Podcasts about Ars Electronica

Stāsta mākslinieks Krišs Salmanis Vai zini, cik Latvijā ir laikmetīgās mākslas centru? Es arī nezinu, jo ne visi mākslas centri sevi tā dēvē, pat ja pilda mākslas centra funkcijas. Protams, pazīstam Latvijas Laikmetīgās mākslas centru, kas rīko ikgadējo, plaši apmeklēto festivālu "Survival Kit", bet ir vēl krietna sauja dažādu laikmetīgās mākslas organizāciju. Šoreiz pastāstīšu par vienu no vecākajām un vienlaikus jauneklīgākajām – RIXC. Mana pirmā sastapšanās ar jauno mediju kultūras centru RIXC notika, pirms vēl tas bija nodibināts. Uzsākot mācības Latvijas Mākslas akadēmijā, brīdī, kad mūs iepazīstināja ar pasniedzējiem, aiz muguras dzirdēju jūsmīgus čukstus: "Reku, pats Šmitiņš!" Tolaik man nebija ne jausmas, kas ir kas Latvijas laikmetīgās mākslas dzīvē, bet pēc intonācijas sapratu, ka tas strauji jālabo. No tiesas, Raitis Šmits un Rasa Šmite ir atlanti, kas joprojām tur jaunāko tehnoloģiju un atklājumu iedvesmotas mākslas latiņu pasaules līmenī. Uz deviņdesmito gadu vidū izveidotā Elektroniskās mākslas un mediju centra E-LAB bāzes veidotais Jauno mediju kultūras centrs RIXC ir dibināts 2000. gadā. E-LAB strauji guva starptautisku atzinību kā interneta radio un jauno mediju mākslas celmlauži. Viņu "Xchange interneta radio globālais tīkls" 1998. gadā saņēma "Ars Electronica" balvu. RIXC specialitāte ir plašāka, to raksturo tādas tēmas digitālajā mākslā kā atjaunojamā enerģija, tehnoekoloģija, māksla kā pētniecība, atjaunojamā nākotne un atklātie lauki. RIXC ir viens no galvenajiem Liepājas Universitātes Mākslas pētniecības laboratorijas un jauno mediju mākslas izglītības programmas dibinātājiem un izveidotājiem. Liepājas Universitātē jauno mediju mākslas programmu var apgūt bakalaura, maģistra un kopš 2013. gada arī doktorantūras līmenī. Centram ir bagātīga tīklošanās un sadarbības pieredze starptautiskā mērogā. Šobrīd Šmiti ar komandu attīsta Baltijas, Ziemeļvalstu un citu Eiropas valstu sadarbības tīklu "Renewable Network", kas strādā ar mākslas un atjaunojamās enerģijas ilgtspējību, kā arī organizē starptautisku mākslinieku rezidenču programmu. RIXC producē mediju mākslas darbus, izstādes, starptautisku mākslas un zinātnes festivālu, kas līdz 2015. gadam bija pazīstams ar nosaukumu "Māksla + Komunikācija", kā arī izdod mediju teorijas un mediju vēstures publikācijas. Šogad RIXC mākslas un zinātnes festivāls norisināsies oktobrī "Kim?" Laikmetīgās mākslas centra telpās. Viena no neparastākajām RIXC darbības jomām ir tīkla mākslas vēsture. Ar Kultūras ministrijas atbalstu RIXC veido Latvijas tīkla mākslas arhīvu, restaurē tīkla mākslas darbus un rūpējas par to pieejamību. No RIXC aisberga redzamākā un pieejamākā daļa man šķiet mākslas centra galerija Lenču ielā 2. Vienmēr ir vērts iegriezties nelielajā telpā, jo tajā allaž gaida kāds pārsteigums. RIXC izstādēs vairāk nekā citās mākslas telpās tiek nodarbinātas ar mākslas uztveri tradicionāli nesaistītās maņas – tauste, oža, dzirde. Dažkārt te var ieraudzīt skaņu, vai piedalīties tās radīšanā ar eksperimentāliem instrumentiem. Citkārt pats jūtos kā māksla, kad izstādes darbi sāk mani vērot, nolasīt temperatūras, gaismas un trokšņu līmeņa izmaiņas vai, piemēram, alkohola molekulu klātbūtni gaisā. Te var gadīties, ka mākslas darbiem ir jāpiezvana no sava tālruņa, lai tie atklātos, vai jāparunājas ar kokiem, vai vienkārši jāpaklausās purva radio. Laikmetīgā māksla mēdz atstāt nepieejamības iespaidu, bet pat pirmo reizi verot RIXC galerijas durvis, nebūs ilgi jājūtas apjukušam, jo darbinieki māk saprotami izstāstīt izstādes būtību un sniegt atslēgu tālākai darbu atkodēšanai. RIXC darba lauks var šķist diezgan specifisks, bet laikā, kad klimata pārmaiņas un mākslīgais intelekts kļūst par neatņemamu jebkuras garākas sarunas sastāvdaļu, RIXC zinātniski mākslinieciskie pētījumi kļūst aizvien nozīmīgāki un saprotamāki mums visiem.  

Dobrodošli na Zalet Podkast — podkast o dizajnu digitalnih proizvoda!Imamo novog gosta! U ovoj epizodi smo ugostili Nikolu Damjanova. Nikola je 3D generalista, dizajner i inženjer. Trenutno radi kao Principal Technical Artist u kompaniji Nordeus. Uživajte u putovanju kroz njegovu živopisnu karijeru. 

Was bedeutet Intelligenz wirklich – und kann künstliche Intelligenz (KI) kreativ sein? Diese Fragen stehen im Mittelpunkt unserer neuen Podcastfolge. Denn KI begegnet uns längst nicht mehr nur in Science-Fiction-Filmen, sondern beeinflusst bereits unseren Alltag. Doch was bedeutet das für Kunst, Kultur und unser Verständnis von Kreativität?

La grande exposition d’arts et de technologies TTXC vient de se tenir à Kaohsiung, ces 15 derniers jours, faisant la part belle aux avancées créatives de l’IA autour d’une thématique générale « FUTURE AT PLAY », articulant trois expositions principales : -« GAME » déclinée en quatre concepts : G signifie génératif, A pour l’IA, M pour humanité (Mankind en anglais) et E pour évolution, tourné vers l’avenir qui se focalise sur la tendance mondiale. -« XR DREAMLAND », qui est la plus grande présentation immersive de toute l’Asie. -« INNOVATIONS » basé sur l’innovation culturelle et technologique (développé par la TAICCA). Plus de 70 créations de Taïwan et de l’étranger jouaient ainsi autour de ces idées générales avec une centaine d’activités, discussions et interactions combinant les nouvelles technologies, l’art et la culture. Retour en détails sur ces 15 jours d'exposition et les enjeux de l'IA dans la création culturelle en compagnie d'Emiko Ogawa, directrice du prix Ars Electronica, et du commissaire de l'expo TTXC-GAME 2024, Escher Tsai (蔡宏賢).

In this dialogue, Prof Christo Doherty, the Chair of Research in the Wits School of Arts, speaks to Ariane Koek, a prominent British independent producer, curator, and writer, recognized globally for her pioneering work at the intersection of art and science. With a career spanning several decades Ariane is particularly noted for founding the Arts at CERN program, which she designed and directed from 2009 to 2015. This initiative was the first official international arts program at CERN and aimed to foster collaboration between artists and scientists. Under her leadership, the program included various residency opportunities for artists, allowing them to explore and interpret scientific concepts through their creative practices. The project has just been awarded the Grand Prize - Innovative Collaboration at Ars Electronica 2024. The prize recognises innovative collaboration between industry or technology and the arts (and the cultural and creative sectors in general) that opens new pathways for innovation. In this podcast we focus on the Arts at CERN project, a curatorial and political challenge that Ariane launched single-handedly in 2010. CERN, the European Organization for Nuclear Research, is an intergovernmental organization comprising 24 member states, that operates the largest particle physics laboratory in the world situated in a vast complex based outside Geneva in Switzerland. CERN's main function is to provide particle accelerators and other infrastructure needed for high-energy physics research. The lab's most notable project is the Large Hadron Collider (LHC), the world's largest and highest-energy particle collider, consisting of a 27-kilometre ring of superconducting magnets. The Centre has approximately 2,660 scientific, technical, and administrative staff members, and in 2019 hosted about 12,400 users from institutions in more than 70 countries.  We do a deep dive into the experience of setting up the Arts at CERN programme and the lessons Ariane learnt from working with artists and scientists in such a challenging context. We then go on to unpack Ariane's more recent insistence that we need to go beyond the acceptance of art-science collaborations as “de facto” positive and the implications of this insight for her current work as a producer and curator. Finally we touch on the continuing importance of aesthetics in both contemporary art and science while recognising the different meaning of the term "beauty" in artistic and scientific discourses. Ariane Koek's personal website with links to her writings and curatorial practice · The award citation for the 2024 Grand Prize - Innovation at Ars Electronica. · Troika at the Langen Foundation, September 2024 - Pink Noise · The website of Julius von Bismarck - the first artist in residence on the Arts at CERN programme

Sodobna umetnost je danes tesno prepletena tudi z znanostjo in skupaj z njo raziskuje vplive človeka na okolje ter naravne ekosisteme, katerih del je tudi človek. Robertina Šebjanič se že več kot desetletje posveča problematikam vodnih okolij, ki jih obravnava v mednarodnem prostoru. Ravno v tem času se predstavlja v okviru mednarodnega festivala Ars Electronica v avstrijskem Linzu. Aleksandra Saška Gruden se je z avtorico pogovarjala o njenem delu in pogledih na aktualna okoljska vprašanja, kot jih vidi sama in kot jih prepoznava znanost. Foto: Uroš Abram, izrez fotografije

V Linzu v Avstriji se je včeraj začel tradicionalni mednarodni festival za umetnost, tehnologijo in družbo Ars Electronica. Na enem najpomembnejših tovrstnih festivalov, ki se v enaki meri posveča umetnosti, znanosti, tehnološkim dosežkom in družbenim problematikam, se že vrsto let uspešno predstavljajo tudi slovenski ustvarjalci, letos pod krovno temo Upanje. V studiu 13 Radia Slovenija bo nocoj nastopil slovenski trio brenkal v zasedbi: harfa, citre in kitara. V njem igajo harfistka Urška Križnik Zupan, citrarka Tajda Krajnc in kitarist Izidor Erazem Grafenauer. Umetniki bodo med drugim predstavili tudi dve novi deli sodobnih slovenskih skladateljev Blaženke Arnič Lemež in Tomaža Habeta.

Ufer, Gesa www.deutschlandfunkkultur.de, Kompressor

Mangel, Alexandra www.deutschlandfunk.de, Corso

Mangel, Alexandra www.deutschlandfunkkultur.de, Fazit

Denkmal für Freddy Mercury? Wie der Queen-Sänger im Münchner Glockenbachviertel gewürdigt wird. Von Peter Jungblut. Das sind die für den Bayerischen Buchpreis Nominierten Autorinnen in den Kategorien Belletristik und Sachbuch. Mit Hendrik Heinze. Wo Medienkunst und Technologie verschmelzen - die Ars Electronica in Linz. Von Philipp Artelt.

Swiss artist and composer Thom Kubli recounts a trek into the Amazon to record the environs in a conversation spanning the topics of sonic thought, shamanism and the split between nature and the technological intervention of humanity.  About our speaker:  Thom Kubli works as an artist and composer in Berlin. His practice is multidisciplinary, blending elements of composition, sculpture, and conceptual approaches. His installation pieces oscillate between spectacle and contemplation, exploring the social implications of physical space and virtual presence. Kubli often collaborates with scientific institutions like the MIT Media Lab or the Rensselaer Polytechnic Institute to devise new technologies and materials. His performances and installations have been shown internationally, amongst others at the New Museum of Contemporary Art, NYC, Ars Electronica, Linz, Transmediale, Berlin, Eyebeam, NYC, Laboratorio Arte Alameda, Mexico City, FILE, São Paulo, LABoral, Spain, and in numerous art galleries. His composition pieces and experimental radio plays have been widely broadcasted through public radio stations as WDR, DLRK, ORF, SRF, and others.  find out more about Thom at https://thomkubli.net/. 

Ep.206 Andrea Grover is the Executive Director of Guild Hall, the cornerstone cultural institution of East Hampton that combines a museum, theater, and education center. Guild Hall is completing a facility-wide renovation to restore the 1930s-era building and grounds to state-of-the-art performance and functionality. Grover has over 25 years of experience in curatorial and nonprofit leadership, focusing on art/science, moving image art, maritime themes, innovation, and participation. Most recently, she was the curator of the 2021 exhibition Alexis Rockman Shipwrecks, presented at Guild Hall, Peabody Essex Museum, Salem, MA, The Ackland Art Museum at UNC-Chapel Hill, NC, and Princeton University Art Museum, Princeton, NJ. Before joining Guild Hall in 2016, she was the Curator of Special Projects at the Parrish Art Museum, where she was awarded both a Tremaine Foundation and an AADA Curatorial Award for her exhibition, Radical Seafaring. At the Parrish, she established the extremely popular community-driven program PechaKucha Night Hamptons and the exhibition series Parrish Road Show and Platform. Grover founded the nonprofit film center Aurora Picture Show, Houston, Texas, at age 27. This groundbreaking entity focuses on experimental artist-made movies and installations and celebrates its 26th anniversary in 2024. With expertise in artists who work in scientific or technological spaces, she has served as a panelist or advisor for the Pew Foundation for Arts & Heritage, Pulitzer Arts Foundation, Rauschenberg Foundation, and Bogliasco Foundation. She has taught interdisciplinary courses at the University of Houston and Texas Southern University. She has been a guest speaker or juror at SXSW Interactive, Austin, Texas, and Ars Electronica, Linz, Austria, among many others. Grover has received fellowships from the Center for Curatorial Leadership, the Museum of Fine Arts, Houston, STUDIO for Creative Inquiry at Carnegie Mellon University, and the Warhol Foundation. She holds an MFA from the School of the Art Institute of Chicago and a BFA from Syracuse University. Photo credit: Lori Hawkins Andrea Grover https://www.andreagrover.com/ Guild Hall https://www.guildhall.org/people/andrea-grover/ Wikipedia https://en.wikipedia.org/wiki/Andrea_Grover Studio for Creative Inquiry https://studioforcreativeinquiry.org/people/andrea-grover IMAGO https://www.imago-images.com/st/0443350624 Hamptons https://hamptons.com/guild-hall-executive-director-andrea-grover-board-chairman-marty-cohen-on-entering-phase-2/ AAQ https://aaqeastend.com/bulletins/guild-hall-an-insiders-tour-of-guild-hall-w-executive-director-andrea-grover-annual-appeal/ Long Island https://events.longisland.com/executive-directors-choice-with-andrea-grover.html

Kastrup, Dennis www.deutschlandfunkkultur.de, Fazit

Tadej Droljc vrtinči elektronsko glasbo in z računalnikom ustvarja avdiovizualne kompocizije. Predstavlja jih po vsem svetu. Med drugim je sodeloval na znamenitem festivalu Ars Electronica, na cannskem Marché du Film, Semibreve, Node, Sonica Glasgow itn.Za svoje delo je prejel več mednarodnih nagrad in priznanj, kakršna je denimo nagrado Edigma-Semibreve, pa Lumen Prize Students Award. Sicer pa je doktor znanosti. Doktorski študij o avdiovizualni kompoziciji je zaključil na Center for Research in New Music na britanski univerzi v Huddersfieldu, kjer je nato tudi poučeval računalniško kompozicijo.Pri tem je morda nenavadno, da pri svojem delu ne uporablja not, oziroma jih niti ne bere, toda prav res nenavadno, če že ne čarobno pa je spremljati zvočne in vizualne strukture, ki nastajajo izpod njegovih računalniških tipk.»Vizualno in zvočno me zanimajo bolj organske zadeve, ki izhajajo iz naravnih organskih procesov, hkrati pa zelo rad kršim te pravila. Ta svet je mik nerealnega in organskega.« Prisluhnite podkastu, v katerem se nam je pridružil tudi Anže Zorman, Tadejev kolega z Radia Študent in dober prijatelj.

In this podcast, Ghalia will talk about how she is creating a platform for the under-represented narratives in the design world in her region, the Middle East and how she is keen on breaking design stereotypes. How can color be used as a tool to surpass digital censorship so designers may speak up and communicate what they stand for? Ghalia Elsrakbi is a design professional, researcher, and design educator. After obtaining her a Master's degree in Design at the Sandberg Institute, Gerrit Rietveld Academie in Amsterdam, she joined the post-academic interdisciplinary program " Design Negation" at Jan van Eyck Academy in Maastricht. Her research was dedicated to the investigation of populist politics from the perspective of design and theory.In 2009, she co-founded with South African designer Lauren Alexander Foundland Collective, an art and design practice based between Cairo and Amsterdam. Foundland's projects explore under-represented political and historical narratives by working with archives via art, design, writing, educational formats, video making, and storytelling. It aims to critically reflect upon what it means to produce politically engaged work from the position of non-Western artists working between Europe and the Middle East.Ghalia is an Associate Professor of Practice in Design at the Graphic Design program at the American University in Cairo. She is a co-founder and the Artistic Director of Cairotronica, Electronic and New Media arts festival in Cairo.Ghalia received a nomination and was a finalist for the Dutch Prix de Rome prize in 2015 and the Dutch Design Awards in 2016. She was awarded the Smithsonian Artist Research Fellowship in 2015/2016 for research in the Faris and Yamna Naff Arab American Collection at the Smithsonian's National Museum of American History in Washington DC.Ghalia has lectured and exhibited widely in Europe, the United States, and the Middle East, including Centre Pompidou (FR), The Rotterdam International Film Festival(NL), ISPC (NYC), Ars Electronica, Linz (AT), IMPAKT Festival (NL), London Art Fair (UK), Beursschouwburg, Brussels, Fikra Design Biennial (UAE), Porto Design Biennial (PT), Amman Design week (JOR).Thank you for listening! Follow us through our website or social media!https://www.thecolorauthority.com/podcasthttps://www.instagram.com/the_color_authority_/https://www.linkedin.com/company/78120219/admin/

You won't be on the fence about investing in the metaverse after this episode!  From aeronautical engineering to trailblazing the intersection of art and technology, meet Domhnaill Hernon. Domhnaill is an award-winning technology and innovation executive. He received an undergrad in Aeronautical Engineering and a PhD in Aerodynamics from the University of Limerick and an executive MBA from Dublin City University, Ireland. He currently holds two positions as Global Lead of the EY Metaverse Lab and the Cognitive Human Enterprise. These are pioneering new approaches placing Humans@Center between business, technology, and society. Prior to that he held several senior leadership positions across R&D, innovation, and creativity while at Nokia Bell Labs. Domhnaill's work has been featured in Wired Magazine, Forbes, Times Square, SXSW, Nasdaq, Mobile World Congress, Ars Electronica, and TEDx and he advises innovation and cultural programs globally. You're in for a treat as Domhnaill shares his unique perspective on the evolution of the internet from 2D to 3D, the current state of the metaverse, and the imperative for businesses to invest in it, especially with Gen Z's adoption of it. He runs an artist-in-residence program at EY to deeply infuse artists' perspectives and challenge technologists to think beyond technology-only solutions. He also shares the power of collaborating with artists to challenge our assumptions and have our digital worlds reflect the full spectrum of lived human experiences. In this episode, you'll hear Domhnaill's journey from his early days as an aeronautical engineer to becoming a thought leader of the metaverse. He shares his ah-ha moment, when an intellectual anvil hit him on his head and changed the trajectory of his thinking on how innovation should be approached. He also discusses EY's exploration of identity and inclusivity in the metaverse and how technology can unintentionally homogenize rather than allow for authentic individual expression. He urges listeners to value different perspectives, experiences, and types of intelligence beyond their own, as that is where the biggest value is created. Join the conversation as Domhnaill shares why the metaverse isn't dead despite headlines and his passion for pushing the boundaries of what's possible at the intersection of art, technology, and business — Enjoy! EPISODE SHOW NOTES: https://creativitysquared.com/podcast/ep41-domhnaill-hernon-the-metaverse-is-dead-long-live-the-metaverse JOIN CREATIVITY SQUARED Sign up for our free weekly newsletter: https://creativitysquared.com/newsletter  Become a premium member: https://creativitysquared.com/supporters  SUBSCRIBE Subscribe on your favorite podcast platform: https://creativitysquared.com Subscribe for more videos: https://youtube.com/@creativity_squared/?sub_confirmation=1 CONNECT with C^2 https://instagram.com/creativitysquaredpodcast https://facebook.com/CreativitySquaredPodcast https://giphy.com/channel/CreativitySquared https://tumblr.com/blog/creativitysquared https://tiktok.com/@creativitysquaredpodcast #CreativitySquared CONNECT with Helen Todd, the human behind C^2 https://instagram.com/helenstravels https://twitter.com/helenstravels https://linkedin.com/in/helentodd https://pinterest.com/helentodd Creativity Squared explores how creatives are collaborating with artificial intelligence in your inbox, on YouTube, and on your preferred podcast platform.  Because it's important to support artists, 10% of all revenue Creativity Squared generates will go to ArtsWave, a nationally recognized non-profit that supports over 100 arts organizations. This show is produced and made possible by the team at PLAY Audio Agency: https://playaudioagency.com. Creativity Squared is brought to you by Sociality Squared, a social media agency who understands the magic of bringing people together around what they value and love: http://socialitysquared.com.

Alida Sun is an interdisciplinary artist whose work integrates generative art, large-scale installation, blockchain technology and live performances. Her works have been exhibited at the Venice Biennale, Ars Electronica, UCCA Center for Contemporary Art, Unit London and SOMA Berlin, and they have been featured in numerous publications and at audiovisual festivals around the world. Recorded on March 15, 2024 as a Space on X.Follow the guest:https://twitter.com/alidasunFollow the host:https://twitter.com/0x_ScooterFollow Particle:https://twitter.com/Collectparticlehttps://www.particlecollection.comhttps://www.instagram.com/particlecollectionTimestamps:(00:00) Introduction(01:33) First Experiences Making Art(02:49) Self-reliance and Assemblage(04:04) Developing a Daily Creative Practice(06:34) Resisting Burnout as an Artist(08:38) Restorative Nature of Digital Art(11:18) Glitch Crystal Monsters Project(13:48) Making of Glitch Crystal Monsters Installation for SOMA Berlin(16:09) Stellaraum Installation and Live Performance(19:48) Color & Fluid Dynamics in Chromacounterpane(22:03) Themes of Migration & Displacement in Bewildered with Stars(24:31) Transforming Code into Embodied Art through Klangraum(26:25) Embracing Decolonization through Natively Digital Art(30:22) Generative Art as Folk Art(32:00) Significance of Insomnia Drawing Simulation(33:36) Algorithmic Censorship and Generative Art(35:57) State of Representation & Diversity in NFT Space(38:02) Exercising Resistance through Joy in Code-based Art(40:09) Dazzle Camouflage in Audioreactive ASCII Artwork(42:12) Fostering Positive Behaviour Amongst Collectors(44:10) Enjoying Digital Art as an Embodied Experience(47:23) Artists & Writer Recommendations(49:37) Final Thoughts from Alida Sun(50:36) Outro

In this Future Materials Encounter, Giulia Bellinetti, coordinator of the Jan van Eyck Future Materials programme, talks with material designer Eline ten Busschen and designer, artist, researcher Pei-Ying Lin about wool and new technologies applied to weaving techniques. They discuss ecologies of materials and complex systems, materials' temperament that emerge during experimentation, A.I. and the blurring of boundaries between natural and digital realms in textile design.  Eline ten Busschen is a product designer with a strong interest in exploring waste streams and their surfaces. Eline believes there is an ecology in the way materials are treated and has adopted a holistic approach that think about the whole lifecycle of a material. Her project SURPLUS, on the Future Materials Bank, features non-woven textiles, using discarded wool fibers held together through 3D printing techniques.  Pei-Ying Lin is an artist, designer and researcher based in Eindhoven, the Netherlands. Her main focus is on the combination of science and human society through artistic methods, focus she recently expanded towards the manipulation of the boundaries between invisible/visible, living/non-living and finding ways to build tools and methods that facilitate such explorations. She has won the Honorary Mention in Hybrid Arts Category of Ars Electronica 2015, and was among the first group of Taiwanese artists-in-residence of the program of Accelerate@CERN. She is currently conducting a PhD research at the TU Eindhoven on AI technologies applied to weaving techniques.  The podcast is part of a miniseries of Future Materials Encounters organized in the context of The Living Archive, the closing exhibition of the InnovatieLab programme, at the Dutch Design Week 2023.  Visit our website for more information about the Jan van Eyck Academie, our participants, and programme.

Garnet Hertz is Canada Research Chair in Design and Media Arts, and is Associate Professor of Design at Emily Carr University. His art and research investigates DIY culture, electronic art and critical design practices. He has exhibited in 18 countries in venues including SIGGRAPH, Ars Electronica, and DEAF and has won top international awards for his work.

Artificial intelligence has only shown us the endless possibilities right at the touch of our hands to create art and self-expression. For Memo Akten, Ph.D., AI became a creative tool to reflect the human condition. As an artist, musician, researcher, and AI whisperer, he has produced a number of great works from the creative interplay of natural and machine. In this episode, Memo joins us to share his very unique way of looking at AI through the many art pieces he has created over the years. From a digital art visual installation that uses digital puppetry to his most recent work called “Distributed Consciousness,” Memo amazes us with the parallels of AI to our lives. He also lets us in on his thoughts about AI overtaking humans, the influence of AI on the creative industries, the power of decentralization, and more. So tune in to not miss out!Key Takeaways:AI & Creativity: Using AI as a visual instrument to create a form of self-expressionAI's Potential: Disruptions in the creative industries in the next few yearsAI's Impact on the Creative Process: Understanding the concept of ownership in a decentralized environmentWill writing code become obsolete because of AI?Quotes:"I'm interested in the whole spectrum from mystical to technical because ultimately I'm interested in the human condition.""How can I make tools that allow people who might not have access to certain equipment, to still tell stories, to make films, to make animations and things like that.""I wanted to build what I call instruments analogous to a piano or a guitar, but not necessarily musical instruments, but visual instruments."____More from Edge of AI

Hey everyone. Wow, it has been a while since my last episode. Life kinda happened and I just needed another break to deal with some moving and life changes. I'm back with 10 new episodes that will be released over the course of the coming year in conjunction with local Las Vegas artists. A few things about my life since. I started doing some VR with Unreal and I was able to show it in this year's Ars Electronica. At the same time, I got to travel around a bit in Austria with my parents. Just two weeks ago, I traveled back to China for my Ph.D. in Computational Media and Arts, which I talked a bit about with my guest today, Krystal Ramirez. Krystal is an interdisciplinary artist and educator from Las Vegas, Nevada. Her practice focuses on our relationship with places of reverence and devotion. She has a BFA in Photography and Studio Art from the University of Las Vegas, Nevada and she recently received her MFA in Art Practice from Stanford University. She has shown in museums and galleries throughout the United States, including the Nevada Museum of Art (Reno, NV), Barrick Museum of Art (Las Vegas, NV), NMSU Art Museum (Las Cruces, NM), SOMArts (San Francisco, CA), and Gallery 400 (Chicago, IL.) Through our conversation, we discussed our interests in photography, the instability of language, and the possibility of working with our parents in art. As always, stay safe, and relax, and I hope you enjoy this.Links Mentioned:Krystal's WebsiteInstagramSpivak's Can The Subaltern Speak?Follow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

Karen Palmer is the Storyteller from the Future. She's an award-winning international artist and TED Speaker who is at the forefront of immersive storytelling, futurism, and tech.  She creates immersive film experiences that watch you back using artificial intelligence and facial recognition. Karen has been the opening keynote speaker at AT&T Shape Conference, MIT, Wired for Wonder Festival Australia, and TEDx Australia at the Sydney Opera House. She's exhibited around the world, including NYC Armoury Arts Week, Museum of Modern Art Peru, PHI Centre Montreal, and more. Her art has also been featured in publications like Wired, Fast Company, and The Guardian, where they hailed her work as "leapfrogging over VR." Her latest project is Consensus Gentium which had its world debut at SXSW this past March where Karen also won the SXSW 2023 Film & TV Jury Award in the XR Experience Category. Consensus Gentium is a powerful exploration of the implications of A.I. technology. Experienced on a mobile device, Consensus Gentium taps into the intimacy and authenticity of your smartphone features to create a realistic experience. Set in a near future, it is an emotionally responsive film that integrates cutting-edge facial detection and A.I. to transport audiences on a unique quest to discover what could happen if we succumb to unchecked surveillance.  Karen and I first met at SXSW this past March and then saw each other again at Ars Electronica this September, and I couldn't be more excited to have her come from the future to speak to the Creativity Squared community.  In this episode, you'll learn more about Karen and her latest project Consensus Gentium in addition to her social justice approach to her work that explores A.I. bias and unchecked surveillance. You'll understand why she sees it necessary to democratize A.I., how you can experience the future today through her “reality simulators,” and how she uses immersive art to make you conscious of your subconscious behavior.  Don't miss this glimpse into the future! EPISODE SHOW NOTES: https://creativitysquared.com/podcast/ep21-karen-palmer-a-message-about-a-i-from-the-future/    JOIN CREATIVITY SQUARED Sign up for our free weekly newsletter: https://creativitysquared.com/newsletter  Become a premium member: https://creativitysquared.com/supporters  SUBSCRIBE Subscribe on your favorite podcast platform: https://creativitysquared.com Subscribe for more videos: https://youtube.com/@creativity_squared/?sub_confirmation=1 CONNECT with C^2 https://instagram.com/creativitysquaredpodcast https://facebook.com/CreativitySquaredPodcast https://giphy.com/channel/CreativitySquared https://tumblr.com/blog/creativitysquared https://tiktok.com/@creativitysquaredpodcast #CreativitySquared CONNECT with Helen Todd, the human behind C^2 https://instagram.com/helenstravels https://twitter.com/helenstravels https://linkedin.com/in/helentodd https://pinterest.com/helentodd Creativity Squared explores how creatives are collaborating with artificial intelligence in your inbox, on YouTube, and on your preferred podcast platform.  Because it's important to support artists, 10% of all revenue Creativity Squared generates will go to ArtsWave, a nationally recognized non-profit that supports over 100 arts organizations. This show is produced and made possible by the team at PLAY Audio Agency: https://playaudioagency.com. Creativity Squared is brought to you by Sociality Squared, a social media agency who understands the magic of bringing people together around what they value and love: http://socialitysquared.com.  #Entertainment #LanguageModels #ArtificialIntelligence #AItechnology #DeepLearning #MachineLearning #GenerativeModels #NeuralNetworks #NaturalLanguageProcessing #AI #SXSW #XR #Immersive #immersiveexperience #surveillance #ArsElectronica #ArtificialIntelligenceArt #EquitableTechnology #AIandCulture

Who owns the truth? Navigate A.I. and the endless worlds of manufactured realities and their impact on our understanding of truth in this episode's fascinating conversation with Gerfried Stocker. Gerfried is a media artist and an engineer for communication technology and has been Artistic Director and co-CEO of Ars Electronica since 1995. Ars Electronica was established in 1979 and for over 40 years has been Europe's largest festival for art, technology, and society. It's more than a festival — the platform also includes the Ars Electronica Center, the Museum of the Future, the Prix Ars Electronica awards in digital art, the Futurelab incubator, and much more to explore the questions about our future. Ars Electronica never asks what technology can or will be able to do, but always what it should do for us, which we applaud their human-centered approach. The 2023 Ars Electronica Festival will take place September 6-10 in Linz, Austria, and in today's episode, you'll get to hear a thought-provoking conversation about its theme investigating who owns the truth.  Listen as Gerfried explores truth and reality, how we're building multiple and manufactured realities, and the importance of art to explore ambiguity to meet this moment in time. EPISODE SHOW NOTES: https://creativitysquared.com/podcast/ep11-gerfried-stocker-truth-a-i-reality  JOIN CREATIVITY SQUARED Sign up for our free weekly newsletter: https://creativitysquared.com/newsletter  Become a premium member: https://creativitysquared.com/supporters  SUBSCRIBE Subscribe on your favorite podcast platform: https://creativitysquared.com Subscribe for more videos: https://youtube.com/@creativity_squared/?sub_confirmation=1 CONNECT with C^2 https://instagram.com/creativitysquaredpodcast https://facebook.com/CreativitySquaredPodcast https://giphy.com/channel/CreativitySquared https://tumblr.com/blog/creativitysquared https://tiktok.com/@creativitysquaredpodcast #CreativitySquared CONNECT with Helen Todd, the human behind C^2 https://instagram.com/helenstravels https://twitter.com/helenstravels https://linkedin.com/in/helentodd https://pinterest.com/helentodd Creativity Squared explores how creatives are collaborating with artificial intelligence in your inbox, on YouTube, and on your preferred podcast platform.  Because it's important to support artists, 10% of all revenue Creativity Squared generates will go to ArtsWave, a nationally recognized non-profit that supports over 100 arts organizations. This show is produced and made possible by the team at PLAY Audio Agency: https://playaudioagency.com. Creativity Squared is brought to you by Sociality Squared, a social media agency who understands the magic of bringing people together around what they value and love: http://socialitysquared.com.  #ArsElectronica #ArsElectronicaSolutions #ArsElectronica23 #WhoOwnsTheTruth #ArsElectronicaFestival #ArsElectronicaFestival2023 #Truth #Power #Ownership #AI #ArtificialIntelligence #Deepfakes #ArtificialIntelligenceAI #ArtificialIntelligenceArt #DigitalCreativity #AIArt #ArtificialIntelligenceTechnology #MachineLearning #FutureTechnology #FutureTech #TheFutureIsNow #DeepLearning #GenerativeModels #NeuralNetworks #NaturalLanguageProcessing #ConversationalAgents #AIandCulture #AINews

In this episode of ACM ByteCast, Rashmi Mohan hosts Pattie Maes, a professor at MIT's Program in Media Arts and Sciences. Pattie runs MIT Media Lab's Fluid Interfaces research group, which does research at the intersection of Human Computer Interaction and Artificial Intelligence with a focus on applications in health, wellbeing, and learning. She is also a faculty member in MIT's center for Neuro-Biological Engineering. She has been a researcher, a serial entrepreneur and mentor, a book and journal editor, and a recipient of numerous awards, including recognitions from Newsweek, TIME, AAAI, Fast Company, the World Economic Forum, and Ars Electronica. In addition to her academic endeavors, Pattie co-founded several venture-backed companies, including Firefly Networks, Open Ratings, and Tulip. She is also an advisor to several early-stage companies, including Earable and Spatial. Pattie recounts her path to computing as one of the first people to major in computer science in Belgium and, later, as the only woman in the AI lab at MIT. She provides historical perspective on the cyclical nature of the field of AI and explains her passion for building systems that make people, rather than machines, more intelligent. She also recalls some of the designs and applied technologies she has worked on throughout her celebrated career, including recommender systems (before web browsers) and wearable devices (before cell phones). Finally, Pattie offers her thoughts on building diverse teams and what she's most excited about in the field of AI.

Annie Ivanova grew up in Bulgaria before moving to Australia. She's an art curator, an advocate of cultural diplomacy, and the founder of the design firms Anibaba Co. and Studio Ivanova.This episode is a sponsored collaboration with the Taiwan Gold Card Office.Ivanova's worked with art institutions like ZKM, Centre Pompidou, Ars Electronica, The Barbican, Centre Pompidou, Aaros Museum, Australian Centre for the Moving Image and Queensland Gallery of Modern Art, and the National Palace Museum and Museum of Contemporary Art (MOCA) in Taiwan. In 2016 she received an ANZ Chamber of Commerce Business Award for ‘outstanding contribution to the Australia-Taiwan partnership'.Her 2016 book is called “Taiwan by Design: 88 Products for Better Living”.  Interested in moving to Taiwan? Find out more about this open work-permit and residency visa at https://goldcard.nat.gov.twGO4GOLD is the 10% discount code for the Go.Do.Be. LIVE! cards by Ivanova: https://www.godobelive.com/See a cut-down version of this interview: https://www.youtube.com/watch?v=9ZI2lm0vJjUEPISODE CREDITHost / Emily Y. Wu @emilyywuProject Manager / Serena PaiEditing / Gerald WilliamsSupport the show: https://patreon.com/TaiwanSee omnystudio.com/listener for privacy information.

We are deeply interested in the intersection of the digital and material worlds, both living and not living. Most of our interviews are focused on the intersection of humans and machines—how does the digital world affect humans and how do humans affect the digital world. This interview, however, is about the intersection of plants and machines.Harpreet Sareen works at the intersection of digital and material, plant and machine, and art and science. His work challenges people to consider the life of plants, what we can learn from them, what we can see and what we can't see. His art and science projects challenge us to wonder if we can actually believe what we're seeing.We moved to the Cascade Mountains to be able to spend more time in the wilderness. We likely spend quite a bit more time in nature than most people. Despite our strong connections to nature, Sarpreet's work accomplishes his goal of encouraging us to reconsider this relationship, to consider what an increased symbiosis might be.Harpreet Sareen is a designer, researcher and artist creating mediated digital interactions through the living world, with growable electronics, organic robots and bionic materials. His work has been shown in museums, featured in media in 30+ countries, published in academic conferences, viewed on social media 5M+ times and used by thousands of people around the world. He has also worked professionally in museums, corporates and international research centers in five countries. He is currently an Assistant Professor at Parsons School of Design in New York City and directs the Synthetic Ecosystems Lab that focuses on post-human and non-human design.Learn more about Harpreet SareenInteresting links:* What biodesign means to me* Bionic plants, from PopSci* Elephant project: Hybrid Enrichment System (ACM article)* Elowan: A Robot-Plant Hybrid -- Plant with a robotic body* Cyborg Botany: Electronics grown inside plants* Cyborg Botany: In-Planta Cybernetic SystemsMost recent papers:* Helibots (attached) at CAADRIA 2023, and related exhibition in ADM Gallery, Singapore* BubbleTex at CHI 2023, and related exhibition in Ars Electronica, Austria* Algaphon: Sounds of macroalgae under water (Installation at Ars Electronica, Austria)About Sonder Studio:We created Sonder Studio to empower humans in our complex age of machines, data, and AI. Through our strategy, innovation, and change services, we help organizations activate the collective intelligence of humans and AI. We work with leaders in tech, data, and analytics to co-create AI strategies, design innovative AI products and services, and craft change management programs that help their people succeed in a AI-powered, data-centric, complex world. We leverage the new world of foundation models, generative AI, and low-code environments to create an amplified human-machine experience centered on machines that can be a mind for our minds. You can learn more about us at getsonder.com.Check out some of our recent publications:* Announcing [Your Team's] Generative AI Summit* Research brief: C-Suite Strategy Playbook for Generative AI* Mind for our Minds: Meaning* Mind for our Minds: Introduction* Research brief: aiOS—Foundation ModelsIf you enjoy our podcasts, please subscribe and leave a positive rating or comment. Sharing your positive feedback helps us reach more people and connect them with the world's great minds.Learn more about Sonder StudioSubscribe to get Artificiality delivered to your emailLearn about our book Make Better Decisions and buy it on AmazonThanks to Jonathan Coulton for our music This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit artificiality.substack.com

Welcome to another episode of the "22 Lessons on Ethics and Technology" series! In this episode, I sit down with Jason Edward Lewis to talk about how Indigenous peoples are imagining the futures while drawing upon their heritage. How can we broaden the discussions regarding technology and society to include Indigenous perspectives? How can we design and create AI that centers Indigenous concerns and accommodates a multiplicity of thought? And how can art-led technology research and the use of computational art in imagining the future? Jason Edward Lewis is a digital media theorist, poet, and software designer. He founded Obx Laboratory for Experimental Media, where he conducts research/creation projects exploring computation as a creative and cultural material. Lewis is deeply committed to developing intriguing new forms of expression by working on conceptual, critical, creative and technical levels simultaneously. He is the University Research Chair in Computational Media and the Indigenous Future Imaginary as well Professor of Computation Arts at Concordia University. Lewis was born and raised in northern California, and currently lives in Montreal. Lewis directs the Initiative for Indigenous Futures, and co-directs the Indigenous Futures Research Centre, the Indigenous Protocol and AI Workshops, the Aboriginal Territories in Cyberspace research network, and the Skins Workshops on Aboriginal Storytelling and Video Game Design. Lewis' creative and production work has been featured at Ars Electronica, Mobilefest, Elektra, Urban Screens, ISEA, SIGGRAPH, FILE and the Hawaiian International Film Festival, among other venues, and has been recognized with the inaugural Robert Coover Award for Best Work of Electronic Literature, two Prix Ars Electronica Honorable Mentions, several imagineNATIVE Best New Media awards and multiple solo exhibitions. His research interests include emergent media theory and history, and methodologies for conducting art-led technology research. In addition to being lead author on the award-winning “Making Kin with the Machines” essay and editor of the groundbreaking Indigenous Protocol and Artificial Intelligence Position Paper, he has contributed to chapters in collected editions covering Indigenous futures, mobile media, video game design, machinima and experimental pedagogy with Indigenous communities. Lewis has worked in a range of industrial research settings, including Interval Research, US West's Advanced Technology Group, and the Institute for Research on Learning, and, at the turn of the century, he founded and ran a research studio for the venture capital firm Arts Alliance. Lewis is a Fellow of the Royal Society of Canada as well as a former Trudeau, Carnegie, and ISO-MIT Co-Creation Lab Fellow. He received a B.S. in Symbolic Systems (Cognitive Science) and B.A. in German Studies (Philosophy) from Stanford University, and an M.Phil. in Design from the Royal College of Art.  

(Claude Schryer)Jacek, what is soundwalking? (Jacek Smolicki)That's a very broad question, but I'll try to answer from two perspectives: my own and from what is kind of more generally considered soundwalking. So, to quote Hildegard Westerkamp, one of the pioneers of that practice, basically, a soundwalk is any kind of excursion into an environment which is motivated by us listening to it. Whether we do it with or without technologies or whether we do it on our own or in a group and the point of soundwalking is to connect or reconnect us with the environment, with how it sounds at the very moment to kind of reaching this sense of immersion in the here and now. My approach to sound is slightly different. I treat soundscapes as a kind of gateways to not only the momentary - the way that the sound  expresses itself in the moment  or the sound expresses events that happen at the moment - but also as gateways into the past and into the future. I like to kind of expand the perspective of soundwalking and use it as a kind of a vehicle to move us between different scales, between different temporalities and between different standpoints or different angles from which we can engage in this act of connecting with the environment. And the way I do it is by encouraging people to listen with whatever listening capacities they have, but also through technologies. And, as a scholar in media, in communications and within a personal interest in technological developments within sonogram, I'm trying to treat technologies as our companions rather than enemies or something that is alien to our human nature and try to build kind organic synergies between the way we implement technologies in our lives and in our ways of understanding nature around us. (Claude Schryer)And all the ethical ramifications of that…(Jacek Smolicki)Exactly and of course, ethical ramifications, so I like to call my approach to soundwalking as kind of a kind of transversal listening or hybrid listening where basically listening becomes like a vector that cuts through different layers of the environment in a kind of geological material sense, but also in a temporal sense. So as we stand here for example, we're not standing only here in this particular geography, but we are at the same time kind of benefiting from other geographies that surround us and we can actually hear, for instance, air traffic and through that sound we can connect with very distant geographies in a most direct sense, the geographies from which those planes arrive or are destined to, but we can also think of the plans around us as some of them are not necessarily native to this geography, right? They come from somewhere else. They pertain to different histories of, for instance, colonization and so on. And the same applies to temporalities. The sounds we hear today are here for some reason, right? They have roots in other sonic events that might not be directly accessible to us and this is also why I like to encourage imagination as a kind of natural component to soundwalking and listening and to enable a more speculative approach to how we listen. So instead of really trying to dissect and understand all the sounds around us to also think more imaginatively about what kinds of sounds existed before we stepped into that environment and what kind of sounds might exist in the future also because of our actions at the very moment.(Claude Schryer)We're doing a soundwalk now here, mostly talking about sound walking, but it's an experience and I've done it over the years and I encourage my listeners to do it because it's a very rewarding practice and it's one you can do anywhere, anytime. So before we run out of time, what would be a good question for people to ask themselves or to keep in mind as they soundwalk? (Jacek Smolicki)I think one important question would be what is my position within the soundscapes that I'm working through and how do I approach the soundscape? What kind of associations dominate my way of experiencing it, for instance, and start basically there and then trying to maybe gradually leave that zone and consider other ways of positioning ourselves in the soundscapes and by doing that, acknowledging the possibilities of other perspectives on the soundscapes and other ways of understanding and coexisting with it. (Claude Schryer)In other words, what is my position in listening ?*This episode with artist Jacek Smolicki was recorded on Friday March 24th, 2023 at 8.38am at the Atlantic Center for the Arts in New Smyrna Beach, Florida. It's a soundwalk about soundwalking but also about the role of acoustic ecology in the ecological crisis. After completing our 5 minute conversation we heard a passing train and continued our conversation, which is part 2 of this episode.I encourage listeners to do your own soundwalks. There are many guides and methods. One of my favorites is Soundwalking by Hildegard Westerkamp and also Jacek's book Soundwalking through time, space and technologies.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to the Children and Youth Artists' Grief Deck! Artists' Literacies Institute.*Jacek Smolicki (born during martial law in Kraków) is a cross-disciplinary artist, designer, researcher and educator. His work brings temporal, existential and critical dimensions to listening, recording and archiving practices and technologies in diverse contexts.Besides working with historical archives, media, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from specific sites, scales, and temporalities. His work is manifested through soundwalks, soundscape compositions, diverse forms of writing, site-responsive performances, experimental para-archives, and audio-visual installations.He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, and Historical Museum of Bosnia and Herzegovina, Sarajevo). His broad scope of site-responsive artistic and research work includes projects concerned with the soundscapes of the Swedish Arctic Circle, the Canadian Pacific Coast, the world's tallest wooden radio mast in Gliwice, the UFO testimonies from the Archive for the Unexplained in Sweden, the Jewish Ghetto in Kraków, the former sites of the Yugoslav Wars, Madrid's busking culture, and Alfred Nobel's factory complex in Stockholm, among many other places.In 2017 he completed his PhD in Media and Communications from the School of Arts and Communication at Malmö University where he was a member of Living Archives, a research project funded by the Swedish Research Council.Between 2020-2023 Smolicki pursues an international postdoctorate funded by the Swedish Research Council. Located at Linköping University in Sweden, Simon Fraser University in Vancouver, Canada, and Harvard, USA, his research explores the history and prospects of field recording and soundwalking practices from the perspective of arts, environmental humanities, and philosophy of technology.In 2022/2023 he is a Fulbright Visiting Scholar at Harvard.He is also an associate scholar at the Informatics and Media Hub for Digital Existence at Uppsala University. From January 2020 he is a member of BioMe, a research project that investigates ethical implications of AI technologies on everyday life realms. Smolicki explores sonic capture cultures and the impact of AI technologies on human and other-than-human voices.He is a co-founder of Walking Festival of Sound, a transdisciplinary and nomadic event exploring the critical and reflective role of walking through and listening to our everyday surroundings.Since 2008 Smolicki has been working on On-Going Project, a systematic experimentation with various recording techniques and technologies leading to a multifaceted para-archive of contemporary everyday life, culture, and environment. The On-Going Project includes Minuting, a record of public soundscapes performed daily ever since July 2010, for which he received the main prize at the Society for Artistic Research conference in 2022.For info see https://www.smolicki.com/index.html *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

(Jacek Smolicki)The ultimate question I'm asking is how can we move away from soundwalk as a kind of framed aesthetic experience or artistic experience and turn it into an existential practice or basically something that is just ingrained in our everyday life and we don't have to frame it anymore. It's just basically part of our way of living. (Claude Schryer)Can you give an example of that? (Jacek Smolicki)An academic example would be the concepts developed by Steven Feld, acoustemology, where basically listening, a kind of sonic way of being in the world is part of your culture, part of existence. You don't tell yourself, okay, I will listen to the world more carefully from now for another hour, and then I can just return back to my everyday life but you basically just keep listening, right? A kind of sonic sensitivity is one of the most important ways of understanding the world as opposed to being pushed to the background and only lifted up during those kinds of frame situations such as a soundwalk. (Claude Schryer)I've been sound walking in an analytical way, so I'll try to make sense of the sounds and where they are and what they're about but there's also an absorption factor where you allow the sounds to speak to you in their own language, right? As opposed to sort of rationally figuring them out. So, if we stop here and listen, what are you hearing? (Jacek Smolicki)I hear a coexistence of culture and nature and at the same time a kind of friction between two realms that in fact are just one realm and we kind of try to maybe separate them. We talked a little bit about this positionality and we hear the whistle of the train. From one perspective, we heard some people here referring to that sound as being very calming and reassuring, but if you think of indigenous people, that sound might mean a completely different thing. It's a form of bordering and creating, some kind of a division, of cutting the land and deciding how the land is to be traversed and utilized. So it definitely has a violent connotation if we look from that perspective and if we listen from that perspective. I think that this is some kind of sensitivity that I'm aiming at, also, while teaching, to be able to also take that thought into consideration when we try to value or kind of assign value to different sounds. I think Dylan Robinson is talking about oscillation. I think he calls it to be able to constantly oscillate, to move from one way of understanding sound to another. And basically by doing that it destabilizing certain certainties that characterizes our way of listening and, and by doing that, becoming open to those other understandings and perceptions… (Claude Schryer)And asking questions. You know, we were on a panel together a few days ago (Stetson University) when we were asking the question, how can listening help the world that is in crisis? and it's an open-ended question because with listening everybody has their own way of listening, but there are certainly deeper ways of listening that we can learn and unlearn as we work our way through these issues. (Jacek Smolicki)Exactly and that we've been talking a lot about hope. We've been talking a lot about how this openness is almost inherently good. I have that feeling. People talk about if we open up our listening and if we invite other perspectives, then we are doing something good. But I think that opening comes with certain responsibilities too, right? I like to think of it in a way that the more open we become to those different perspectives, the more troubled, actually, we should become more concerned rather than content and calm, so there's this disruptive aspect to listening that Hildegard Westerkamp has been writing about, but as we open ourselves, as we include other perspectives, we at the same time disrupted something, right? That we at the same time should be calling ourselves to action and becoming more responsible. So, there's some kind of an obligation I think that should follow that act of opening and deepening our listening. (Claude Schryer)I agree. Thank you for this moment. We will listen again.*This episode with artist Jacek Smolicki was recorded on Friday March 24th, 2023 at 8.44 am at the Atlantic Center for the Arts in New Smyrna Beach, Florida. It's a soundwalk about soundwalking but also about the role of acoustic ecology in the ecological crisis. After completing our first 5 minute conversation (e113 part 1) we heard a passing train and continued our conversation, which is this episode (part 2).I encourage listeners to do your own soundwalks. There are many guides and methods. One of my favorites is Soundwalking by Hildegard Westerkamp but also Jacek's new book Soundwalking through space, time and technologies.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to the  Children and Youth Artists' Grief Deck! Artists' Literacies Institute.*Jacek Smolicki (born during martial law in Kraków) is a cross-disciplinary artist, designer, researcher and educator. His work brings temporal, existential and critical dimensions to listening, recording and archiving practices and technologies in diverse contexts.Besides working with historical archives, media, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from specific sites, scales, and temporalities. His work is manifested through soundwalks, soundscape compositions, diverse forms of writing, site-responsive performances, experimental para-archives, and audio-visual installations.He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, and Historical Museum of Bosnia and Herzegovina, Sarajevo). His broad scope of site-responsive artistic and research work includes projects concerned with the soundscapes of the Swedish Arctic Circle, the Canadian Pacific Coast, the world's tallest wooden radio mast in Gliwice, the UFO testimonies from the Archive for the Unexplained in Sweden, the Jewish Ghetto in Kraków, the former sites of the Yugoslav Wars, Madrid's busking culture, and Alfred Nobel's factory complex in Stockholm, among many other places.In 2017 he completed his PhD in Media and Communications from the School of Arts and Communication at Malmö University where he was a member of Living Archives, a research project funded by the Swedish Research Council.Between 2020-2023 Smolicki pursues an international postdoctorate funded by the Swedish Research Council. Located at Linköping University in Sweden, Simon Fraser University in Vancouver, Canada, and Harvard, USA, his research explores the history and prospects of field recording and soundwalking practices from the perspective of arts, environmental humanities, and philosophy of technology.In 2022/2023 he is a Fulbright Visiting Scholar at Harvard.He is also an associate scholar at the Informatics and Media Hub for Digital Existence at Uppsala University. From January 2020 he is a member of BioMe, a research project that investigates ethical implications of AI technologies on everyday life realms. Smolicki explores sonic capture cultures and the impact of AI technologies on human and other-than-human voices.He is a co-founder of Walking Festival of Sound, a transdisciplinary and nomadic event exploring the critical and reflective role of walking through and listening to our everyday surroundings.Since 2008 Smolicki has been working on On-Going Project, a systematic experimentation with various recording techniques and technologies leading to a multifaceted para-archive of contemporary everyday life, culture, and environment. The On-Going Project includes Minuting, a record of public soundscapes performed daily ever since July 2010, for which he received the main prize at the Society for Artistic Research conference in 2022.For info see https://www.smolicki.com/index.html. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Powered by Mountain Collective Digital Courses: The 3 S's Workflow to Increase Freelance Clients in 4 Weeks

Wir sprechen mit Nicole Grüneis über das etwas andere Museum - das AEC in Linz. Wie verändern neue Technologien, allen voran Künstliche Intelligenz unser Leben? Selbstfahrende Autos trainieren. Roboter programmieren. 3D-drucken. Die eigene DNA mit der Genschere bearbeiten. Das alles und noch viel mehr in dieser Folge EduFunk. Das AEC im Netz: Homepage: https://ars.electronica.art/center/de/ Unsere Social Media Seite: Twitter: https://twitter.com/edufunkDACH Facebook: https://www.facebook.com/EduFunkDACH Instagram: https://www.instagram.com/edufunkpodcast/ Webseite: https://www.edufunk.eu EduFunk - der Podcast für die Verrückten, die Mutigen, die etwas anderen Lehrer:innen. Ein deutschsprachiger Podcast rund um Schule, Lehrer:innen, digitalen Unterricht, digitale Medien, Methoden, iPads und Apps. Das Ziel von EduFunk: Lehrer:innen zu inspirieren und ihnen den Mut zu geben, mit Neugier die Möglichkeiten digitaler Medien im Unterricht zu entdecken. Es moderieren Anna Gruber und Christian Löhlein. In diesem Podcast werden Produkte besprochen, daher enthält er Werbung.

Ella Fontanals-Cisneros is a philanthropist, entrepreneur and collector of contemporary art. She began collecting art in the 1970s and her collection, which today has more than 2500 works, has an international profile with emblematic figures of modern and contemporary art with a focus on Latin American art. She is also cofounder of CIFO, a non-profit organization that fosters cultural exchange and enrichment of the arts. In this position, she recently worked to launch the CIFO-Ars Electronica Awards (in partnership with Ars Electronica) to advance the work of Latin American artists working with new media and technology, an underfunded area of production. She and Zuckerman discuss spirituality, humanity, crying in front of works of art, the importance of silence, her legacy, museum decision making, how personal decision making is!!

Artelt, Philipwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

* Ars Electronica: Energiewende Linz * IAEA report on Zaphorizia nuclear plant * Ars Electronica: "we need to rethink our relationship to technology" *

Vens, Hartwigwww.deutschlandfunkkultur.de, Studio 9Direkter Link zur Audiodatei

Mayer, Christian Kosmaswww.deutschlandfunkkultur.de, KompressorDirekter Link zur Audiodatei

Roboter können isolierten Menschen soziale Kontakte ermöglichen. Für dieses Konzept erhält der japanische Künstler Ory Yoshifuji einen Hauptpreis der Ars Electronica in Linz. Sein Roboter-Café kann man per Avatar besuchen.Ory Yoshifuji im Gespräch mit Christine Wattywww.deutschlandfunkkultur.de, KompressorDirekter Link zur Audiodatei

Mangel, Alexandrawww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Bereits Mitte März hat Simon Mraz über die Initiative Shelter For Artists berichtet, die eine Anlaufstelle für ukrainische Künstlerinnen und Künstlern in Österreich ist. Im Gespräch mit Chefredakteur Christoph Wellner berichtete er, was sich in den vergangenen Wochen getan hat. Desweiteren berichtet Mraz über die Virtuelle Kunsthalle für unterdrückte Kunst, einem gemeinsamen Projekt des Außenministeriums mit der Ars Electronica. Informationen über Shelter For Ukrainian Artists

Vincent Crapon is Project Manager of Exhibitions for Esch2022 at the in Belval. Over the course of the year he will be overseeing 3 major exhibitions as part of the European Capital of Culture programme in the impressive locations of the Möllerei and the Masse Noire, both former storage units for the now defunkt Belval steel refinery. Today he came on the Breakfast Show to talk about his work coordinating the exhibitions there and what people can expect from the shows over the course of the year of culture. Since moving to Luxembourg seven years ago Vincent has worked for MUDAM as well as the ministry of culture before taking on this role with Esch2022. The exhibitions that are taking place in the Möllerei this year will see Esch2022 collaborate with three major international institutions that are all working at the forefront of contemporary media art. Over the course of the year ZKM | Center for Art and Media Karlsruhe, the HEK (House of Electronic Arts) in Basel and Ars Electronica in Linz will all present exhibitions that are uniquley designed for the striking setting of the Möllerei and Masse Noire. The Exhibitions will feature artists from all over the world and will present on themes including human identity in the digital age, technology and industry and humanity's impact on the natural environment. The first exhibition has already opened and will run until the 15th of May with the subsequent exhibition opening three weeks later. More information about the programme and how to book tickets can be found at www.esch2022.lu

Anthropologist Dr. Beth Singler shares her thoughts on the misconceptions surrounding artificial intelligence, the dangers of treating humans like machines, and whether virtual reality could provide us with quasi-religious experiences. Dr Beth Singler is the Junior Research Fellow in Artificial Intelligence at Homerton College, University of Cambridge, where she is exploring the social, ethical, philosophical and religious implications of AI. As an associate fellow at the Leverhulme Centre for the Future of Intelligence she is collaborating on the AI Narratives and Global AI Narratives projects, as well as co-organising a series of Faith and AI workshops as a part of the AI: Trust and Society programme. She has also produced a series of short films on the questions raised by AI, and the first, Pain in the Machine, won the AHRC Best Research Film of the Year Award in 2017. Beth has appeared on Radio4's Today, Sunday and Start the Week, spoken at the Hay Festival as one of the ‘Hay 30', the 30 best speakers to watch, as well as speaking at New Scientist Live, Edinburgh Science Festival, the Science Museum, Cheltenham Science Festival, and Ars Electronica. She was also one of the Evening Standard's Progress 1000, a list of the most influential people, in both 2017 and 2018. Find out more: futurespodcast.net CREDITS Produced by FUTURES Podcast Recorded, Mixed & Edited by Luke Robert Mason FOLLOW Twitter: twitter.com/futurespodcast Facebook: facebook.com/futurespodcast Instagram: instagram.com/futurespodcast

MEET AMY KARLEAmy Karle is an internationally award-winning bioartist working at the nexus of where digital, physical, and biological systems merge. Karle is also a provocateur and a futurist, opening future visions of how art, science, and technology could be utilized to support and enhance humanity while making advancements in technology towards those goals in the process of making her artworks. Current projects probe who we could become as a result of our exponential technologies and how interventions could alter the course of our future. Karle has shown work in 54 international exhibitions, including at: The Centre Pompidou, France; The Mori Art Museum, Japan; The Smithsonian, USA; Ars Electronica, Austria; Beijing Media Arts Biennale, China; Centrum Nauki Kopernik, Poland; FILE International Electronic Language Festival, Brazil. Karle is also regularly invited to share her innovations and insights as an expert speaker and in think tanks worldwide. She was honored as one of “BBC's 100 Women”, has been named one of the “Most Influential Women in 3D Printing”, was Grand Prize Winner of the “YouFab Global Creative Award” and is a Fellow with Salzburg Global Seminar. Karle was also an Artist Diplomat through the U.S. Department of State tasked with diplomacy, social innovation, women's empowerment, and supporting cross-disciplinary collaborations using art and technology to address social issues. Her work speaks to a wide audience as it inspires exploration into what it means to be human and encourages us to contemplate the impacts of technology on our future. The long-term goals of her work are to continue to pioneer in bioart and the art and tech fields and make contributions to the advancement of society, technology, and healthcare in the process. CONTACT: https://www.amykarle.com/ (https://www.amykarle.com/) https://www.instagram.com/artist_amy_karle/ (https://www.instagram.com/artist_amy_karle/) https://twitter.com/amykarle (https://twitter.com/amykarle) SUPPORT THE SHOW BECAUSE I LOVE PUPPIES! https://taliadinapoli.com/a/rewards/r/m8q3ZlTx (Talia di Napoli – PIZZA) Click on the title for $6.00 off your order of AMAZING pizza shipped fresh from Napoli ARE YOU INTERESTED IN BITCOIN OR CRYPTOCURRENCY?BUY MY BOOK BECAUSE IT'S AMAZING!!! I'll EVEN SIGN IT FOR YOU : )https://amzn.to/3afTmOu (BE LEFT BEHIND: Discover Bitcoin and Cryptocurrency Before Your Grandma Beats You to It) http://www.advanceyourart.com/captivate-podcast/eduardo-placer/yuricataldo.com (yuricataldo.com) CREDITS: Our theme music is written and mixed by Chicago-based composer, engineer, and multi-instrumentalist Ryan Black of the Black's Backbone collaborative. And produced by REB Records. This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

Zach Lieberman is an artist, researcher, and educator with a simple goal: he wants you surprised. He's been listed as one of Fast Company's Most Creative People and has won several recognitions: like the Golden Nica from Ars Electronica. The Interactive Design of the Year from The Design Museum of London, as well as being listed in Time Magazine's Best Inventions of the Year. He's also the co-founder of the School for Poetic Computation and professor of MIT Media Lab, where he leads the Future Sketches group. Show Notes: 2:45 - Zach's artistic coding background 4:57 - Intro into NFTs and perceptions on the space 11:28 - The idea of co-creation and co-ownership for the Adidas and Prada NFT project 15:00 - The technical process of how Zach composed the project 16:31 - Zach's expectations before and after 18:08 - Students' and younger generation's interest in NFTs 20:07 - How to bring more women in the space 23:42 - Details of the Adidas/Prada drop 29:29 - How to get started into NFTs if you're an artist 31:21 - What Zach thinks is missing the space 32:52 - Zach's experience with ArtBlocks and their community 39:03 - Where do you see the future of art going? 42:40 - What is School of Poetic Computations and how it got started 44:42 - Fave NFTs MATT DESLAURIERS https://www.mattdesl.com/

YANN MARUSSICH Artiste, performeur Objet de lecture : « L'Homme approximatif » Tristan Tzara, 1925 Né en 1966, formé à la danse, Yann Marussich a évolué dans des compagnies françaises avant de participer à la création de la compagnie Vertical Danse avec Noemi Lapzeson. Depuis 1989, il présente ses propres pièces en Europe et au-delà. En 2001, il signe Bleu provisoire, sa première pièce totalement immobile. Dès lors, il se concentre sur l'introspection et la maîtrise de l'immobilité, confrontant son corps à diverses sollicitations, voire agressions, dans des performances à mi chemin entre body art et bio art. Des rétrospectives performatives de son oeuvre ont été présentées au Commun à Genève en 2015 et au Lieu Unique à Nantes en 2018. Lauréat du prix Ars Electronica dans la catégorie «hybrid art» avec Bleu Remix en 2008, il a reçu le prix de résidence artistique CERN Collide Geneva en 2019. Artiste pluriel, il se consacre également à l'écriture et au dessin et depuis 2018 à la création de vidéo-performances. Il anime régulièrement des workshops et des conférences.

Moisés Horta Síntesis con Redes Neuronales Moisés Horta https://moiseshorta.audio/ Instagram.com/hexorcismos hexorcismos.bandcamp.com twitter: @hexorcismos Es un artista de sonido, tecnólogo y músico electrónico autodidacta de Tijuana, México, que trabaja en los campos de la música por computadora, la inteligencia artificial y la historia y política de las tecnologías digitales emergentes. Crea un vínculo asombroso entre las tecnologías de sonido antiguas y de vanguardia canalizadas a través de una lente de teoría decolonial crítica en el contexto de la música electrónica contemporánea y las artes sonoras. Su trabajo ha sido presentado en Ars Electronica, MUTEK México, Transart Festival, MUTEK: AI Art Lab Montréal, Elektron Musik Studion, CTM Festival: Music Makers Hacklab, entre otros. Actualmente es un artista residente en Factory Berlin, donde trabaja en nuevas composiciones e instalaciones de arte sonoro utilizando el aprendizaje automático mientras realiza una maestría en estudios de sonido y artes sonoras en la Universidad de las Artes de Berlín.

Episode 53 kommt wieder nach einer längeren Pause, und ist gespickt mit Reviews – in der Love/Hate Rubrik nehmen wir uns Villeneuves Dune (und den historischen Rucksack den er mitzuschleppen hat) vor, den Rest der Episode verwenden wir großteils dazu Eindrücke der letzten 4 Monate aufzuarbeiten. Die Galaktische Lyrik und gleich zwei Zombieland Rules dürfen auch nicht fehlen, sowie die üblichen hochphilosophischen Fragen: Hat Thomas jetzt endlich den Netflix-Algorythmus soweit? Hat Max seine perfekte Kindergarten-Serie gefunden? Und ist Paul Atreides der bessere Jon Snow? TIME CODES 02:21 – Galaktische Lyrik Nr. 21: I thought the future would be cooler / Krieger 06:28 – Wir müssen reden Review-Mischmasch: Star Trek Picard Season 2 Trailer etc, Star Trek Prodigy erste Infos, The Orville Ankündigung Season 3; How to sell drugs online (fast), Shiny Flakes, Katla, DP, Loki, Love Death + Robots Season 2, Ted Lasso, The Tomorrow War, Yellowstone, Neon Genesis Evangelion 4, Am Anschlag – Die Macht der Kränkung, Die eiserne Zeit, Jungle Cruise, The Mittchels vs the Machines, Black Widow, World War Z (Buch), Age of Empires WM, Ars Electronica 2021, Our World in Data, Lex Fridman Podcast, Joe Rogan Podcast mit Quentin Tarantino, Briefwechsel Thomas Bernhard & Verleger 1:14:00 – There is so much love in this hate group: Dune 1:55:20 – Zombieland Survival Rules “Limber up” / “Travel light” SHOW NOTES Jodorowskys Dune https://www.youtube.com/watch?v=9nxnF_B3UVU Quentin Tarantino | Joe Rogan Experience https://open.spotify.com/episode/5cdu4y60lq6QXyUbhMpVWH?si=3Wo1p52pRv2QSJBiKTa1Rw&dl_branch=1 Clara Sousa-Silva: Searching for Signs of Life on Venus and Other Planets | Lex Fridman Podcast https://youtu.be/CGAvsmokB4c Cloud Studies. Forensic Architecture | Prix Ars Electronica 2021 https://calls.ars.electronica.art/prix/winners/6392/ GRAND FINAL | Red Bull Wololo V | Age of Empires II https://youtu.be/2u3HupyXyKQ Briefwechsel: Thomas Bernhard & Siegfried Unseld | Lesung Voss/Simonischek https://youtu.be/ZKPQbotAJZI Climate Change Centre Austria https://ccca.ac.at/startseite Die eiserne Zeit – Trailer https://www.youtube.com/watch?v=8nlkrxQevvo

We talk Ars Electronica, an annual festival for art, technology and society in Austria. In a collab with Ars Leonardocast, Kenneth Azurin and Dawn Faelnar interview Dutch fashion and textile designer Hellen van Rees about her projects at Ars 2018. Leonardo's Vanessa Chang introduces [Anti]disciplinary Topographies for Ars 2021. The first winner of the Prix Ars Electronica, Brian Reffin Smith, reviews Lead in Modern and Contemporary Art edited by Sharon Hecker and Silvia Bottinelli.

In this episode, we were able to have an in-depth conversation surrounding not just Amy Karle's major artworks using 3D printing and Bioprinting, but also her personal journey as a bioartist and the meanings behind her artworks.  The two works we focused on include :1. Regenerative Reliquary, which is a bioprinted scaffold with stem cells in the shape of a hand in a bioreactor to grow bone tissue2. Heart Evolution, which is an artistic alternative design for a "better" heart that potentially could avoid existing Some of the questions we explored include:What does bioprinted organ replace imply to humanity and our identities?Who has the right to live and access the new and expensive technology that can prolong life?Who will have access to bioprinted or 3D printed medical devices first? What makes something beautiful (Aesthetics)?Why is it important to make something beautiful (or not)?What is the role of an artist in terms of aesthetics?Why is 3D printing (especially in medicine) often perceived as beautiful?How does an artist feel about generative design? Threatened by robots?  Youtube ShownotesInstagramBlogsAbout our guest: Amy Karle is an internationally award-winning bioartist whose work can be seen as artifacts of a speculative future when digital, physical, and biological systems merge. Her work opens future visions of how technology could be utilized to support and enhance humanity while making advancements towards those goals in the process.In the process of making the artwork, Karle utilizes the technological tools in question and collaborates directly with science and technology to create a joint space for imagination, exploration, and creation. Current projects probe who we could become as a result of exponential technologies and how interventions could alter the course of our future.Karle has exhibited in prestigious museums worldwide, including at the Smithsonian, USA; The Mori Museum, Japan; The Centre Pompidou, France; Beijing Media Arts Biennale, China; Ars Electronica, Austria; and is regularly invited to share her insights as an expert speaker and in think tanks. Karle was honored as one of “BBC's 100 Women”, has been named one of the “Most Influential Women in 3D Printing”, and was Grand Prize Winner of the "YouFab Global Creative Award". Karle was also an Artist Diplomat through the U.S. Department of State tasked with women's empowerment and supporting collaborations using art and technology to address social issues. The long-term goals of her work are to continue to pioneer in the art and tech field and make contributions to the advancement of society, technology, and healthcare in the process. www.amykarle.comSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=STF9STPYVE2GG&source=url)

Lia Mice is a multidisciplinary artist whose works range from live A/V performance, composition, instrument design, and interactive sculpture to academic papers. In her practice, Mice uses new technologies to explore relationships between the musical instrument and embodied performance. Mice's all-hardware live A/V sets incorporate large scale self-designed instruments, live voice sampling, dancers and audio-reactive visuals. Her instruments and interactive sonic sculptures have been exhibited at The Barbican Archives Residency, The V & A Museum Digital Design Weekend and Ars Electronica. Her latest album The Sampler As A Time Machine is out on Optimo Music.