As Preslav Literary School, Adam Thomas makes live tape collages using sounds drawn from an ever-growing archive of self-generated or discovered outsider noise, found sound and spoken word cassettes. A process of transference, overdubbing and live manipulation reworks these source materials into compelling, ambient broadcasts.
Daito Manabe has created a 'face instrument' that uses electric shock waves to artificially move people's faces in synch with music. During the workshop, participants have the opportunity to “hack” one another's faces and experience a sensation beyond natural human facial expression.
Facebook – worth more than 30 billion US$ – is taking over the social web, and its uniform design follows Mark Zuckerberg's ideals. What if you could change Facebook's laws, add a Dislike button or create custom backgrounds? You can!
Preregistered workshop participants will learn how browser extensions (e.g. Firefox Add-Ons) enable us to locally modify Facebook and distribute it to the masses.
In the presentation on Saturday Tobias Leingruber presents the experimental and artistic Facebook hack concepts to festival visitors before turning these concepts into a real software that users worldwide can download and share.
A workshop for children that explains, through the construction of a simple electronic musical instrument, the basic principles of sound generation with digital playback devices. In the process, fundamental knowledge is delivered, a creative approach to technology is facilitated and ways to realise original sound ideas are shown.
In this solo performance two overhead projectors function as an analogue VJ tool. From a combination of analogue and automated sound production, subtle, polyrhythmic sounds grow. Image and music merge thanks to the brilliant colour and light display on the illuminated surfaces of the projectors.
In her detailed study Hybridkultur, Yvonne Spielmann suggests a critical concept of hybridity that, in an interdisciplinary view, interrelates media study with cultural study debates. The study argues that hybridity constitutes a contemporary strategy to aesthetically intervene into internationally operating media industries. In the book, this hybridity is amongst others highlighted in the non-western and highly technological context of media and culture of Japan.
In From Image to Interaction, Arjen Mulder traces evolutionary lines in the fine art of the past five hundred years that have led directly to the interactive art of today. He investigates the origins of modern art from Leonardo da Vinci and Michelangelo to Kandinsky, Mondrian and Paul Klee, whom he regards not only as great artists but above all as great media theorists. Step by step, Mulder develops a surprising perspective on the genealogy of art from 1910 to 2010 and the role and value of visual culture and design in the present.
Interface Criticism is not another design manual but a critical investigation for readers interested in the aesthetic, cultural and political dimensions of interfaces. With contributions from leading researchers within the field, the book covers a wide range of aesthetic expressions and critically investigates the aesthetics of interfaces in ways that transcend the iconic surface of the graphical user interface and goes beyond the buttons.
This book examines ideas of the virtual of the ancient world, the modern era and the 20th century. Linked to this, it reconstructs how mobile media came into being as successor technologies of optical telegraphy, electrical telephony and radio technology.
What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership of art? How does micro-patronage change the way artists produce and distribute artwork?
The Future of Art screening begins a conversation on these and other topics and invites discussion from the audience. The video is a rough cut of the footage created and produced at transmediale.11 as part of the on-site Immediated Autodocumentary process.
