Enactive Virtuality Lab hybrid seminar 24 Nov, 2pm – 6 pm – Open for online attendance!

Enactive Virtuality Lab present the most recent work by the team members.

The event takes place in Tallinn University, Nova building N-406 Kinosaal

Date: 24.11.2022. 14:00-18:00 (EET / CET +1)

Join Zoom Meeting https://zoom.us/j/95032524868

Speakers and Schedule, see below.

 

SPEAKERS

Tanja Bastamow: Virtual scenography in transformation

The performative possibilities of virtual environments

 

Scenography has historically been understood as the illustrative support for a staged drama. However, in the recent decades, the field has expanded to encompass the overall design of performance events, actions and experiences. Positioning this expanded understanding of scenography in dialogue with virtual reality (VR) opens up interesting possibilities for designing virtual scenography which can become an enabler of emerging narratives, unforeseen events and unexpected encounters. In my research I investigate the question of shifting agencies and virtual scenographers’ role as a co-creator rather than a traditional author-designer. Who – and what – become the creators, performers and spectators in virtual experiences and encounters in which the real-time responsiveness, transformability, (im)materiality and immersivity of virtual scenography play a key role? In my talk I will introduce thoughts around these questions by describing the process of building the virtual scenography for “State of Darkness II” VR experience.

Tanja Bastamow is a virtual scenographer working with experimental projects combining scenography with virtual and mixed reality environments. Bastamow’s key areas of interest are immersive virtual environments, the creative potential of technology as a tool for designing emergent spatial narratives, and creating scenographic encounters in which human and non-human elements can mix in new and unexpected ways. Currently, she is a doctoral candidate at Aalto University’s Department of Film, Television and Scenography, doing research on the performative possibilities of real-time virtual environments. In addition to this, she is working in LiDiA – Live + Digital Audiences artistic research project (2021-23) as a virtual designer. She is also a founding member of Virtual Cinema Lab research group and has previously held the position of lecturer in digital design methods at Aalto University. 

Ats Kurvet: DESIGNING VIRTUAL characters 

Ats Kurvet is a 3D real-time graphics and virtual reality application developer and consultant with over 8 years of industry experience. He specialises in lighting, character development and animation, game and user experience design, 3D modeling and environment development, shaders and material development and tech art. He has worked for Crytek GmbH as a lighting artist and runs ExteriorBox OÜ. His focus working with the Enactive Virtuality Lab in researching the visual aspects of digital human development and implementation.

Matias Harju: Traits of Virtual Reality Sound Design

Whilst sound design for VR borrows a lot from other media such as video games and films, VR sets some unique conditions for sonic thinking and technical approaches. Spatial sound is inarguably one of the most significant areas in this respect. That entails the whole process from narrative decisions to source material recordings to 3D audio rendering on the headphones. Other sound design considerations in VR may relate to the level of sonic realism and the role of sound in general. My talk will briefly expose some of the characteristics of sound in VR from both artistic and technical perspectives.

Matias Harju is a sound designer and musician specialising in immersive and interactive sonic storytelling. He is currently developing Audio Augmented Reality (AAR) as a narrative and interactive medium at WHS Theatre Union in Helsinki. He is also active in making adaptive music and immersive sound design for other projects including VR, AR, video games, installations, and live performances. Matias is a Master of Music from Sibelius Academy with a background in multiple musical genres, music education, and audio technology. He also holds a master’s degree from the Sound in New Media programme at Aalto University

MARIE-LAURE CAZIN:Freud’s last hypnosis, validating emotion driven enactions in cinematic VR

Dr Marie-Laure Cazin will present the study she has been conducting in the context of her European Mobilitas + postdoctoral grant with Enactive Virtuality Lab  BFM, TLU (2021-2022).  She is currently developing an artistic prototype of Emotive VR for interactive 360° film. The project aims to obtain emotional interactivity of the viewer with the film’s soundtrack. While experiencing her VR film, Freud’s last hypnosis, the emotional responses of the viewers are collected with physio-sensors, eye-tracking and with personal interviews after the viewing. Project is in collaboration with Dr Mati Mõttus from the Interaction lab of the school of Digital Technology (TLU) and Matias Harju, composer and sound designer (Finland).

Marie-Laure Cazin is a French filmmaker and a researcher. She is teaching in Ecole Supérieure d’Art et de Design-TALM in France. She was a postdoctoral researcher at MEDIT BFM, Tallinn University with a European post doctoral grant Mobilitas + in 2022-23. She received a PhD in Aix-Marseille University for her thesis entitled “Cinema et Neurosciences, du Cinéma Émotif à Emotive VR”[1] in 2020. This thesis is about cinema experience, contextualized by neurosciences research, describing the neuronal process of emotions and trying to think further about the analogy between cinema and the thinking process. She is also a regular teacher in the Ecole Supérieure d’Art et de Design TALM, le Mans (France).

She comes from an artistic background, having studied in Le Fresnoy, Studio National des Arts Contemporains, the Jan van Eyck Academy, post graduate program in residency (Masstricht, Netherlands) and in the Ecole Nationale Supérieure des Beaux-Arts in Paris. She has conducted many art-science projects together with scientific partners that have been shown in many exhibitions and festivals, creating prototypes that renew the filmic experience. In her Emotive Cinema (2014) and Emotive VR (2020) projects she applies physiological feedback, like EEG, in order to obtain an emotional analysis from the brains’ activity of the viewers that changes the film’s scenario.

[1]Cazin, M-L. 2020. Cinéma et neurosciences : du cinéma émotif à emotive VR. Accèss https://www.theses.fr/2020AIXM0009

MATI MÕTTUS: Psyhco-physiology and eye-tracking of CINEMATIC VR

There are various ways to track our emotions through physiometric signals. Most common of these signals are electrical conductance of skin, facial expressions, cardiography and encephalography. In my talk I’d like to discuss the reliability and intrusiveness of physiological measurements in interactive art. While the reliability of measurements is not too critical in the domain of art, the intrusive sensors over art-enjoyers’ bodies can easily spoil the artistic experience.

Mati Mõttus is a lecturer and researcher in the School of Digital Technologies, Tallinn University. His doctoral degree on computer science in the field of human-computer interaction focused on “Aesthetics in Interaction Design” (2018). The current research interests are hedonic experiences in human-computer interaction. The focus is two-fold. The use of psycho-physiological signals in detecting users’ feelings while interacting with technology and explaining emotional behavior on one hand. On the other hand, the design of interactive systems, based on psycho-physiological loops.

Robert McNamara: Empathic nuances with virtual avatars – a novel theory of compassion

Technological mediation is the idea that technology affects or changes us as we use it, either consciously or unconsciously. Digital avatars, whether encountered in VR or otherwise, are one such technology, often in concert with various machine learning applications, that pose potential unknown and understudied interactional effects on humans, whether through their use in art, video games, or governmental applications (such as the pilot program at EU borders which was used to detect traveler deception, iborderctrl). One area where avatars may pose particular interest for academic study is in their perceived ability to not only evoke the uncanny valley effect, but also in their potential to promote a “distancing effect.” It is hypothesized that interaction with avatars, as an artistic process, may also result in increased expressions of cognitive empathy through the conscious or unconscious process of abductive reasoning.

Robert McNamara has a background in American criminal law as well as degrees related to audiovisual ethnography and eastern classics. He is from New York State, but has lived in Tallinn for the last five years. Currently, he specifically focuses on researching related to ethical, socio-political, anthropological, and legal aspects in the context of employing human-like VR avatars and related XR technology. He is co-authoring journal papers in collaboration with other experts on the team related to the social and legal issues surrounding the use of artificial intelligence, machine learning, and virtual reality avatars for governmental immigration regimes. During 05-09/2020 Robert G. McNamara worked as a visiting research fellow working with the MOBTT90 team. 10/2020 onwards he continues working with the project as a doctoral student. In the Enactive Virtuality Lab Robert has contributed to co-authored writing; the most recent paper accepted for publication is entitled “Well-founded Fear of Algorithms or Algorithms of Well-founded Fear? Hybrid Intelligence in Automated Asylum Seeker Interviews”, Journal of Refugee Studies, Oxford UP,

DEBORA C.F. DE SOUZA: SELF-RAting of Emotions in simulated immigration interview

Humans benefit from emotional interchange as a source of information to adapt and react to external stimuli and navigate their reality. Computers, on the other hand, rely on classification methods. It uses models to calculate and differentiate affective information from other human inputs because of the emotional expressions that emerge through human body responses, language, and behavior changes. Nevertheless, theoretically and methodologically, emotion is a challenging topic to address in Human-Computer Interaction. During her master’s studies, Debora explored methods for assessing physiological responses to emotional experience and aiding the emotion recognition features of Intelligent Virtual Agents (IVAs). Her study developed an interface prototype for emotion elicitation and simultaneous acquisition of the user’s physiological and self-reported emotional data. 

Debora C. F. de Souza is a Brazilian visual artist and journalist. Graduated in Social Communication at the University of Mato Grosso do Sul Foundation in Brazil. Her artwork and research are marked by experiments with different kinds of images and audiovisual media. Recently graduated with an MA in Human-Computer Interaction (HCI); she is now a doctoral student at the Information Society Technologies and a Junior Researcher at the School of Digital Technologies at Tallinn University. In the Enactive Virtuality Lab, she is researching the implications of anthropomorphic virtual agents on the human affective states and the implications of such interactions in collaborative and social contexts, such as medical simulation training.



SCHEDULE 14-18

14:00-14:10 Pia Tikka: State of Darkness (S0D)- Enactive VR experience

14:10-14:45 Tanja Bastamow – Designing performative scenography (SoD)

14:45-15:00 Ats Kurvet –Designing humanlike characters (SoD)

15:00-15:20 Matias Harju – Traits of Virtual Reality Sound Design

15:20-15:40 Marie-Laure Cazin:Freud’s last hypnosis, validating emotion driven enactions in cinematic VR

15:40-16:00 Mati Mōttus: Experimenting with Emotive VR cinema

Break (10 min)

16:15-17:15 Robert McNamara: Empathic nuances with virtual avatars: a novel theory of compassion.

17:15-17:35 Debora Souza: Self-rating of emotions in simulated immigration interview

17:35- 18:00 Discussion

****

 

BFM PhD is inviting you to a scheduled Zoom meeting.

Topic: Enactive Virtuality Lab hybrid seminar
Time: Nov 24, 2022 10:00 Helsinki

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Meeting ID: 950 3252 4868
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Unio Mystica by Helen Kaplinsky at Tallinn Art Hall Oct 26

26.10 at Niguliste Museum, Tallinn

Unio Mystica: Medieval women’s visions and the virtual imagination

Still from ‘Tragodia’ VR play (2019) by Tai Shani. 30 minutes, with original soundtrack by Maxwell Sterling. Commissioned by Temple Bar Gallery and Studios, Jindřich Chalupecký society, and Graz Kunstverein.

The storytelling event ‘Unio Mystica’ concludes the two-month residency research of contemporary art curator Helen Kaplinsky at Tallinn Art Hall for international project Beyond Matter, exploring the virtual technological and mystical visions of women.

17.00 – Intro by curator Helen Kaplinsky at St Catherine’s Friary
17.10 – Anu Mänd is an Art Historian focusing on gender, death, and animal symbolism in the late medieval Baltic region. She will begin by taking us on a tour of the oldest known Estonian woman’s gravestone. At Niguliste museum we will discuss the experiences of poor women and their children – how could the underprivileged prepare their souls for death?
17.45 – Artist Dominika Trapp will read from a hand-written scroll providing an over-view of ten years of her art practice against a backdrop of autobiographical ruminations – coming of age as a young woman in the Hungarian countryside, discomforts with contemporary feminism and her commitment to somatic intelligence, influenced of mystic and philosopher Simone Weil.
18.00 – Artist and conservationist Olesja Katšanovskaja-Münd will present her reconstruction of a rare and deteriorated 15th century painting – ‘The vision of St. Emerentia’. This will be followed by a somatic exercise, guiding a connection between the trinity of visual stimuli, inner feelings and bodily expression.
18.30 – VR screening of ‘Tragodía’ (2019) by artist Tai Shani. Tragodía is a VR play written about three generations of women in the artist’s family and their nonhuman kin. The viewer embodies the avatar of the Ghost Child with each family members’ colossal head orbiting just out of reach. The work could be understood as a mystical vision of undefinable states of being that emerge during grief.

The residency is part of the large-scale cooperation project BEYOND MATTER – Cultural Heritage on the Verge of Virtual Reality, co-funded by the Creative Europe Programme of the European Union and German Federal Government Commissioner for Culture and the Media. It is dedicated to novel, digital approaches to exhibition revival, documentation, and dissemination, as well as the artistic, curatorial and museological development of the opportunities presented by virtual representation.

More information behind this link

Biofiction -panel: Neurotechnology and how it will shape our future bodies April 8, 2021

BIO·FICTION

Neurotechnology and how it will shape our future bodies

The BIO·FICTION Science Art Film Festival is one of a kind: It’s a creative and boundary-crossing event with a program filled to the brim with content exploring cutting-edge emerging sciences – in the present, but also in possible futures. https://bio-fiction.com/

BIO·FICTION Panel

8 Apr 2021 19:00 — 21:00

 

BIO·FICTION Panelist (in image)
with Riitta Hari, Pia Tikka, Markus Schmidt and Kasperi Mäki-Reinikka (moderator)
Thursday, April 8, 19–21h (Finnish time, UTC+2)
via Zoom | in English

Neurotechnology and how it will shape our future bodies is the underlying question of the BIO·FICTION Science Art Film Festival. For the kickoff of the Helsinki edition, where we will show a selection of nine films, all of which have been awarded or screened at the festival, we invite you to join the BIO·FICTION online panel. During it, Kasperi Mäki-Reinikka will discuss together with festival director Markus Schmidt, neuroscientist Riitta Hari and artist Pia Tikka neurotechnology and its current and potential impact on society.

Join the panel via Zoom: https://us02web.zoom.us/j/83861833745

– –

Riitta Hari MD PhD is Professor Emerita of Systems Neuroscience and Human Brain Imaging at Aalto University, Finland. She has been developing magnetoencephalography (MEG) for tracking millisecond-scale activation sequences in the human brain, providing fundamental insights into human sensory, motor, cognitive, and social functions in both healthy and diseased individuals. Hari is Academician of Science in Finland since 2010 and member of the National Academy of Sciences USA since 2004. She currently attempts to bridge art and neuroscience without privileging either.

Kasperi Mäki-Reinikka is a Helsinki-based media artist, art educator and researcher working with technological notions of sense. As part of interdisciplinary Brains on Art collective his practice is informed by collaboration with scientists and researchers and the friction between art and science. Mäki-Reinikka is a board member of the Bioart Society, a foil fencer and a teacher of Art and Artificial Intelligence in Aalto University. Mäki-Reinikka is writing an artistic dissertation on interdisciplinary art and its possibilities to discuss changes in human-machine relation. Since August 2020, Mäki-Reinikka has been teaching art in Kallio Upper Secondary School of Performing Arts.

Dr Markus Schmidt founded Biofaction, a technology assessment, science communication and art-science company in Vienna, Austria. With a background in electronic engineering, biology and risk assessment, he carried out environmental risk assessment and public perception studies in various fields, such as GM-crops, nanotechnology, converging technologies, and synthetic biology. He has published over 35 peer-reviewed papers and three edited books about the future of life. In 2010, he helped to chart the field of xenobiology. Schmidt was part of the FUTUREBODY project.

Dr Pia Tikka is a filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, and Arts School, Tallinn University. She is a founder of NeuroCine research group that studies the neural basis of storytelling. She has published widely on the topics of enactive media, narrative complex systems, and neurocinematics. A Fellow of the Society for Cognitive Studies of the Moving Image and a member of European Film Academy, her filmography includes international productions as well as fiction films, interactive films and VR films she has directed. Currently, she leads Enactive Virtuality Lab at Tallinn University.

– –

BIO·FICTION is part of the ERA-NET project FUTUREBODY and funded by the Austrian Science Fund (FWF: I 3752-B27). The BIO·FICTION programme at Bioart Society is funded via the Biofriction European collaboration project co-funded by the Creative Europe Programme of the European.

Panelist in Moscow Round table The Art of Moving Images Today and Forever – Dec 18

Pia Tikka 
NETWORK PROJECT-FORECAST PRO&CONTRA – three days in Moscow, Dec 16-18
 
«MEDIA ART 2020–2040»
MediaArtLab is celebrating the 20th anniversary of the PRO&CONTRA network project «MEDIA ART 2020–2040», which will bring together the pioneers of the world media art in the format of discussions-forecasts and online exhibition. The Media Forum is a festival consistently exploring contradictions and interconnections of cinema and video art.
DECEMBER 18,  7 PM (GMT+3)
 
Round table The Art of Moving Images Today and Forever 
 
2020 has transferred all cultural activities to the network. Cinema and video are watched the same way now: on a computer sitting on a sofa. We now have the audience from all the corners of the world that we have never been aiming for — together with a tactile hunger and general screen fatigue. It seems that now it is the time to talk about the art of moving images — what it has become and what it will be in the future. 
Moderator: Olga Shishko (Russia), curator, founder of the MediaArtLab.
Participants: Pia Tikka (Estonia), Martin Honzik (Austria), Erkki Huhtamo (Finland/USA), Boris Debackere (Belgium/Netherlands), Olesya Turkina (Russia), Andrey Velikanov (Russia), Miloš Vojtěchovský (Czech Republic), Peter Weibel (Austria), Olia Lialina (Russia), Christa Sommerer (Austria) and Laurent Mignonneau (France), Bjørn Melhus (Germany/Norway), Shelly Silver (USA), Raymond Bellour (France), Kathy Rae Huffman (USA), Alexandra Dementieva (Russia/Belgium).

The event will be held in Zoom in Russian and English with simultaneous translation. If you want to use the translation, please, register via: https://mediaartlab-org.timepad.ru/event/1505852/

 

Attached, please, find the full program of the event, duration up to 2 hours.
The links to the follow the Discussion December 18. 

Facebook event: https://www.facebook.com/events/439832857035358

###

 FULL PROGRAM

 

See below

 

NETWORK PROJECT-FORECAST PRO&CONTRA 

«MEDIA ART 2020–2040»

MediaArtLab is celebrating the 20th anniversary of the PRO&CONTRA network project «MEDIA ART 2020–2040», which will bring together the pioneers of the world media art in the format of discussions-forecasts and online exhibition.

FULL PROGRAM

DECEMBER 16, 7 PM (GMT+3)

Round table “Media Art: Communication Shaping the Future”

DECEMBER 16, 9 PM (GMT+3)

Opening of the online exhibition “back forward rewind” on the website mediaartlab.ru

DECEMBER 18, 7 PM (GMT+3)

Round table “The Art of Moving Images Today and Forever”

DECEMBER 18, 9 PM (GMT+3)

Zoom-party in honor of the 20th anniversary of MediaArtLab

DECEMBER 16 /// 7 PM (GMT+3)

Round table

Media Art: Communication Shaping the Future

Together with the growth of the Internet, the end of the 20th century brought us new forms of art that explore how technologies changed our world and, more importantly, how a man changed. It is only logical that this new art could exist in the digital sphere only and use most experimental developments as its instruments.MediaArtLab came to be as a platform that started to look for a way to communicate with such art, to explain it to the audience, to help professionals speak the same language with artists, who use radically different aesthetic criteria. Now that digitalization of culture has become a common place, it seems symbolic to celebrate the anniversary of the MediaArtLab with a discussion on the subject that was topical the year it was born and became pretty much the most crucial for art today.What impact does the media have on our ability to communicate without distortion of a meaning? What limitations can we never overcome neither in virtual reality nor in imaginative spaces? What is going to happen to freedom of speech on the Internet of late capitalism in five or more years?

Moderators: Anna Bouali (Russia), curator, producer for MediaArtLab; Arjon Dunnewind (The Netherlands), artist, researcher, founder of the IMPAKT festival.

Participants: Luchezar Boyadjiev (Bulgaria), Dmitry Bulatov (Russia), George Drivas (Greece), Marina Gržinić (Slovenia), JODI (Belgium), Almagul Menlibayeva (Kazakhstan), Alexey Shulgin (Russia), Rasa Šmite and Raitis Šmits (Latvia), Olga Shishko (Russia), Andrey Velikanov (Russia).

The event will be held in Zoom in Russian and English with simultaneous translation. If you want to use the translation, please, register via: https://mediaartlab-org.timepad.ru/event/1505842/. If you do not need the translation, please, join the broadcast on the website of the project.

MEDIAARTLAB.RU

«MEDIA ART 2020–2040»

DECEMBER 18 /// 7 PM (GMT+3)

Round table The Art of Moving Images Today and Forever 

The most important project of the MediaArtLab is the Media Forum, a festival consistently exploring contradictions and interconnections of cinema and video art which have undergone a serious revision in 2020 with the transfer of all cultural activity to the network. It turned out that both cinema and video are watched the same way now: on a computer sitting on a sofa. We now have the audience from all the corners of the world that we have never been aiming for — together with a tactile hunger and general screen fatigue. It seems that now it is the time to talk about the art of moving images — what it has become and what it will be in the future. How do we re-define our cultural life in isolation in the light of restrictions? Will there appear new online-cinemas that expand our experience of the moving image and bring us back the experience of care and touch? Great epidemics, pandemics and wars have always come together with dramatic changes in art, what changes can we expect due to COVID-19? What representations of isolated body and sickness can be found in the moving image? What are the formal and imagined strategies adopted by the artists of the past and present to reflect the conditions of the pandemic? Will we succeed in slowing down the flow of images that overwhelms us? 

Moderator: Olga Shishko (Russia), curator, founder of the MediaArtLab.

Participants: Martin Honzik (Austria), Erkki Huhtamo (Finland/USA), Boris Debackere (Belgium/Netherlands), Olesya Turkina (Russia), Andrey Velikanov (Russia), Miloš Vojtěchovský (Czech Republic), Peter Weibel (Austria), Olia Lialina (Russia), Christa Sommerer (Austria) and Laurent Mignonneau (France), Bjørn Melhus (Germany/Norway), Shelly Silver (USA), Raymond Bellour (France), Kathy Rae Huffman (USA), Alexandra Dementieva (Russia/Belgium), Pia Tikka (Finland).

The event will be held in Zoom in Russian and English with simultaneous translation. If you want to use the translation, please, register via: https://mediaartlab-org.timepad.ru/event/1505852/. If you do not need the translation, please, join the broadcast on the website of the project.

NETWORK PROJECT-FORECAST PRO&CONTRA

Online-exhibiiton “back forward rewind”

It is quite symbolic that—due to obvious reasons—the anniversary exhibition of MediaArtLab takes place online, in the virtual space. After all, the lab was established in the 1990s precisely for exploring and conceptualizing the digital environment, which has been engulfing humanity deeper and deeper. As an open platform, MediaArtLab has built an international community of artists and invites them to reflect on the new reality today. “back forward rewind” is an in-depth review of themes and artistic methods developed by MediaArtLab over twenty years of its work, a lens to convey the artists’ view of the past, the future, and back to the present. Among them are utopias, environmental problems, anxiety, and dreams. The exhibition title suggests a free surfing through artworks—as if they were frames of an elusive fluid world,—and through imagination of the artists, each of them having contributed to the image of contemporary media art.

Participants: Tanya Akhmetgalieva (Russia), The Blue Soup (Russia), Alexandra Dementieva (Russia/Belgium), George Drivas (Greece), Omer Fast (Israel), William Hooker and Phill Niblock (USA), JODI (Belgium/The Netherlands), Sergey Kishchenko (Russia), Olia Lialina (Russia), Katherine Liberovskaya (Canada/USA), Bjørn Melhus (Germany/Norway), Almagul Menlibayeva (Kazakhstan), Csaba Nemes (Hungary), Marnix de Nijs (The Netherlands), Kenji Ouellet (Canada/Germany), Shelly Silver (USA), Rasa Šmite and Raitis Šmits (Latvia), Christa Sommerer and Laurent Mignonneau (Austria/France), Eve Sussman and Simon Lee (USA), Miloš Vojtěchovský (Czech Republic), Martin Zet (Czech Republic).

The exhibition will be available on the website mediaartlab.ru from 21:00 (GMT + 3) December 16, 2020 to January 10, 2021

MEDIAARTLAB.RU

«MEDIA ART 2020–2040»

DECEMBER 18 /// 9 PM (GMT+3)

Zoom-party

Right after the end of the round table, Zoom will become a venue to congratulate MediaArtLab on its anniversary, to exchange memories, hopes and greetings from different parts of the world. The central theme of the party is a reunion of old friends and partners. There will be no strict regulations and rules, but there will be live interventions of people united by art and the network. Master of Ceremonies: Olesya Turkina (Russia). Among the special projects of the party are:

Olia Lialina /// Best Effort Network (2015/2020)

The piece reveals the process of sending and receiving datasets over computer networks. In her work, Olia is riding a carousel, and if the vision disappears, it means that the site (best.effort.network) is loaded on another browser. Olia will appear again when it is your device’s turn to receive the dataset. Zoom-performance will make the process of migration of information, images, and viewer’s attention visible. Each partier can offer his/her window to the artist to wander around…

Tanya Akhmetgalieva /// Masks (2020)

Creative thinking is like a filter an artist uses to perceive the reality. This is the way Van Gogh’s famous coloristic vision worked, and the same way new media artists use media as a lens to refract and reflect digital images. Tanya’s works create a distinctive psychedelic universe that one can try on during the party. Her masks can be put on and took off during the party, or they can be exchanged and used to distinguish like-minded people and push the limits of ordinary… Was not it the main reason for inventing the parties?

Andrei Silvestrov /// Jubilee Romance (2020)

Music by Iraida Yusupova with lyrics by Mirkakson (Russian for Life as a Dream)

A musical tribute to the anniversary of the MediaArtLab and to the memory of Vladislav Mamyshev-Monroe.“Jubilee is the main word to define the late Soviet times. When we were kids, everything was “jubilee”—avenues, restaurants, gastronomes, cookies. But it was usually unclear whose and what’s jubilee it was. The piece combines different states of mind: nostalgia for the childhood, horrors of the diluted consciousness of the late Soviet era and acute feeling of inconsistency between a vibrant institution that is the MediaArtLab and a charnel notion of Jubilee”. Andrei Silvestrov

Vladislava Berezina, Marina Blinova, Anastasia Korotkova, Evgeny Kruglov, Svyatoslav Oleinik, Maria Romanova, Alexey Shulgin /// Discrete Therapy (2020)

Under new circumstances, we are looking for a language of safe cooperation. Having reconsidered musical improvisation, Alexei Shulgin and a team of musicians exposed therapeutic aspects of an improvisational act, in which the image of a musician (composer) finally dissolves into the stream of network sound. Interaction based on the intuition—established in the process of music-making—calls into question the notion of authorship and audience participation: each participant of the sessions is invited to take on the role of both a musician and a sensitive listener.

All the instructions for online-performances will be shared with the registered participants shortly before the party.

NETWORK PROJECT-FORECAST PRO&CONTRA

MEDIAARTLAB.RU

The project is supported by Trust For Mutual Understanding 

Contact: mediaartlab@mediaartlab.ru

Artistic work in “Transdisciplinaridade Arte, Ciência e Neurociência” (Art Catalog)

The enactive VR project State of Darkness by Tikka and Enactive Team presented in an online art exhibition Transdisciplinaridade Arte, Ciência e Neurociência and published in  Transdisciplinaridade Arte, Ciência e Neurociência (e-Art Catalog), eds. Nara Cristina Santos and Hosana Celeste Oliveira, 33-38. Capes PrInt/UFSM, PPGART Publishing House, 2020.

https://www.ufsm.br/app/uploads/sites/740/2020/12/catalogo_transdisciplinaridade_.pdf

SIMPÓSIO TRANSDISCIPLINARIDADE NAS CIÊNCIAS E NAS ARTES– Resultados do Projeto Capes PrInt (2018-2020)
20 a 22 de outubro de 2020, Universidade Federal de Santa Maria

ORGANIZAÇÃO GERAL Profa. Dra. Maria Rosa Chitolina (PPGs em Ciências Biológicas: Bioquímica Toxicológica e em Educação em Ciências: Química da Vida e Saúde); Profa. Dra. Nara Cristina Santos (PPG em Artes Visuais);Pós-Doc Dra. Hosana Celeste Oliveira (PPG em Artes Visuais)

 

Invited Artist at at the exhibition of Transdisciplinarity in Science and Arts – Capes Print Symposium at  UFSM, Brazil

Pia Tikka as one of the six  invited international artist at at the exhibition of Transdisciplinarity in Science and Arts – Capes Print Symposium at  UFSM, Brazil

The  VR installation State of Darkness by Pia Tikka and the team presented online exhibition during 20-22. Oct 2020. See art exhibition catalogue at http://enactivevirtuality.tlu.ee/artistic-work-in…ncia-art-catalog/

The platform : the LABART on Instagram, Facebook, Youtube and some channels of UFSM.

See LABART/UFSM links:
https://www.instagram.com/labart.ufsm/
https://www.facebook.com/labart1228
https://www.youtube.com/channel/UCw274rzHP9t7muJG9zAW_aw

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Panelist at the VR Sci Fest – Stockholm 2020

http://bit.ly/ux-xr-everyday-vrscifest

The 4th edition of VR_Sci + Art festival will be cyber-physical and will cover different social aspects of today’s reality, where people are more than ever disconnected due to the global pandemic.
How to communicate and be connected during the time of isolation?
How technology can help us to stay connected despite any crises?
How can we create meaningful scientific and artistic projects without being able to be close to each other?
All these and many other questions we will try to answer during VR_Sci + Art Fest by inviting experts, creators and makers.
The panel “UX & XR: everyday digital experiences” by Tieto_Evry x MEETinVR was streamed live on Facebook.
The panel recording here for those who missed the live show:

Keynote at Actor and Avatar seminar at ZHdK

An invited keynote at the two day conference “Actor and Avatar” organised by Professor Anton Rey, IPF, ZHdK August 29th and 30th 2019 at the Toni Areal, Zurich University of the Arts (ZHdK). The “Actor and Avatar”  project explores aspects of actor performances particularly aimed to provide facial expressiveness for a virtual character (avatar) and is funded by the Swiss National Science Foundation.

The VR Installation The State of Darkness previously exhibited in the Science Gallery, Dublin (Dec 2018) and in the 360 degrees (Prague 2019) will be presented at the conference. In addition, Enactive Virtuality Lab’s team member Victor Pardinho will run a Master’s Class for ZHdK students and staff.

The keynote by Pia Tikka 29th of August will address a range of topics related to the actors and humanlike virtual characters in the collaborative setting as described under the image.

Images: Two examples of the recordings of a dyadic realtime setting where the two actors are seated in front of a Green Screen in the ZHdK IPF Film studio looking at each other through a display in front of them directly connected to the camera in front of the other actor. The other actor takes the role of an asylum seeker’s interviewer (I), while the other actor plays the role of an asylum seeker (AS). Both are listening to the dramatised background story of the latter while engaged in evaluation of each others emotional state within the dramatised context. The performances are applied to humanlike virtual characters in the project Booth developed at the Enactive Virtuality Lab. Actors (upper row) Dr. Gunter Lösel [AS] and Tim Woody Haake [I]; (row below) Corinne Soland [I] and Samuel Braun [AS]. Images©IPF courtesy of Dr. Rey and Miriam Loertscher from ZHdK research group.

Presenters included:

Images: Derek Bradley, Walt Disney Research Studio Zürich (above) and Matthias Wittmann, Digital Domain (below)

ACTOR & AVATAR EXHIBITION: STATE OF DARKNESS INSTALLATION

 Industry engagement: Derek Bradley, Walt Disney Research Studio Zürich was one of the enactive experienters of facing Adam B in the State of Darkness. Here with Pia Tikka and Victor Pardinho (Sense of Space, Finland).

The State of Darkness: Master’s Class at the ZHdK

 

VR installation The State of Darkness exhibited at the ZHdK Sept 28–30.

Master Class by Victor Pardinho 28 Aug

Master’s Class by Victor Pardinho at the ZHdK September 28,2019

Topic:

Volumetric intelligence: A framework for the creation of interactive volumetric captured characters.

 

In this workshop, the author will introduce a framework for virtual characters based on the volumetric scanning of real actors and 3D real-time engines. Participants will have an opportunity to check the system used at “The State of Darkness”, a biosensor driven VR art installation where human and non-human narratives coexist. The structure of the meeting is flexible and can be adjusted accordingly to the participant’s interests. We will discuss topics such as 3D asset workflows, real-time engines, volumetric capture and the design and production of XR experiences.

 

VRHAM — Virtual Reality & Arts Festival Hamburg

With Piotr Winiewicz (in image) and Mads Damsbo at the VRHAM! (Virtual Reality & Arts Festival Hamburg), the Germany’s first international Festival for Virtual Reality Art. Established by Ulrich Schrauth in Hamburg in 2018, VRHAM! opened its doors for the second time, from 7 – 15 June 2019, in Hamburg’s Oberhafenquartier. Under the year’s motto “DIS:SOLUTION” a large selection of extraordinary Virtual Reality experiences and live performances by contemporary artists was presented.

Image: Cinematographer and my doctoral student Sampsa Huttunen (University of Helsinki) exploring the Augmented Reality work by–

0AR
AOI NAKAMURA, ESTEBAN FOURMI, UK, 2018

Experiencing 0AR communally via three connected devices, audiences are encouraged to explore, move around the space and interact where their actions have a unique influence within the performance. 0AR is based on seminal masterpiece zero degrees (2005), a collaboration between dancers/choreographers Akram Khan, Sidi Larbi Cherkaoui, sculptor Antony Gormley and composer Nitin Sawhney.

Below a selection of other exciting  VR works:

DAS TOTALE TANZ THEATER

INTERACTIVE MEDIA FOUNDATION & FILMTANK, GERMANY, 2019

Who are humans in the age of technology? What role do they play and how do they interact with the machines that surround them? These types of questions were already negotiated at the Bauhaus 100 years ago. DAS TOTALE TANZ THEATER frames these questions today in the context of the development of artificial intelligence by staging a virtual reality dance experience.

LAST WHISPERS: AN IMMERSIVE ORATORIO

LENA HERZOG, USA, 2018/2019

At an unprecedented speed faster than the extinction of most endangered species, we are losing our linguistic diversity—and the very means by which we know ourselves. This immersive oratorio is an invocation of the languages that have gone extinct and an incantation of those that are endangered.

CLAUDE MONET – THE WATER LILY OBSESSION

NICOLAS THÉPOT, FRANCE, 2018

From 1899 to 1926, Claude Monet painted more than 250 scenes devoted to the water lily theme, which became what he himself called “an obsession.” This contemplative VR experience invites the user on a sensory journey starting off in Claude Monet’s garden, stopping along the way at the workshop of the artist and ending in the exhibition rooms of the Orangerie Museum.

VESTIGE

AARON BRADBURY, UK/USA/FRANCE, 2018

Vestige is a room-scale VR creative documentary that uses multi-narrative and volumetric live capture to take the viewer on a journey into the mind of Lisa as she remembers her lost love, Erik.