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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Ülo Pärnits & Ülemiste City @ Tallinn University

Tallinn University and Ülemiste City signed a cooperation agreement on 12 October to confirm the interest of both parties in jointly promoting innovative education and supporting talents. The signing was preceded by a discussion about what knowledge, talents, and technologies the education system will need in the future. (…) At the heart of the memorandum between Ülemiste City and Tallinn University is the promise not to lose sight of the human being in an ever-technological world and to look for ways to support talents and their development.

In order to sign the memorandum, the founder of Ülemiste City and the long-time chairman of the board of Mainor, Ülo Pärnits, was ‘brought to life’ as an avatar created by Pia Tikka, the lead researcher of the Enactive Virtuality Lab of the Baltic Film, Media and Arts School of Tallinn University, and Ats Kurvet, a computer graphics specialist. It is a tribute to his influential work.

The work on Ülo Pärnits avatar was coordinated by Ermo Säks/ BFM.

An article about the whole event can be read in Estonian here: https://www.ulemistecity.ee/uudised-teated/tallinna-ulikool-ja-ulemiste-city-asuvad-koostoos-tulevikuharidust-edendama/ and in English here: https://www.ulemistecity.ee/en/news-messages/tallinna-ulikool-ja-ulemiste-city-asuvad-koostoos-tulevikuharidust-edendama/

Collaborative work with M-L Cazin and Nantes Univ fall 2022

Pia Tikka & Mati Mõttus worked 03.-07.10. with filmmaker and researcher Marie-Laure Cazin in Paris, Saint Maurice on the experimental psycho-physiological study where Cazin’s VR film “Freud’s Last Hypnosis” is viewed by French speaking participants. The currently on-going multidisciplinary art-science study is a natural extension of Cazin’s EU Mobilitas Pluss Postdoc year at the Enactive Virtuality Lab (09/2021-08/2022; a separate report t.b.d.). The target is a joint paper with Enactive Virtuality team, Cazin and Nantes University researchers. As Cazin’s VR film is a well-designed cinematic story that has strong emotional and intellectual components that trigger VR viewers’s affective-cognitive processes, it provides the MOBTT90 team with a perfect study case.

During the week in Paris we worked on analysis of the interviews of participants and the analysis of collected data, as well as the structure of the joint paper (in preparation). In this project we measure eye-movements, heart rate and skin conductance as indicators of dynamically changing mental states of the viewers, and the collected data is correlated with the annotations of the individual eye-tracking data layered on top of the performance video recording. Furthermore, these are related with the in person interview material collected by Cazin.

We are excited to collect new data with François BOUFFARD and colleagues at the Nantes Univ, Halle 6 – Pôle Universitaire interdisciplinaire des cultures numériques, in early December.

 

On the 6.10. Pia Tikka, Mati Mõttus and Marie Cazin did a three hour seminar with presentations of on our MOBTT90 research invited by prof. Jean-Marie Dallet at the École des arts de la Sorbonne, UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE.

A talk at SCSMI conference June 9-12, 2021

Title: Dialogue between neuro- and pheno-dynamics of film viewing experience

https://scsmi-online.org/conference

Tikka, Pia and Rosic, Jelena

One of the main questions put forward by neuro-phenomenology (Varela 1996) is how to bring into a frui\ul dialogue the two to allegedly incommensurable domains of science, namely the one unraveling neural functions of being-human in the world (neuro-dynamics), and that describing the experience of being-human in the world (pheno-dynamics). As it seems in the light of current literature, the main challenge lies in the identification of the mutual constraints (ibid.), this is, the domain-specific conditions on both fields that would allow for reciprocally fruitul dialogue. By discussing phenomenologically informed reflections and corresponding findings of a neurocinematic study we aim to apply such an interdisciplinary dialogue in the domain of film studies. We argue that neurocinematic methods can be optimised with specifications provided by phenomenological inquiry.

References
1. Greene, B. (1999). The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory. New York and London: W.W. Norton & Company.
2. Kauttonen, J., Hlushchuk, Y., Jääskeläinen, I. P., & Tikka, P. (2018). Brain mechanisms underlying cue-based memorizing during free viewing of movie Memento. NeuroImage, 172, 313–325.
3. Memento (2000). Directed by Christopher Nolan. US: Summit Entertainment & Team Todd.
4. Petitmengin C. (2006). Describing one’s subjective experience in the second person: An interview method for the science of consciousness. Phenomenology and the Cognitive Sciences, 5(3-4), 229–269.
5. Varela, Francisco J. (1996). Neurophenomenology. Journal of Consciousness Studies 3(4), 330–349.

 

Accepted to be presented. Cancelled by PT.

Enactive Virtuality Lab presents April 16

Welcome. Please join us!

Enactive Virtuality Lab presents the on-going work in online seminar.

Date: Friday April 16, 2021 
Time: 09:15 -13:00 Helsinki

Zoom Meeting

Meeting ID: 947 9465 7125
Passcode: 019362

VIDEO recording (t.b.a.)

Program

To be confirmed

9:15

Pia Tikka (Enactive Virtuality Team leader, MOBTT90)
Introduction

9:20 KEYNOTE

Ighoyota Ben Ajenaghughrure (t.b.c.) 30 min + Q&A  (Vistiting lecturer of Software Engineering @ DT)

Symbiosis in information society  

10:00

Debora Conceição Firmino De Souza (MA Thesis @DTI)
Exploring the affective states of an interviewee during a Q&A session


10:15

Abdallah Sham (doctoral student @DTI)
Facial Expression Recognition in a Human-human dyadic setting


10:30

Ats Kurvet (computer graphics specialist)
Playing  with MetaHuman for “real” in narrative VR environment


10:45-11:00 coffee break (15 min)


11:00

Robert McNamara (doctor in law (US); doctoral student @BFM)
Cinematic Narratives in Gaming Engines to Explore Compassion towards Refugees

11:15

Sampsa Huttunen (doctoral student @Helsinki University)(t.b.a)
Psychophysiological Reactions to Human Face under Different Lighting Conditions: A Pilot Study


11:30

Mehmet Burak Yılmaz (doctoral student @BFM)
Affective functions of camera movements in cinematographic storytelling


11:45 -12:30 
Discussion

 

Open for public!

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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.

Pardinho Sense of Space at EEVR meeting – March 20

 

Estonian Virtual Reality Society EEVR meeting March 20

Enactive Virtuality Lab is happy to have our artistic collaborator and associated start-up CEO Victor Pardinho (Sense of Space) to present at the meeting of Estonian Virtual Reality Society, March 20, 2021

 

Note, the AltSpaceVR space set up about a week before March 20 event.

Facebook: https://www.facebook.com/events/858885618011273/

The schedule  (t.b.c)

12:10 Vladimir Kuts – Taltech (Estonia)
“Short intro of XR Research in Estonian Universities”

12:20 Dr. Linda Lancere – Vidzeme University of Applied Sciences (Latvia)
“Augmented Reality and Wearables for Real-Time Physical Therapy guidance”

12:45 Dr. Niall Murray – Athlone Institute of Technology (Ireland)
“Understanding User Perceptual Quality of VR Experiences”

13:10 Victor Pardinho – Sense of Space / Enactive Virtuality Lab (Finland/Netherlands)
“Sense XR Studio: Making a Content Creation Tool for Volumetric Video Experiences”

13:35 Santeri Saarinen – Helsinki XR Center (Finland)
“Helsinki XR Center and Our Research Activities”

 

 

 

Eesti Virtuaal- ja Liitreaalsuse Assotsiatsioon

Estonian Virtual and Augmented Reality Association

Round table at Moscow Neurotechnology and Freedom -conference

Pia Tikka, Panelist at Moscow Neurotechnology and Freedom -conference march 18. 2021,  19-20:30 (GMT+3)

Image: Panelists

Program

Neuroscience & Art

Will be held on March 18, 2021 16:00-22:00 (Moscow Standard Time: GMT+3)

International оnline сonference «Neurotechnology and Freedom».

Organized by the Centre for Cognition & Decision Making, HSE University

Scientists, philosophers, and artists will discuss ethical, social, and legal issues related to the development of neurotechnologies.

Preliminary оnline program сonference:

16:00 — 16:15 Vasily Klucharev, Director of Institute for Cognitive Neuroscience, HSE University, PhD in Biology

16:15 — 16:45 Video presentation (opinions of experts on neuroscience and freedom)

16:45 — 17:00 Break

17:00 — 19:00 Talks:

17:00 — 17:25 Prof. Danil Raseev, Saint Petersburg University, Russia, expert of the Russian Science Foundation

17:25 — 17:50 Dr. Suzanne Dikker, NYU Max Planck Center for Language, Music, and Emotion, USA

17:50 — 18:15 Prof. Dr. Gabriel Curio, Charité – Universitätsmedizin Berlin, Germany

18:15 — 18:40 Prof. Risto Ilmoniemi, Aalto University, Finland

18:40 — 19:00 Dr. Ksenia Fedorova Leiden University, the Netherlands

19:00 — 20:30 Round table:

Prof. Dr. Gabriel Curio, Charité – Universitätsmedizin Berlin, Germany, Dr. Suzanne Dikker, NYU Max Planck Center for Language, Music, and Emotion, USA; Prof. Risto Ilmoniemi, Aalto University, Finland, Prof. Mikhail Lebedev, HSE University, Russia and Skoltech Center for Neuroscience and Neurorehabilitation, Russia; Dr. Ippolit Markelov, ITMO University, «18 Apples», Russia, Dr. Maria Nazarova, HSE University, Russia and Centre for Brain Research and Neurotechnologies, FMBA, Russia; Dr. Vadim Nikulin, Max Planck Institute for Human Cognitive and Brain Sciences, Germany, and HSE University, Russia; Prof. Danil Raseev, Saint Petersburg University, Russia; Dr. Prof. Pia Tikka, Enactive Virtuality Lab, Baltic Film, Media and Arts School (BFM) and Centre of Excellence in Media Innovation and Digital Culture (MEDIT), Tallinn University

20:30-21:00 Report: Prof. Patrick Haggard, University College London, UK

moderators: Prof. Vasily Klucharev, Institute for Cognitive Neuroscience, HSE University, Russia; media art theorist, Dr. Ksenia Fedorova Leiden University, the Netherlands

21:00 -—21:15 Break

21:15 — 22:00 Presentation of art projects: Ippolit Markelov artist, researcher, PhD in Biology, ITMO, «18 Apples»

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

Enactive Virtuality Lab presents Dec 1, 2020 

Welcome. Please join us!

Enactive Virtuality Lab presents the on-going work in online seminar.

Date: Tuesday Dec 1, 2020 
Time: 09:30 -12:00 Helsinki
Zoom Meeting

VIDEO recording (not edited) Passcode: &%10sVN$

Program

9:30

Pia Tikka (Enactive Virtuality Team leader, MOBTT90)
Introduction

9:45

Mehmet Burak Yılmaz (doctoral student @BFM)
Emotional impacts of camera movements
Exploring the emotional effects of different camera movement techniques (dolly, Steadicam, handheld) and the direction of the movement. Conducting psychophysiological experiments where the viewers watch cinematographic scenes.

10:00

Robert McNamara (doctor in law; doctoral student @BFM)
The creative potential of cinematic game narratives for evoking empathy for asylum seekers.
Exploring machine learning in the asylum seeker narratives in the “Refugee Status Determinations”. Measuring types of empathy response in depicting child separation by immigration enforcement officers in game engine-based cinematic narratives.

10:15

Debora Conceição Firmino De Souza (MA Thesis @DTI)
Humanizing interactions at the Border Control 
Drawing upon topics of HCI and game development, the study investigates the emotional states elicited by interactions with anthropomorphic Virtual Agents at the Border Control.

10:30

Ats Kurvet (computer graphics specialist)
Creating digital humans on a budget
The challenges and options when creating the visual component for avatars/digital humans.

10:45  

Valentin Siltsenko (research assistant)
Real-time text to speech synthesis 
Synthesizing natural sounding human speech with ability to set the emotion of the speaker.

11:00  

Abdallah Sham (doctoral student @DTI)
Machine learning in dyadic human – artificial agent interaction
Exploring the implementation of machine learning to training virtual human behaviour.

 11:15

Ermo Säks (doctoral student @BFM)
Storytelling in Cinematic Virtual Reality: The role of cinematographic techniques in evoking immersion in virtual environments
Using practical research methods this doctoral project seeks the cinematic techniques feasible to increase the perceived immersion in Cinematic Virtual Reality (CVR) where the user’s main agency is to look around in a narrative story-based CVR drama experience that features a beginning, middle, and end.

11:30-12:00

Discussion
 

Open for public!