive visual imagery that allows the user to participate in the creation of a virtual sky. By blowing into a long velvet tube, clouds can either be created or dispersed from the sky. The participant lies on a soft mattress beneath computer-generated clouds on the ceiling. VITAR DRINKOVIĆ (Croatia): Breathing time This work consists of a belt that contains a pressure sensor which is connected to an apparatus and nine reflectors. The user puts the belt around their belly, pushes a red button and starts breathing deeply, with the lower part of their lungs, from the abdomen. The reflectors follow the breathing of the user, with the inhalation making the light become more intense. It is a response to an accelerated and stressful way of life, in which one is constantly thinking and multi-tasking, always in the past or the future, never the present. This work forces the viewer, through a single action, breathing, to embrace the "here and now".   DAVOR SANVINCENTI (Croatia): Ø The interactive sound installation Ø is a continuation of an earlier exploration of the relationship between the Universe and man, sound and space, the materialization of noise and the localization of the infinity of sounds in the expanse of space. The work consists of a trunk of an old Istrian olive tree, brought down by the forces of nature, polished using the Japanese technique of revealing the growth rings. The visitor is invited to gently touch the time of the tree and activate the sounds, noises and harmonies. The object becomes a musical instrument with a multitude of combination. MARGARETA LEKIĆ (Croatia): Under the hammer Viewed from the perspective of mythology, "egg" means life, life being energy. According to the law of conservation energy, it is indestructible. So if energy is indestructible, it would follow that life is indestructible too, leading to the assumption that the egg is indestructible as well, or in the case of Under the hammer, apparently resistant to the for[...]

The Library at Night: virtual reality immersion into libraries

Wed, 02 Mar 2016 11:25:45 +0000



The Library at Night is a virtual exploration of 10 of the world’s most fascinating libraries. It was designed by the Ex Machina production company and its artistic director, multidisciplinary artist Robert Lepage, based on an original idea by BAnQ. This ambitious project uses the Oculus Rift virtual-reality technology to propose a voyage through time, and around the world, to 10 mythic places—an immersive and sensory adventure that involves both our intelligence and our memory.

As part of the festivities surrounding the Grand Bibliothèque’s 10th anniversary, Ex Machina has created, based on an original idea by Bibliothèque et Archives nationales du Québec, an exhibition inspired by Alberto Manguel’s The Library at Night. In this work, the Argentine-born Canadian author addresses the philosophical, logical, architectural and social dimensions that underlie any library’s existence. Multifaceted, The Library at Night offers visitors a museum-like, design-based and virtual immersion experience.

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The Library at Night - Official Trailer 

Upon entering the first room, the visitor discovers a reproduction of Alberto Manguel’s library. This initial step allows the visitor to enter the author’s universe while adjusting to the relative darkness of the exhibition. The second room, the forest, is the heart of the scenographic experience. Wandering through this wooded landscape, the visitor encounters a space that contrasts with the order and rigour that characterize libraries. There the visitor will find stations where, by means of glasses using a 360° immersion technology, he will be transported to a virtual reality. 

The Ex Machina team offers a personalized scenography with 10 libraries, real or imagined. Visitors don headsets using 360° video immersion technology that take them from Sarajevo's National and University Library, magically risen from the ashes, to Mexico City’s Megabibliotheca, the stunning digital-age Biblioteca Vasconcelos, and from the legendary city of Alexandria to the bottom of the sea aboard Captain's Nemo Nautilus. There are a total of 10 famous places, both real and imaginary, to be visited on a one-of-a-kind journey for which BAnQ is your guide.


The Library at Night opens runs till Aug. 28, 2016 at the Grande Bibliothèque, 475 de Maisonneuve Blvd. E. Tickets cost $5 for members and $10 for non-members. The exhibition is free Tuesdays after 5 p.m. (last visit at 8:30 p.m.) Allow at least an hour. You must reserve online HERE



Algorithmic Art: the age of the automation of art

Wed, 24 Feb 2016 10:52:32 +0000

At the heart of the unmistakable upheaval caused by digital technology in accessing art and culture (and in our relationship with the world in general), Algorithmic Art, in the same way as Data Art, is thought of as the unruly new kid on the block. A sign of the current growing mathematisation of the world, following the advent of programmer art and the growth in the use of computers in all fields of artistic creation, machines and their servers, algorithms, now produce art independently. A complete overview of a movement in progress. An emerging trend is undeniably in action in the field of contemporary culture: works of art automatically generated by machines, and/or programmes, without human intervention. This movement, known as Algorithmic Art, is the fruit of reflection by artists on the omnipresence of automated IT related tasks, managed daily by algorithms. It is also an understanding of the importance and the place of artists in the field of creation. Algorithms - dedicated programmes that select and put together music playlists, archives, books, documents and newspaper articles or works of art for us, manage our purchases, inform us about the weather, stock market prices or the flow of information that we receive - function autonomously and continuously without us even noticing. After acknowledging this now well known phenomena, a new development has joined the arena: the field of art, until now considered as an area enjoying in full the privileges of culture, imagination and human sensitivity, is also affected, and works of art are created automatically on a daily basis without human intervention. In more simple terms: an increasing number of works of art are now automatically machine-generated. Origins of Algorithmic Art The process consisting of creating new works using programming and above all automation, through information technology is not new in itself. Its key principles can be regarded as coming to light in the 60s and 70s, around works by the German precursors Georg Nees, Manfred Mohr and Frieder Nake. The world witnessed their different creative approaches in the field of computer design with algorithmic programmes (computer graphics first tried out on the Zuse Graphomat Z64 machine by Nees, sequential drawings on a computer by Mohr and generation of interactive graphics by Nake).    The ZUSE Graphomat Z64 was a flatbed drawing machine of high precision. Its engineer, famous computer pioneer Konrad Zuse, had originally intended it to be used for the production of maps and for land registration purposes. Both Georg Nees and Frieder Nake did their first computer art pieces on the Graphomat. This historic fact may be seen as a case of an unintended use of a technical innovation. left:  13/9/65 Nr. 2 ("Hommage à Paul Klee") Frieder Nake, (1965)  |    right: Kubo-Octaeder, Georg Nees and Ludwig Rase (1971) left: Georg Nees (1965-1968)   |  right: Manfred Mohr – Random Walk (1969) Mention should also be made of generative works by the Hungarian Vera Molnár, who, in the footsteps of Vasarely and Julio Le Parc, implemented the early stages of optical and kinetic art, as well as those by the American A. Michael Noll (professor within the Bell telecommunications group) who was the pioneer of three-dimensional graphic representation.  left: first artworks with geometrics, Vera Molnar, right: “Computer Composition With Lines”  A. Michael Noll, (1964) Rotating hypercube, A. Michael Noll (1962) These artists, real forerunners of digital art, then called ‘computer ar[...]

Exhibition Big Band Data in London

Tue, 16 Feb 2016 12:14:48 +0000

Big Bang Data at Somerset House is now extended until 20 March. Every day, we create 2.5 quintillion bytes of data... The exhibition Big Bang Data  makes ‘big data’ easier to conceptualize to the public explaining all positive and negative aspects of Internet, exploring the idea of clouds, mass surveillance, differents issues resulting from our connected and digital practices. The exhibition in a way demystify data. The exhibition, which is due to finish on the 20th March, helps explain the relationship we have with data and how it could look tomorrow if we don't protect our privacy... Emails, selfies, shopping transactions, Google searches, dating profiles: every day we’re producing data in huge quantities. Our online activity, alongside that of businesses and governments, has led to a massive explosion – a ‘Big Bang’ – of data. This radical shift in the volume, variety and speed of data being produced, combined with new techniques for storage, access, and analysis, is what defines the proliferation of data. It is radically reshaping our world and is set to revolutionize everything we do. Data today gives us new ways of doing things: from scientific research to business strategy, politics to social interaction, our new data-driven society that has the potential to be more fair, stable, and efficient and yet it also created a tools for unprecedented mass surveillance and commoditization. Data access and usage rights, along with the value they comprise, are at the heart of many concerns. Big Bang Data explores the issues surrounding the datafication of our world through the work of artists, designers, journalists and visionaries. As the data explosion accelerates, we ask if we really understand our relationship with data, and explore the meaning and implications of data for our future. Open daily 10.00 – 18.00 Late night Thursdays & Fridays until 21.00 £12.50/ £9.50 concessions Pratical informations allowfullscreen="" frameborder="0" height="343" src="" width="610"> Video Trailer | Big Bang Data - Artists, designers and innovators show how the data explosion is transforming our world. Listen to Usman Hague, founding partner of Umbrellium, discuss issues most bothering him about ‘big data’, and questions ‘who’ makes the decisions and the decision-making process in the data driven society that we find ourselves living in today. frameborder="0" height="60" src="" width="923px">   Some artists exhibited  Big Bang Data includes over 50 works by artists, designers and innovators.  Lise Autogena and Joshua Portway introduce their artwork 'Black Shoals', remade for the Big Bang Data exhibition at Somerset House. allowfullscreen="" frameborder="0" height="343" src="" width="610"> Autogena and Portway have worked together since the early 90s, developing large scale performances, multimedia installations and site-specific works, usually in collaboration with organisations and experts across many areas of knowledge. Through the use of custom built technologies and visualisations of global realtime data, their work has explored how economic, geographic, technological and societal systems we create are impacting on our human experience and sense of self in the world. Data visualisation du[...]

Technological innovations that will change music

Tue, 13 Oct 2015 14:27:37 +0000

To combat the current defection of creation in music, an increasing number of artists have been trying to renew the array of contemporary instruments for several years. New instruments or new ways of approaching sound for another way of making music, is the challenge faced by musicians, who are logically tuning in to our technological and connected era. Augmented reality, visual performances, immersive and participative music provide a panorama of technological innovations that will change music. Music, musical expression and sound creation are profoundly connected to the technological developments in progress more than any other artistic field. With a widespread use of computer software in the studio, musicians regularly invent innovative proposals, both in the field of listening and sound aesthetics. Not only new universes of sound are opening out to us: see the music, experience it and participate are the next innovations that will very quickly change things in musical creation. In the field of music: today’s news is already history.   Music and augmented reality The future of music may well be augmented reality. In this respect, Brian Eno and Karl Hyde from Underworld’s project, an RV application for iOS is particularly interesting and poetic. With this ‘app’, those who purchase the album by Eno & Hyde, Someday World, can see a virtual city flourish if they point their smartphone on the duo’s sleeve or even disc. allowfullscreen="" frameborder="0" height="343" src="" width="610"> Eno • Hyde iOS App It is experienced more fully with the vinyl version on which the digital architecture begins to move, open, grow, and pulsate to the rhythm of the music. With augmented reality, sound becomes a tangible object. That is what Augmented Groove a project developed by an American-Japanese team is doing. It will soon allow 3D objects to be generated to the sound and rhythm of the music in clubs and concerts. This technology, applied to classic smartphones, will be even more immersive with the use of RV headphones like Oculus. Music and virtual reality Virtual reality researchers are working on not only ‘experiencing the music,’ but also ‘seeing’ it, to be precise. In this field, you certainly can’t miss Oculus Rift, the famous ‘head mounted display.’ In this field, Surge, the music game offered by the company that developed Oculus Rift DK2 and created by 3D programmer, musician and filmmaker Arjan van Meerten, is a breath-taking step in the field of music/technology interaction and immersion. allowfullscreen="" frameborder="0" height="343" src="" width="610"> Huge skeletal creatures emerge in the science-fictional and disturbing world of Surge, that fall apart to the rhythm of the soundtrack composed in real time by its designer and the players. A unique experience, according to all the users, even if this is only a tiny example of what RV has to offer in the future.  Immersive scenography Artists today like Ben Frost with A U R O R A live, the Anglo-Saxon Koreless with The Well (designed by Emmanuel Biard), Clark and his live Phosphor, also defy space by proposing immersive shows on the cutting-edge of digital technology and innovative scenography that plunge the spectator into a maelstrom of auditory and visual sensations. Immersion in a sea of perceptions is made possible thanks to the combination of strobe lights, sensors, photocells, 3D lasers, huge touch-sensitive screens and spectral video projections. A creative wave made possible by logical[...]

What (artistic) future for Oculus Rift

Fri, 11 Sep 2015 10:00:33 +0000

Judging by the general enthusiasm, virtual reality headsets signal the beginning of a new era. However the Oculus Rift, a symbol of this often fantasy technology, is still far from winning over fairs. Meeting needs, adapting to existing uses and creating appropriate content are amongst the many challenges for the Oculus Rift. In a sector lacking in structure artists also have a role to play. At the end of the 19th century, with “L’arrivée d’un train en gare de La Ciotat” by the Lumière brothers, spectators screamed seeing a steam locomotive heading towards them. A century later, the Oculus Rift renews the element of surprise.   As those who have been able to test this new generation virtual reality headset will tell you: it’s difficult to remain indifferent towards it. François Martelot, one of the makers affiliated to the cantines numériques (digital Cantines network), is among the first to use DK1 – the Oculus Rift Development Kit version 1. “Immersion is complete and the effect is striking. It’s a technological revolution,” he explains with great enthusiasm. allowfullscreen="" frameborder="0" height="343" src="" width="610"> South Park in real life This revolution benefited from a media buzz and left an impression on the general public. Tribute paid by the South Park series is a sign of the mark the Oculus Rift has made on popular culture. It must be said that the first Oculus Rift prototype has the advantage of being launched in 2013, earlier than its rivals Morpheus (Sony) or HoloLens (Microsoft), hence this astounding popularity.  align="top" allowfullscreen="" frameborder="0" height="171" scrolling="no" src="" width="305"> allowfullscreen="" frameborder="0" height="171" scrolling="no" src="" width="305"> Left: HoloLens by Microsoft will display interactive holograms in the real world. Right: Morpheus by Sony will be available for beginning of 2016. At first glance, this excitement suggests a huge potential for development. This cannot be denied, particularly as Facebook bought Oculus VR, owner of Oculus Rift headsets, for 2 billion dollars. Some say the virtual reality market is estimated at several tens of billions in future decades. But in reality its potential for development is difficult to determine due to a lack of structure in the market. What are VR headsets for? Indeed there are few existing needs for them and speculation is no mean feat. For a long time the industrial sector for example, has made VR (virtual reality) a key point of focus in R&D. Since 2007 Dassault Systèmes has specialised in 3D modelling and on designing a simulator. In 2003 this subsidiary of the French giant created 3DEXCITE, an immersive visualisation service used in the automobile and aeronautics sector. These tailor-made universes meet the specific needs of onerous technical specifications, but for its part, the Oculus Rift does not respond to a formal demand. Most of the apps and content still need inventing. The transmedia project “La chambre de Kristoffer” presented at Laval Virtual 2015 (International Conference and Exhibition of Virtual Technologies and Uses), called upon the spectator to evolve in the shoes of a young 7-year old boy. allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="" webkitallowfullscreen="" width="610"> La chambre de Krist[...]

Hi, welcome to the Artlab

Tue, 01 Sep 2015 12:48:35 +0000

The Artlab is a center for research, development and prototyping, dedicated to digital arts. It aims at gathering artists and technicians in a creative and collaborative way. Since 2011, Digitalarti's Artlab has been a place with a multidisciplinary activity, where technology meets artistic creation. The Artlab is a creative space where artists collaborations with engineers design the outgoing works of their imagination. it is a place of research, development and prototyping dedicated to digital arts and artists provides advanced technical skills, as well as significant material resources to enable the production of works. All works received within the Artlab are co-productions involving the artist with his original idea and Digitalarti with its production equipment and human and financial resource. Artists are welcomed at the Artlab in 3 different ways: - Residency : long-term relationship to make an artwork produced by Digitalarti (please get in touch for details) - Visitor : mid-term projects realized by autonomous creators who need the Artlab's tools, space, atmosphere and a few pieces of advice. It's free, in exchange, the visitor has to take part in the daily life of the lab, and teach a few of his/her competencies, knowledges... - Commission: artists ask the Artlab to create technical parts of their projects. Technicians are welcomed at the Artlab as free-lance technicians, visitors, or volunteers (learning by helping)… The projects are picked up based on several criteria: artistic and creative quality, technical knowledge, potential impact on the artist/technician career, input of the project to the Artlab development, ability of the project and its creator to match the life of the Artlab. The Artlab is not an actual Fablab, but is close to. We share the fact that we welcome visitors, we favor open source techniques, and we use the same kind of prototyping tools. However, the Artlab is different to a Fablab because all our projects include an artistic dimension and our doors are not as open as the doors of a real Fablab. Please send us a email if you want to come and meet us. Technical resources at the Artlab - Media/computer : The Artlab is equipped with several computers with all the systems available (Linux, Windows, Mac OS). - Printed circuit boards: the Artlab has all the necessary materials and tools to create PCB prototypes. - Electronic operation station: the Artlab is equipped with the required tools for basic or advanced electronic assembly. - The Artlab also has a CNC machine, tools for basic materials work (wood, plastic, metals), and a 3D printer. - We are fully equiped and used to work with Arduino and Raspberry Pi (boards, shields, sensors, motors, LEDs...) - Small and big drills Proxxon®,  - Tour milling - grinder Proxxon® - Digital milling machine Proxxon® - Software nccad8 - Two jigsawsProxxon® - Laser cutter Full Spectrum Laser® - Software Rénita Ingrave 3D - 3D printer UP Plus 2 ( imprimante 3D) You can discover some of the Artlab technical resources thanks to this slideshow or at this link.   Contact details The Artlab is open from Monday to Friday, from 10am to 6 pm. Please send us an email if you want to come and say hi. You want to come and work for the Artlab as an artist (in residency, visitor...) or as a technician (full-time, part-time, freelance...) or as an intern ? We'd love to hear from you. Just send us an email. Mail : Address: 50 rue d'Aboukir, Paris 02, France Metro: Sentier (3)   [...]

The art of drone

Mon, 22 Jun 2015 17:25:42 +0000

Misappropriation has often been a principle of creation for digital artists. The current trend for drones provides both a new technological medium, as well as a reflection on a militant position re-engineered against the current geopolitical backdrop The drone, this ‘non-identified violent object’ as described by philosopher Grégoire Chamayou in his book La Théorie Du Drone (The Theory of the Drone) now plays a part in our everyday lives. A topical subject referring to new concepts of ‘clean warfare,’ of ‘waging war remotely,’ in reference to targeted bombings operating in Pakistan, Syria and Iraq. But it is also an object used on a daily basis, for shooting films, managing agricultural enterprises or for personal entertainment, thereby creating a growing number of outlets for the companies that make them (Parrot, Skycatch, DJI being the principle ones). Players on the digital scene obviously cannot turn their backs on this hi-tech context. The recent LeWeb 2014 in Paris, gathering some 4,000 protagonists in the digital economy, featured drones as one of its main themes by inviting big companies - Skycatch and its self-charging autonomous drones, Parrot and its universally accessible toy drone– to its series of conferences and meetings to promote the opportunities of this visibly lucrative business to the full. The Drone Bebop, one of the leasure drone of the french brand Parrot    These new flying objects and the prospects for partnerships around development and projects in collaboration with innovative specialised companies, noted with interest by digital artists and designers who are often entrepreneurs themselves, are an essential component of digital creation, as well as its industrial status.    allowfullscreen="" frameborder="0" height="343" src="" width="610"> Flying Robot Rockstars, the musical ballet of flying drones by Kmel Robotics, sponsored by Lockheed Martin and Intel. Designers and developers specialising in the production of experimental robotic devices–with their famous Flying Robot Rockstars, small flying musical machines -, the Kmel Robotics duo (Alex Kushleyev and Daniel Mellinger) recently approached the electric aviation company Yuneec International to produce small flying devices for photography, Flying Eyes, which has an entertaining profile and can be fully integrated into perfomative robotic ballet performances by Kmel Robotics such as their Quadrotor Show. allowfullscreen="" frameborder="0" height="343" src="" width="610"> A troupe of 16 quadrotors (flying robots) dance to and manipulate sound and light at the Saatchi & Saatchi New Directors' Showcase 2012. On more of a par with an art lab, other drone design experts consider design methods closer to the prototype. This is the principle of FlyLab, created in 2013 by Akim Amrani Montanelli around a community of specialists working open source and accommodating other integrated structures, like Yves Béranger’s Wemakedrones, in its workshops located in the second arrondissement in Paris. The principle here is to create professional and creative drones, particularly in terms of research on taking photos, commissioned by companies and individuals, and far from the gadget type of drone produced in industrial quantities– some prototypes are then able to fly at 80km/h and have a parachute! The fun aspect is also a consideration as shown by ce[...]

Thomas Li Vigni / Techfest 2015: a digital experience in India

Mon, 02 Feb 2015 15:40:36 +0000

Digital painting artist Thomas Li Vigni experienced the Indian event Techfest, the "Asia’s largest science and technology festival". As every year since 1998, the 2015 edition of Techfest took place early January at IIT (Indian Institute of Technology) Bombay Campus, one of the 15 institutes of technologies in India and the oldest one of them. Entirely managed by students of this public university with a three-tier team structure - a team of over 800 coordinators and organisers! – Techfest is an Indian Annual national level inter-collegiate festival that aims to promote technology, creativity and innovation. Concretely, the event provides an international platform to the youth students to showcase their talents but also displays cutting edge technology and research from all over the globe.   Credit Photo © Janak Vegad Alongside big companies and famous actors from digital and new media technologies - Bjarne Stroustrup, the C++ inventor, or Vint Cerf, co-creator of Internet, were among others present this year -, the Techfest gives also opportunity to new international artists to show their own quality.  Thomas Li Vigni, young french / Italian artist working on digital images and painting was one of these happy ones. “Techfest takes place inside the IIT Bombay University campus”, he explains. “It attracts more than 135 000 curious people, mostly young students of course and it is today established as the Asia’s largest science and technology festival.” For him, being part of such an event was a great deal. “The cream of the Technology scene was there. Many companies like Google, Facebook and Microsoft where on site. They took the opportunity to present their brand new products and to host some classes/seminar. As an artist that mainly works with advanced tools, it represented a huge opportunity for me to be there. It was a real honour to exhibit my artworks and to perform in front of such a big and informed public. Moreover, to convey my message to India – a huge country with lot of pollution issues - was really important for me as this is all my Homotech series is about.” Homotech Series Thomas Li Vigni has shaped an artistic practice that unfolds special sets of digital speed-painting as the one he did during Techfest 2015. “As an artist, my main tool is my graphic tablet”, he says. “I first started my university studies with graphic design classes, but then, I assimilated the speed painting techniques. It consists in recording yourself while you’re painting on a computer, then you create a dynamic video punctuate with a punchy music.” His Homotech series perfectly expressed this hybridization of techniques and environment concerns. “Homotech is about five women from the five continents. Each one is disfigured by a technological prosthesis that alters - or enhances - one of their five senses. The message I want to convey is clear: if humans keep destroying their own environment, they will have to biologically integrate technology in order to survive. Currently, technology helps human being to evolve, that’s a fact. If he pushes its uses beyond boundaries, technology will disfigure what defines his humanity.” This message, Thomas Li Vigni feels like it has been well received by his young attendance at Techfest 2015. And that it has been useful as well to make some buzz for digital pa[...]