Digital #MediaArt(s) Numérique(s)

Rock Print is an investigation into the constructive principle of the physical phenomena of jamming, in which granular matter can change from liquid to solid and back again. Rock Print exploits this characteristic with a congruent construction system that: 1) is informed by a computational design and realised with robotic fabrication machinery, 2) can be constructed into highly differentiated and load-bearing structures at an architectural scale using low-grade bulk material, such as gravel, and 3) is fully reversible. The construction system works as follows. To be able to control where and how gravel jams, the density between the aggregates has to be decreased to a level that forces it to behave like a solid. This can be achieved by introducing tensile reinforcement, such as string, to confine the gravel. A robotic arm enables the precise placement of string according to a digital blueprint and as such informs the shape and performance of a specific architectural artefact. To reverse the construction, the string is pulled, leading to a chain reaction restoring the gravel and the string to their initial state...

https://starts-prize.aec.at

Collaborators: Prof. Fabio Gramazio, Prof. Matthias Kohler, Prof. Skylar Tibbits, Andreas Thoma (project lead installation), Petrus Aejmelaeus-Lindström (project lead research), Dr. Volker Helm, Sara Falcone, Jared Laucks, Lina Kara’in, Michael Lyrenmann, Carrie McKnelly, George Varnavides, Stephane de Weck, Dr. Jan Willmann

Selected experts: Prof. Dr. Hans J. Herrmann and Dr. Falk K. Wittel (Institute for Building Materials, ETH Zurich), Prof. Dr. Heinrich Jaeger and Kieran Murphy (Chicago University)

Selected consultants: Walt + Galmarini AG

Supported by ETH Zurich, ETH Zurich Foundation Grant, MIT’s Department of Architecture, the MIT International Design Center, MIT (MISTI) Grant, Pro Helvetia Swiss Arts Council, swissnex, MISAPOR Beton AG

The Luxembourg Art Prize is organised by the Galerie Hervé Lancelin. It aims to reveal and promote talented artists who have yet to establish a profile on the contemporary international scene. Its function is to discover artists, and it is open to any artist, amateur or professional, with no limits on age, nationality or place of residence. The Prize aims to accelerate the careers of unknown artists by providing them with professional art gallery space, first as part of a group exhibition showcasing the nominees for the Prize and then as a solo exhibition for the winner.

Works of art submitted to the Luxembourg Art Prize may be in any medium: drawing, printing, installation, painting, performance, photography, digital art, sculpture, sound art, video, mixed media.

No specific theme is imposed on the works of art submitted by the artists.

The 2016 IK Prize, in partnership with Microsoft, challenged digital creatives to use a form of artificial intelligence to allow the public to explore, investigate or ‘understand’ British art in the Tate collection in new ways. An expert panel of judges selected a shortlisted four ideas in response to a brief on artificial intelligence.

They included a proposal to give artworks the power to daydream, an intelligent machine comparing artworks with the never-ending stream of images from across the internet, an A.I. artist-in-residence learning to create art, and an experiment to see if a machine can learn to describe artworks as well as humans.

A total of 3,159 entries from 84 countries were submitted for prize consideration to the 2016 Prix Ars Electronica.

• Computer Animation / Film / VFX
• Interactive Art +
• Digital Communities
• u19 – CREATE YOUR WORLD
• Visionary Pioneers of Media Art

After two very successful editions, that rewarded Russian artist ::vtol :: and Dutch artist Matthijs Munnik, Le Cube organises the 3rd edition of the Prix Cube. This international digital art prize highlights emerging artists and innovative practices in today’s art.

MICHAEL CANDY / Big Dipper
LUKAS TRUNIGER / Déjà entendu I An opera automaton
BARTHÉLEMY ANTOINE-LŒFF / Ljós
SAŠA SPACAL, MIRJAN ŠVAGELJ, ANIL PODGORNIK / Myconnect
IRIS AND CEDAR / Surveillance
VERENA FRIEDRICH / The long now


ESPACE SAINT-SAUVEUR 4 parvis Corentin Celton
Issy-les-Moulineaux
Accès : Métro Ligne 12 – Corentin Celton / Vélib’ 21311
www.prixcube.com / contact@lecube.com / T : 01 58 88 3000

Artificial intelligence has done it again. Now that Facebook, Uber and Co. are suffering from an increasingly bad public image, the reinvention of Virtual Reality has already lost its allure, and the Internet of Things doesn’t seem to be able to get beyond the self-replenishing refrigerator, the thrill engendered by futuristic super-machines is dominating the headlines.

So what are we to make of artificial intelligence? Gigantic job eliminator? Or the next step in evolution, the one in which technology finally asserts its mastery over us? Or maybe the source of redemptive systems that develop new medications for us and operate on us, that invest and multiply our capital, and that even make better business executives because the boss is finally a more rational decision-maker? Artificial intelligence has many faces and they’re sure to pay attention to us all.

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Since 2014, Prix Net Art has celebrated the current moment of net art and its future. The prize was created by Rhizome and Chronus Art Center in response to a relative scarcity of support and recognition for the field, and to promote public conversation about the crucial but always changing role of the internet in contemporary culture and artistic practice. Awards of $10,000 and $5,000 will be given to two artists who are committed to working online and who represent important forward directions in contemporary net art practice.
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In reply to the call for projects for our international contest New Technological Art Award 2016, 487 candidates representing 59 nationalities worldwide have registered.

The selected projects for update_6 / NTAA 2016 are:
- 1024 architecture – François Wunschel, Jason Cook, Pier Schneider (FR) ‘WALKING Cube’
- Assocreation / Daylight Media Lab (AT/TH) ‘Solar Pink Pong’
- Alessio Chierico (IT) ‘Trāṭaka’
- CREW_Eric Joris (BE) ‘Collateral Rooms’
- Michiel De Cleene (BE) ‘Reference Guide’
- Dries Depoorter (BE) ‘Sheriff Software’
- Verena Friedrich (DE) ‘THE LONG NOW’
- Julien Grossmann (FR) ‘Breakaway Songs’
- Elias Heuninck (BE) ‘Lightkeeping’
- Michael Kugler (US) & Sebastian Wolf (DE) ‘Brume’
- Marc Lee (CH) ‘Pic-me’
- Michael Mandiberg (US) ‘Print Wikipedia’
- Quadrature – Jan Bernstein, Juliane Götz, Sebastian Neitsch (DE) ‘Satelliten’
- Theresa Schubert (DE) ‘Growing Geometries (Tattooing Mushrooms)’
- Karina Smigla-Bobinski (DE) ‘SIMULACRA’
- Maja Smrekar (SI) ‘K-9_topology: ECCE CANIS’
- Stanza (UK) ‘The Reader’
- Bill Vorn & Louis-Philippe Demers (CA) ‘Inferno’
- Lien-Cheng Wang (TW) ‘Regeneration Movement’

Concours international réservé aux jeunes créateurs en arts appliqués, design et technologie.

Talente accueille chaque année, depuis 1979, les pièces de plus de 90 créateurs sélectionnés dans environ 25 pays. Ces œuvres font l'objet d'une exposition présentée sur quelque 600 m², accompagnée d'un catalogue.

Cet événement offre aux jeunes créateurs actifs dans le domaine des arts appliqués et du design à travers le monde l’opportunité unique de participer à une compétition internationale de grande envergure, dotée de plusieurs prix, mais aussi l’occasion de nouer d'intéressants contacts professionnels avec des galeristes, des représentants d'institutions ou des éditeurs et de se faire connaître d’un public spécialisé et international.
Le WCCŸ BF a pour tâche de diffuser l’appel à projets pour cette nouvelle édition.

Pour les créateurs de Wallonie et Bruxelles, le WCC-BF s'occupe également de collecter les oeuvres sélectionnées et de les transporter vers Munich.

Une installation slovène propose d’entrer dans une interface humain-champignon. L’occasion de réfléchir sur la communication entre espèces et le bio-art.

C’est un œuf oblong, blanc et strié, qui ressemble à une capsule spatiale de série Z. J’entre et je m’allonge. On me tend un casque audio, puis un capteur à tenir pressé contre mon pouce. On enserre mes bras et mes jambes avec des demi-cercles de plastique. Au-dessus de moi, la lumière est douce et pulsée.

Puis un son industriel retentit dans le casque, le plastique se met à vrombir et contre toute attente mon cœur s’emballe. Il est vrai qu’on m’a annoncé que j’allais être connectée à une interface humain-champignon, à travers les battements de mon cœur. C’est un peu normal qu’il soit désarçonné...