Wednesday 11th of October
“Art Gallery: Converging Art Science and Technology” School of Art, Design and Media
Venue: 3D Stereo Theatre 2nd floor, ADM, NTU
|9:30 – 10:00||Registration|
|10:00 – 10:15||Opening Address and Speech
Guest of Honor
|10:15 – 10:40||June Kim – Artist and Researcher University of New South Wales (UNSW), Curator of the Art gallery
Implementation of technologies in art curation and art making
The presentation looks into a notion of implementing technologies in art curation and art making and two cases will be reviewed to discuss on methods and challenge to bring into play different technologies into not only art making but also the area of art curation. The talk would address a co-curated art gallery on|off: 100101010 that was exhibited at the Cube 1, QUT (Queensland University of Technology, Brisbane, Australia) at the 22nd International Web3D 2017 conference in June 2017. The exhibit is also installed at the Media Art Nexus NTU. June Kim would present interactive artwork, ‘Indeed’ (Interactive mirroring) that was created using openFrameworks, as case study. This art gallery also has an opportunity to travel to Sydney as a part of Visualisation Matters (VisMatters) 2017.
|10:45 – 11:10||Victoria Vesna – Artist and Professor UCLA Arts and Director of the UCLA Art|Sci Center
Martina Fröschl – Researcher Science Visualization Lab Angewandte – Digital Art, University of Applied Arts Vienna
Noise Aquarium: Hybrid methods in a project collaboration between ArtSci Center UCLA and Science Visualization Lab Angewandte
Microscopic organisms often go unnoticed because they are nearly invisible. However, they have a critical impact on many ecosystems. Noise Aquarium shows tiny plankton creatures on big screens around the world to create awareness of these essential life forms and the threats they might face. In order to establish a connection to the reality of the actual organisms, we decided to use tomographic scans of actual plankton and use them in computer animation. The work process developed for this procedure enables us to present real living organisms as linear computer animations as well as in various interactive settings.
|11:15 – 11:35||Anastasia Tyurina – Associate Professor, National Research University of Electronic Technology Moscow (MIET)
This research involves aesthetic approaches to scientific photomicrography. Specifically, this project investigates the reinterpretation of photomicrographic images of micro-scale drops of water made by a Scanning Electron Microscope (SEM), a tool that has expanded the boundaries of observation and representation of the micro world since it was introduced to scientific research in the mid-1960s.
In a sense, the presented artworks employ two kinds of medium, comprising two different applications of SEM photomicrography: still photomicrographs and interactive digital installations. They could be perceived differently in terms of the aesthetic response they generate in the viewer, but both draw attention to the qualities of water through enhanced visual details that aid in the interpretation of water samples.
|11:40 – 12:00||Tomasz Bednarz – Director of Visualisation at the EPICentre, UNSW Art & Design, Sydney; Team Leader | Visual Analytics, CSIRO/Data61; Chair | SIGGRAPH Asia 2019
Art of Real Time and Collision of Cultures – Expanded Perception and Interaction
In CG everything starts with a pixel. Once one knows how to display a dot, one can draw almost everything without any limitations. One does not need to know any more operation on bits to draw a tree or a ninja star, or remember hexadecimal numbers to animate shapes (how it was in the old good days). However, one still needs to know a bit about hardware’s limitations to produce efficient code and creative real-time visuals. Code Ninjas can achieve almost impossible, even control Big Data of 64kb. Ninja Hack Art is alive in connecting dots of art and science, making new state of the art of computer graphics driven designs. Visualisation across the scales will be the main topic of this talks, and especially use cases from the Expanded Perception and Interaction Centre (EPICentre) which currently host the highest resolution cylinder in the world.
|12:00 – 13:00||Lunch|
|13:00 – 13:20||John Bromley – Artist Empowerment Informatics Program (EMP) at the University of Tsukuba Japan
Tapping Streams // Working with the language of data
As human activities become increasingly virtual, understanding how data shapes and informs our identities becomes fundamental for artists working with contemporary subject matter. John Brumley will present a series of works that address natural and virtual topics from a data oriented standpoint, describing the technical challenges as well as the thematic questions that each work raises.
|13:25 – 13:45||Thorsten Bauer – Media artist and founder of URBANSCREEN GmbH & Co. KG.
Explorations: Media Art, Performance, Science and Technology
Current work by URBANSCREEN is located in the emerging intersection between media art, performance, science and technology. The works are driven by the curiosity to explore the potential of site-specific video mapping to be adapted across the borders of media and genres. URBANSCREEN continues to discover new forms of artistic expression that become possible due to technological innovation and interdisciplinary discourse. Coming from Lumentektur as a specific form of projection mapping, URBANSCREEN has been able to expand into related research and international exchange with colleagues, partners and clients, constantly pushing the boundaries between genres, styles and workflows.
|13:50 – 14:10||Andrew Denton – Associate Head of School: Postgraduate and International School of Art and Design Auckland University of Technology (AUT)
Flight Pattern: The Poetic Potential of the Database Flight Pattern
Flight Pattern: The Poetic Potential of the Database Flight Pattern, is a series of filmed passenger jet contrails, forming a composited database of a particular trace of human presence and movement. The work seeks to evoke a space of contemplation, uneasiness, and sadness by engaging with the residual and stratified signs of our collective impact on our environment. The contrail lines that rupture the clear blue skies are repetitions of the same act over and over rendered ever so slightly differently, bending its subject out of shape in order to think it or feel it differently.
|14:15 – 14:35||Mateusz Marpi Marcinowski – Marpi Studios, San Francisco
The talk would present works done by San Francisco based Marpi Studios led by Mateusz Marpi Marcinowski. Marpi’s career started in the commercial world for clients including Google, Microsoft, and Adobe. Currently he is working with Obscura as Director of Web and Experiential Design. The skills gathered from his industry experience transfer to his personal practice. His work has exhibited internationally including ArtFutura Roma, Resonate, and Currents Festival.
His mission is to build tools that let people be creative by enabling them to create digital art that they can claim as their own. His art is interactive, scalable, and multiplatform. By creating windows into the same universe Marpi provides an empty canvas where the art does not exist until the people interact.
|14:35 – 15:00||Coffee/Tea Break|
|15:00 – 15:20||Elke Reinhuber – Assistant Professor, School of Art, Design and Media NTU Singapore
Flexibility as the next standard for video – VENOMENON as a contemporary example to adapt one work for many different screens.
Since the use of video became popular in the last five decades, the quality of the moving image increased constantly, while broadcasting techniques thus advanced. From Omnimax to mobile screens, if panoramic, vertical or spherical, the author of the work is challenged to either fight for the intended format or adjust the work according to presentation possibilities. As an example may serve my recent work VENOMENON, which was conceived as stereoscopic 2-channel installation. Currently, Elke Reinhuber developed 5 different versions in order to fit screening requirements and adjusted not only the visual composition but as well the narrative structure accordingly.
|15:25 – 15:45||Rocio von Jungenfeld – Creative practitioner, media researcher and Lecturer in Digital Media at the School of Engineering and Digital Arts, University of Kent (EDA)
zones of flow (II)
|15:45 – 16:10||Mark Chavez – Founder and CEO of Giant Monster Pte Ltd, founding faculty ADM Digital Animation 2005-2015
The MAN Project: creating for a real-time platform
Utilizing a 15×2 meter canvas (Media Art Nexus NTU) Mark Chavez created series of audio reactive real-time artworks. The work is situated in a media-saturated space located at the NTU North Spine Plaza. Sometimes referred to as visual-music or experimental animation these artworks support a casual artistic interaction for the student and faculty community of NTU as well as vendors and other workers. This presentation will discuss the explorations of experimental animation in this display format.
|18:00 – 21:00||Exhibition Opening and Reception
Venue: Media Art Nexus NTU, NTU North Spine Plaza
76 Nanyang Dr, Singapore 637331
Thursday 12th of October
Venue: Various locations
|11:00 am||Visit to ArtScience Museum, Marina Bay Sands|
|16:00 – 18:00||Guests Visit to Gillman Barracks|
|18:15||Guided tour of the current exhibition at the NTU Centre for Contemporary Art (NTU CCA)|
|19:00 – 22:00||Pecha Kucha Night 7 in Conjunction with the Symposium on|off100101010, Colliding and Surrendering: chaos and freedom where art and technologies meet
Venue: NTU CCA, Blk 43 Malan Road, Gillman Barracks
An evening of informal creative exchange and presentations by participating artist and curators of the Art Gallery: NTU ADM, QUT/UNSW with NTU CCA.This forum aims to encourage dialogue around shared research interests among Web 3D Art Gallery ADM faculty and NTU CCA resident artists. We ultimately endeavor to establish a format for dialogue, which will function across disciplines to support the research goals of ADM, NTU CCA , NTU and international parties at large. Following the “Pecha Kucha” (20×20) format, each participant may present up to 20 “slides” (moving or still images, sound, interactive media) for a max of 20 seconds per slide. Limiting each presentation to 6m40s, we expect an engaging and dynamic exchange. These informal presentations should run about one hour after which, we will open the floor for feedback and open discussion with a focus on overlaps between creative practices.Participating Presenters:
|21:00 – 22:00||Wine and Cheese reception and networking|
Friday 13th of October
Venue: School of Art, Design and Media, NTU
|10:00 – 12:00||Workshop: Creating content for VR/360
Andrew Denton Associate Head of School: Postgraduate and International School of Art and Design AUT University, in Auckland
|12:00 – 13:00||Lunch|
|13:00 – 15:00||Panel Session & Discussion
“Conversations with artists on the challenges and difficulties for co-curation of trans-local urban media art works”
This will be brain storming session for finalizing joint future projects, and publication /proceedings.
The aim of the workshop is to
· Establish co-curatorial partnership between at least few institutions to guarantee production and circulation of the projects /festivals (UCLA Art|Sci Center, The Angewandte Science Visualisation Lab, Siggraph Asia Brisbane 2019, Ars Electronica, UNSW Art & Design for Visualisation Matters 2017)
· Brainstorm on art research practices into more hybrid field of art and science and towards projects that address social, ethical and environmental issues concurrently with technical innovations.
· Strengthen potential collaborations for joint publication(s), events and joint collaborative creative art projects within academia and creative industry.