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Susanne Rasmussen
Interactive treadmill -Project "MOVE"
The main intention of this project is to challenge perception of movement, located in a fitness-centre. In other words we try to interpret some of this movement – material and put it into a new environment. Another focus is to introduce new movement material/esthetics to an audience outside the theaterscene.
The idea behind the installation is to give the runner a new experience on the treadmill, also giving an ironic comment to the the treadmill as an instrument for movement.
We do this by installing a videoscreen in front of the runner, projecting live and recorded videosamples during the run.
To be more specific about the technical construction, we use a video camera that register the speed of the treadmill, by reading 4 markers attatced to the band itself. Processing this speed through Max/Jitter, will decide what happends on the video screen. In other words, how far and how fast the runner will get through the film.
Production
and choreography: Susanne Rasmussen
Programming: Ola Nordal
Music: Jørgen Orheim
Dancers: Arnhild Staal Pettersen, Luis della Mea
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Kristin Bergaust
Short report of Mobile Outskirts, an international workshop on cultural mapping in the Lofoten Islands in June 2004
During our time in the islands, the participants developed their own angles and perspectives on the situation. As visitors with a limited knowledge of the local conditions, it was important to follow interest and competence that was already present for each one of us. Some participants developed ideas for art projects, some collected visual material, some collected stories and engaged with local issues, others reflected on the technical needs of a cultural mapping situation. Apart from collecting a vast amount of data, the workshop had many concrete outcomes, visible as websites, soundtracks, movies, articles and other forms of developing ideas.
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Laura Beloff
Laura Beloffs current works are addressing directly our technologized society. They evolve around structures and issues with a direct link to "the reality" which is often appearing in the form of a network. She is
interested in the construction of frameworks, which are filled and used by people or automated systems. She uses the term "possibility space" for describing them "an open/empty structure which contains a possibility for something to take place".
The most of her pieces during the recent years have been collaborations. The latest finished collaboration "Seven mile boots" is a pair of interactive boots, which enable the user to walk through the internet while walking in the physical world. The work has been exhibited in Norway (beta-testing), Estonia (ISEA04) and Austria (Ars Electronica).
The installation "Spinne" (spider) is a networked audio installation influenced by an on-going search in the web. It has been exhibited previously in Spain, Sweden, Finland and Russia. It has received an honorary mention at Vida5.0/Spanish media-art award.
The talk will introduce these and few other recent works.
The installation Spinne will be exhibited at Trøndelag Senter for Samtidskunst.
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Kelly Davis
diary of a parachutist. quiet monster truck show. nose hair trimming tips. boys choir member trapped in grand canyon. what girls named Lunette really want. before the discovery of oxygen torsos were temporarily filled with colorless gas - more on that later. A combination of words, images and abstract sounds that will hopefully form engaging and thought-provoking mind’s eye candy. jpgs and canned laughter. how to be friends with squirrels. how to make your own harpoon (macgyver-style). how to be more bendy. learn more about bread crumbs. the sound of the sun burning its fuel and notes for better tan lines. plus, special appearance by David Copperfield.
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Bjarne Kvinnsland
"The Tunnel Of Light"
”The Tunnel of Light” is an electronical artwork where the elements of light, music, technology and architechture are shaped as an integrated whole, and with the help of sensors also interacts dynamically with the audience using the escallator.
The artist-group that has cooperated on developing ”The Tunnel of Light” consists of creator and architect Kristin Jarmund, producer and director of the project Per Åge Lyså, software developer and light-designer Yngve Sandboe and composer Bjarne Kvinnsland.
The work is thematised on the experienses of traveling: travel in time and space. Every time of the year has its sounds and its light, every place has its own sound, and there are sound- and light – moods for every periode in life.
Both the artistic and technical deliveries have been made by Intravision System AS. At http://www.e-kunst.net/ we put out pictures from the web-camera in the escalator, examples on soundfiles that are played in the stairs, a video-presentation, and we've even shown some of the technological developments that were done as part of the project.
The art-insatallation was sponsored by Avantor og Schibstedt
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Even Westvang
Nomen Nominandum
Nomen Nominandum travels the network. If you call, it may choose to come to you. If you play with it gently it will stay until it gets bored. When sleeping it curls up in its nest. It's moody, sleeps in on Mondays and may decide to go away for a month in January. NN is an experiment in using software to simulate organic change, and the growth is very slow. As with a living thing you may never see it change, but rather remember that it looked different some years ago.
NN is displayed to its users in interactive real-time 3d. The NN client is built in Director and communicates with two different servers, one that handles the mood of the organism and another that holds its overall structure. Its parts are 3d models that are assembled by the engine. The parts are jointed with the Havok physics engine and react like real objects to gravity and the pull of other objects.
NN was commissioned by Sør-Trøndelag Fylkeskommune for the LAN at Byåsen Videregående Skole, an interdiscplinary secondary school in Trondheim, Norway.
Information-video can be seen at:
http://staging.bengler.no/nomenBig.mov or http://staging.bengler.no/nomenSmall.mov
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Videohometraining
Videohometraining
Videohometraining is an eletronic sound and vision concert designed and performed by Marieke Verbiesen and Gijs Gieskes from the Netherlands, currently residing at Bergen Centre for Electronic Arts (BEK), Norway.
Starring as computeranimated cut-out versions of themselves, the videohometrainers play a 2-d action adventure of shooting, kicking jumping and rolling based on classic arcade videogames and old-skool computergraphics, accompanied by electronic 8-bit beatsamples.
Sound and Image are being controlled live on stage where the funky mix of noisy soundsamples and animations will smoosh your braincells to a sweet, mouldy pudding...
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Anna Hill
Space Synapse Systems and terrestrial synapses.
The intention is to place an interactive artwork- the Symbiotic Sphere- in orbit with the European Module of the International Space station through which life in space and life on earth may interact.
Space Synapse Systems is about sharing the human experience of space missions. It symbolises a "nerve centre" of new thought inspired by the experiences of humans in orbit. It symbolises a bottom –up and top-down distributed system of participation. Its purpose is to inspire and catalyse human evolution through a cultural engagement with the experience of space. The overview effect that humans experience in orbit will become available to us all. The realisation of the unity and ecological interdependence of all life on Earth, irrespective of political boundaries, digital and economic divides, will encourage life sustaining thought and actions.
The project has been supported by the European Space Agency with a Phase A feasibility study.
To contextualize the terrestrial synapses, I will give a brief overview of the Auroral Synapse Artwork as an example of an interactive synapse .The work involves using technology and data flows to capture emotional and spiritual response to celestial phenomena. I will explain how I am developing this concept wirelessly in the form of a prototype Remote Interactive Suit.
The project is supported by the Irish Arts Council.
http://www.spacesynapse.com
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Janne Stang Dahl
Electronical Art in Public SpacesContemporary art has since long ago steped out into public space. Art doesn't necessarily belong in museums, and has developed in a direction where both context and the audience has become active paritcipants in the work. Electronical art often demands the presence of an audience to be activated. In public spaces the art encounters a larger, more versatile audience than in gallries and museums. In contradiction to what goes on in museums, where art becomes something exalted and enhanced, art in public spaces might be experienced as unique objects, placed in an everyday-situation, and is often met by the eyes of the un ......Free from rehearsed, art-critical interpretations and references. The audience encounters art in their everyday life, in public buidings like schools and universities, townscapes, parks, landscapes and digital spaces.
Relation to place is central when art is placed in public space. A common aspect for this art is often that it has been developed in accordence to the place and its context, both when it comes to shape and content. Some works are parts of larger public buiding processes, and needs to relate to the demands and limitations that are present in the physical and social space that it will excist in. The shaping of different locations is often connected with marked, capital and commercial interest. This can affect the planning process, where not only the artist, but a few involved parties - from politicians and government to entrepeneurs - speak their interests, and have demands both to shape and function. These kind of processes might even influence the artwork itself, and leave traces of different kinds. Other more independent artworks that has been put out on a temporarily basis, will not neccesarily meet as strict demands.
[...]
Art in public spaces will always get into a crossfire of different expectations and oppinions on what it should be, where it should be placed and for whom it is made. The electronical art uses means both when it comes to shape and contents, that are connected to several references and phenomenons outside of the art world though, and therefore more easily is able to communicate in a contemporary landscape. Through its many connections to the outside world, and by allowing room for many different frequencies, the electronical art allows for new discussions in the planning of public spaces.
The complete article can be read at
http://www.notam02.no/ekunst_i_offentlige_rom/index.php
(only in norwegian)
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Helen Varley
UpStaging Cyberformance
Imagine: talking graphical avatars and live web cam feeds moving across visual backdrops in a multi-layered performance, for an online audience who chat, heckle and enter into the narration. This is UpStage - a new open source application that creates a web-based venue for cyberformance. It offers a customisable environment for participatory digital story-telling and real time interactive performance. - Images, sounds, text - by multiple remote players.
It does not require any installation for the audience or the players - the software sits on a server and uses Flash for the client. The open source application Festival is used for text2speech, and players are required to have additional web cam FTP software if they wish to upload web cam images. The audience need only a Flash-enabled browser.
Helen Varley Jamieson will give a background to UpStage, demonstrate its features and talk about the work of Avatar Body Collision.
UpStage was developed by the globally-dispersed cyberformance troupe Avatar Body Collision and programmer Douglas Bagnall, with funding from Creative New Zealand and the NZ Ministry of Research, Science and Technology, and launched in January 2004.
http://www.upstage.org.nz,
http://www.avatarbodycollision.org
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H.C.Gilje
(photo thor brødreskift)
HC Gilje will discuss the different aspects of his realtime video work, focusing mainly on his work using video as set design in dance company Kreutzerkompani.
« hc is rapidly gaining a reputation for his mindblowing interactive audio-video improvisations creating rich layers of colors, urban narratives and morphed dreamlike worlds which grow,transpose and are reconstructed in subtle ways. » from den haag video and filmfestival program
Gilje tries to achieve in his live videos an energy found in modern music, a tension between structure and chaos. His pieces are also developed in similar ways as music: some works are composed and given quite a lot ofstructure before the performance, but which are given an extra intensity and element of chaos as they are performed live. Other pieces are derived from
improvisations, and given a structure through postproduction. Some pieces change quite a lot over time as they are refined and altered during consecutive performances.
All the pieces are constructed and performed from a laptop computer,based on different videoprograms:Gilje makes custom video control structures based on nato, a set of videoobjects for the programming environment Max. The video is created in the meeting between the imposed structure of the program, the images used, and the live performer.
http://www.nervousvision.com
http://242pilots.org
http://www.kreutzerkompani.com
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Jon Eriksen
Hypersonance
Hypersonance is a new website for artists working with sound art and / or improvised sound in the Nordic / Baltic regions. At hypersonance you can find a list of active artists' sites, postings about upcoming events and a list of relevant organizations and residencies.
Hypersonance's main objectives are:
- To support artists working with sound by providing easy access to information about applications, deadlines, workshops and events.
- To provide an overview of the different scenes in the Nordic / Baltic region and to foster connections between them by letting artists know about each others' work.
You can visit hypersonance at: www.hypersonance.com
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Erich Berger
Heart Chamber Orchestra
PURE.BERGER work with software environments to create own instruments as well as a synthesis of computated sound and images and whole performance environments. The aim with the Heart Chamber Orchestra is to create a hybrid, consisting of the formalistic computational approach of the digital realm and the richness of organic expression provided by the instrumentation of a professional orchestra. This hybrid will be able to compose a piece in real time. The orchestra together with the computers constitute a framework of computational feedback loops. As the basic principle of a feedback loop states that the input is connected with the output, the result will be a self-referential system and so to speak "produce itself".
The process whereby an organization produces itself is called autopoiesis. An autopoietic organization is an autonomous and self-maintaining unity which contains component producing processes. The components, through their interaction, generate recursively the same network of processes which produced them. An autopoietic system is operationally closed and structurally state determined with no apparent inputs and outputs. A cell, an organism, and perhaps a corporation are examples of autopoietic systems.
Crucial for what and how this system is developing are the initial conditions, the state of the system when it starts its recursive process of self reference.
The Idea of autopoiesis in Music can be traced back to the work of mid 20th Century Serial Music composers like Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, and others of the "Darmstadt School" and even earlier to W.A. Mozarts "Musikalisches Würfelspiel", and not to mention the algorithmic work of 12 tone composers like Arnold Schönberg and Josef Matthias Hauer. Our approach is to implement the autopoietic structure in the computer/orchestra-hybrid itself and in realtime. This approach will generate a music which, in Luhmann's terms, "reproduces its reproduction and its conditions of reproduction"; similarly to a living organism, which reproduces itself, becoming always different, and always the same (according to the "genetic information", which is carried in the process of reproduction).
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Lotte Sederholm
"n.Å"
What is art?
In Sweden there is this discussion about define the art concept of today. Everybody, I think, agrees that the art concept has been expanding immensely. According to severeal artcritics, the art concept also has changed focus and direction, from ”feeling” towards ”thinking”, from ”intuition” towards ”investigation”.
This means, that artists of today are more interested than before, in asking questions, rather than telling answers.
The places where art are exposed have also become more descentralized and global.
I belive that all places that wants to expose art of today, will get a totally new role.
In this context, I will proudly present Åkerby Skulpturpark and the new project ”m.Å.” – meeting-place Åkerby”
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Lars Brunström
Artist's Talk
Lars Brunström and David Krantz made the work Drake together, a real-time videoprojection where the public meet fiction.
Before the digital aera, a "forced perspective" was used a lot in film production. In films like Ben Hur fantastic mass-scenes were created. Amongst others the scenes in amphitheatres, where only as few as a hundred people were present, whilst the rest of the amphitheatre was being 'filled' through using a small modell full of marionettes close up to the camera. The Drake is a motor-driven animation that is copying the fiction of the movies, the big difference is that the watcher can participate at the spot, with direct results.
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Natalie Jeremijenko
Fishy Interactions.
Most interactive interfaces are deployed to interact with virtual and information environments. What does it look like to design systems for people to interact with fish and vice versa? This talk will focus on amphibious architecture and the design of technologies of reciprocity for human nonhuman interactions.
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Gintas K
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Physical effects of sound on the human psyche
Gintas K's music can be described as microsound or noise, but his purpose is not to create within the frames of these styles. His primary interest is studying the physical effects of sound on the human psyche. In result, Gintas K utilizes sine waves, expressive synthesized tones, noizes and complex rhythmical structures. Surprisingly, the result is not mechanistic - rather, it is quite organic and flowing. In addition, Gintas K is (and has been) involved in numerous conceptual art actions that are dedicated to experimental sound and its interaction with the human body/ consciousness.
Gintas never felt in a race with the western electronic standard, he never suffered from what he calls "a complex of the former eastern block". However, his music makes a very different approach than most of the electronic new school buddies today, which are aestheticalizing their sound to death, turning their music into designed monochrome sonic tapestries for backgrounding exhibitions.
Gintas K is steadily resisting this kind of tasty reception. Gone through an industrial socialisation, he up to today sticked to the physicality of sound. No abstraction is carrying the content. The sonic experience of his tracks is denying every way of functionalization. His sines and noises never try to represent something else than what they are, and these tones are massive, manifestating their presence on themselves. Move around when you listen to the music. Get in contact. Become sound. But beware: This is not nice, this is ...real.
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Audun Eriksen
Toyelectronica meets aboriginal
Circuit-bending is the art of transforming electronical kids toys to musical instrument of another hemisphere. A creative destruction controlled by light, heat, physical touch or almost any other kind of action. This autumn TEKS arranged a workshop in Circuit-bending. One for autonomous artists and one in cooperation with the music-technology study at NTNU.
Leader of the workshop, Audun Eriksen, has been a bender since '95, and regularly uses these instruments amongst others in the performance-group "The Four".
Besides this, Audun Eriksen has through 10 years explored the possibillities of the didgeridoo as an rythmical instrument. He presents energetic rythms inspired by techno/ trance, balkan music and traditional didgeridoomusic. The education in traditional techniques, the artist himself got from aboriginals in Australia.
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Miksmaster Luguber
Sjanger schmanger!
But Acid House was not dead! Even though the clubscene is lieing down at the moment, and the masses rather dance and drink to rock, hip-pop and Eastern-European boybands, it is important not to forget the rebel sound of Chicago in the eighties, old drummachines and synths misused, hypnotic rythms and a seasick bass, electronical circuits with its own life, funky earthworms.
Miksmaster Luguber has played in several clubs in Trondheim (BLæst, BrukBar and Samfundet) and even at a Caribian Winebar somewhere outside of London. He has also performed as one of the members of Synkopat at TMM'03 and played experimental techno at Klubb Kanin. This time it will be two recordplayers, a mixer and an effectmachine made from modified toyinstruments:
AcidHouse, Electrodisco, Drones, Dub, Noise and Techno
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Jørn Egseth
Murmel
electronic/ambient music and 8mm film
Murmel improvises over programmed curiosities.
Using old synthesizers, tape recorder and and more convential
instruments, they will provide silent and nonviolent music.
The music is accompanied by a mix of documentaries
from the 70´s.
The project is in an early stage and murmel hope to
add other elements and people to this group in the future.
The live act is :
Øystein Berg : Guitar
Lars Erik Melhus : Piano
Jørn Egseth : Electronics
Andreas Schille made the visuals.
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SoundScape Studios
Robin Støckert
The interactive, 3D audio guide.
A journey into augmented reality
Soundscape Studios has developed a portable audio system with several features. The goal is to investigate how to enhance the richness of the real world, by using and combining techniques like interactivity, head/position-tracking, 3D audio, WLAN.
Not another teen gadget!!
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Hilde og Bård Tørdal
We will talk about our works and our experiences with art and technology. What functions and what doesn´t. How is it possible to make a technical apparatus work during the whole exhibition? A short description of our next project.
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Letizia Jaccheri
IT and art neet in a multi disciplinary University course.
Experts-in-Team (EiT) is a new scheme of teaching with the objective to train University students for a future participation in interdisciplinary teams. This is accomplished by project work in teams of four students of which each member has a background in a distinct discipline. EiT was run for the first time in the spring term 2001 with 850 students at the Norwegian University of Science and Technology (NTNU). Here, I will provide a critical reflection about the challenges and lesson learnt as a EiT teacher in the area IT and Art. The talk will open up for one or more of the following questions:
Do artists need ICT? When? Why?
Do ICT people need art? When? Why?
When has technology in general and ICT specifically meet art? What did happen in these circumstances? Which are the consequences?
Artists have a practice for breaking limits and create innovative processes and products. Can ICT find possibilities for innovation in art?
Investigate the relationship between art and materials/resources, like plastic. Which is the relationship between ICT and resources?
Software system programming has traditionally been arena for science and engineering. Can we compare programming with an artistic process?
Product design and art are in contact. What about software design and art?
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Music technology students
Music Technology at Matchmaking
Music technology is a crossplatform study at NTNU, that during short time has gained a lot of attention and thus a lot of applicants. Today a three-year batchelor study is offered, and from autumn 2005 a two-year master study in music technology will be established.
Music technology represents a meeting between performing music, music production, technology and electro acoustics, and the students starting the study arrive with varied and complex backgrounds.
At the Matchmaking there will be presented examples of compositions that the music technology students have created during they study, amongst others permutations of the name "Pythagoras", new programmed sounds and recordings of the human voice where a sliding transition between a normal voice and a 'phone-voice' can be heard.
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Lars Myrvoll
"The timbrearsenal one has with a laptop computer, combined
with a desire to make a difference, to make people listen, and
the love for sound and music. Maybe thats a good
descripition... Creating a focus, that, if you allow it to,
may penetrate you on both a physical and emotional level.
Thats the intention I guess..."
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Nopia
Nopia is one of the few pure dub - bands in Norway at the present time. Even though dub is not a big thing in the Norwegian scene at the moment, nopia is reconed as a good and up-and-coming live act which manages to get even the most critical audience "skanking".
After releasing their first record, some two years ago, they have come a long way in such a short time, playing local festivals and touring throughout Norway. Nopia has s very old-school approach to their music, doing everything the old way to only get the best results.
The band is five man strong with guitar, bass, synths, drums, samples from a 24-channel mixing desk, three way vocals and loads of analogue echo boxes.
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Ryfylke
Ryfylke is a county deep in the fjords on the west coast of Norway. This is where Stian Skagen and Sten Ove Toft brought to life their experimental duo with the same name. Autumn 2003 they hooked up their gadgets and started an intensive effort to bring their soundscapes out to the mass of starving noise enthusiasts. After several apperances in Oslo and hundreds of hours improvising in their studio, the urge to compile a full lenght recording arised. The record was launched 1st of April 2004.
The Boknafjord is the main seaway to the massive and deep fjords of Ryfylke in Rogaland. Herby the name of their debut album,
Boknafjord, the presage of new norwegian noise.
To reveal the sound of Ryfylke, the duo approaches sound with two different methods. Using field-recordings as his foundation, Toft
builds up a world of drones and harsh noise by thoroughly crunching the sources to unknown matters; through old cassette players and newer electronic technology.
Skagen work with sounds based on digital and analogfeedback and he is always listening for faults and clicks in his
programingenvironment. These sounds are propelled into pure, crackeling rythmical pulses then slowly transformed into subatomic glitches and atmospheric layers of ambientsynths.
When these two outer regions melt into Ryfylke, their wide specter of sparckeling noise and drones opens a passage to their perseption of electronic currents, pounding explotions and the sound of glaciers slowly forming and revealing submerged depths and vertical rockformations stabbing through still sea.
With «Boknafjord» Skagen and Toft intends to focus on a overall composition rather than individual tracks. With this approach, time reveals the depth, detail and variations of Boknafjords soundscapes. Giving the genre Noise the fresh breath from the north that it deserves.
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Bjørn Erik Haugen/ Thomas Sivertsen
” Computers are useless. They can only give you answers. ” Pablo Picasso
” There is no reason for any individual to have a computer in his home. ” Kenneth H. Olson, President of DEC, Convention of the World Future Society, 1977
The project in short consists of two art students getting together over each their laptop. The result is a concert consisting of improvised and syncronized sound and visuals. Improvised in the sence that we start from a known point, and let the concert devellop from there. Synchronized in the sence that the machines are attached to eachother, reacting on eachothers signals.
The persons in charge work with and against eachother during the concert.
Thomas Sivertsen is a student at the art academy in Bergen. He has worked for several years with improvised video and as a VJ. More often seen in cooperations with "Kaptein Kaliber".
Bjørn Erik Haugen is a student at the art academy in Trondheim. He has sound and music as his field, but also makes installations and video.
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Synkopat
The original crew met at the “SynthWorkshop” arranged by TEKS Autumn 2003. As we all were interested in music technology and experimental music, we got the idea of making music by using unconventional instruments.
This year we’ve taken this concept even longer, as we also made and modified some of our own instruments, all electro-acoustical. This time the crew consists of 2 theremins, circuit bent electronic toys, and our own made SawToneWheel
(see http://www.woefulpleasure.com/sawtonewheel/).
The on-stage crew will be Lars Eggen, Espen Jerve and Hanstein Rommerud, while we hopefully will have Arnfinn Killingtveit with us, live, from Australia.
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Xploding PlastiX
Xploding Plastix is Jens Petter Nilsen and Hallvard Wennersberg Hagen (and Erland Dahlen on drums and percussion live). They both grew up in the same small suburban town outside of Oslo, Norway, during the 80ies. Both Jens and Hal had been involved in several local rock-punk-electro outfits before they decided to make music together somewhere in 1999. Sharing the same interest in computers and modern technology as well as having a similar taste in music and movies was decisive in forming the band.
The 29th of September 2003 Xploding Plastix released their second full-length album. Titled: The Donca Matic Singalongs, on Sony Music Norway
The band wanted to leave a lot of the cinematic jazz influences behind and introduced a more electronic sound on the second platter. The Donca Matic Singalongs is an amazingly melodic album, juggling styles like it was second nature. From Drum’n bass to electro to psycho-country, to pop, to drill’n surf rock and back to the break beat. The critics loved it and the album entered the charts immediately upon release. This album, like the first, was also “album of the week” on National radio channel P3.
The Donca Matic Singalongs won the Norwegian Grammy for best electronic album 2003.
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Lassi Tasajärvi
"Demoscene: The Art of Real-Time"
The demoscene is one of the most interesting phenomena to come out of digital media culture. It’s a culture created by the first generation of kids who grew up with home computers and computer games in the 1980s.
Even before Internet use became widespread, thousands of audiovisual works had been globally published and distributed by the demoscene culture. This was done using modems and diskettes.
The demoscene spawned a group of people that have worked in or started companies that played an important and pioneering role in the game, new media, digital graphics and ICT-sector industries in many countries. The demoscene was where many digital media artists, electronic music composers, as well as visual club culture and virtual community activists got their start.
In the 2000s, the demoscene is still an active and productive global network and culture.
"Demoscene: The Art of Real-Time" is the first book of its kind dealing with the demoscene. An introduction to a phenomenon, whose birth, background and consequences deserve to be widely known and discussed.
Lassi Tasajärvi, curator of the demoscene exhibition (http://demoscene.katastro.fi) and author of the new book (http://www.evenlakestudios.fi/books) will talk about it, and how cracking early computer games transformed into a global culture and community for digital content creation. He will also showcase works from 1980s to the present day.
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John Hopkins
drawing technologies into a sustainable human practice: open source living
an awareness of the fundamentals of technological implementation has deep implications on the possibilities for human connection and creative human action. what are those fundamentals? what is the underlying need to utilize a technology? what are the invisible alienating prices we pay for technological 'progress'? why are we willing to pay such a cost? what is the pathway for integrating technologies into a sustainable life practice? what is the source of creative action?
As an active networker-builder with a background in engineering, hard science, and the arts, Hopkins has taught workshops in 15 countries and currently works with live/online streaming media performance and network collaboration. He was a student of experimental film-maker Stan Brakhage at the University of Colorado in the late 1980's. He was recently artist-in-residence at the Sibelius Academy's Center for Music and Technology in Helsinki, Finland.
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Gisle Hannemyr
Digital lifestyle
Digital technology, in the form of computers and digital comunications equipment has since long ago spread from the laboratoris and computer-centrals, now finding itself as an integrated part of many an office and home.
By the end of 2000, more then half the norwegian households has got personal computers with an Internet-connection, and about 30% of the norwegian population above 13 years of age uses Internet on a daily basis (Norsk Gallup Instutute 2000). This anmongst others means that many of us already has developed a lifestyle where digital technology is used in performing quite a few everyday-life activities, like for instance socialising, search for information, payments and shopping.
New digital services, like e-learning, telemedication, online newspapers, nettbanks, and free public information online is about to become part of everyday life. Coming up are a quite a few devices and technologies (for instance personal digital assistants, computerclothings, e-books, digital television, Internet-phoning, mobile Internet, intelligent agents and digital programguides) that each and everyone is going to make life yet some more digitalised.
Some foresee a future where both gadgets surrounding us, and we ourselves have goten one or more digital devices built in, and connected to the net.
It is of course not set, that this is the future. Technology is not autonomous. As a principle we can choose what kind of technology we want to start using, and what qualities it should have. But this still doesn't mean that each and everyone of us will be able to decide this for himself, nor does it mean that these kind of dicissions are unattached from other decissions. And if you expect that the adoption and implementation of a digital lifestyle in the norwegian society at some point will be voted over, so that each and everyone will be able to take a stand to the question through explicite elections, you're likely to get disappointed.
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Dag Svanes
Understanding the interactive experience
”What is interaction?”
This simple question has intrigued me for close to two decades. The question emerged from a growing dissatisfaction with not really understanding the subject matter of my professional life as software designer, tool developer, lecturer, and researcher.
The presentation sums up research done over a period of ten year. During these years, both my understanding of the subject matter and my research strategy has changed. From initially having a focus on the technology, my focus has changed to include the users and their interactive experiences.
I will use the philosophy of Heidegger and Merleau-Ponty as a theoretical framework for understanding the interactive
experience. This theoretical approach will be illustrated by examples of interactive systems and devices.
For more details see: http://dag.idi.ntnu.no/interactivity.pdf.
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Shake'em on Down
Lucille Walker´s version of the Bukka White-classic Shake'em on Down heavily accompanied. This is the live-version of an assignment done by first-year students at the music-technology bachelor at NTNU, Trondheim.
With a span of 62 yars between recording and concert, song and instruments meet halfway, in some 1973-soundscape...
Lucille Walker Vocal
Frode Stenseng Guitar
Andreas Hamre Bass
Lars Gulliksen Organ
Thomas Oxem Drums
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Aslak Bjerkvik
TLM
The TLM (Transmission Line Matrix) method is one of many numerical methods for solving the wave equation (the wave equation describes the propagation of an acoustical wave through a fluid) A MATLAB graphical user interface that lets the user draw geometrical elements and put in different sound sources is developed for a 2D-implementation of the TLM-method.
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Verdensteateret
Konsert fra Grønnland
Verdensteateret ["The world theatre"] has already for years taken us with them into the experimental world of performance, a world that today represents an established tradition within scenic art. The group relates relatively freely to the means of the artistic tradition; they bring along their inheritance, and they add a portion of challenges. Through dealing with established forms in a creative way (both within theatre, visual arts, film and sound art), they awaken memories that deserve to step out of their sleep. Here new and old material meet, and new and old medias, in complex structures and forms for representation.
If one has seen several of the performances of Verdensteateret, one will soon recognise certain estetical elements and structural strategies. Escpecially obvious is the way they make a point out of crossplatform working, the dramatugical and the experimenting with artistic means.
Konsert For Grønland ["Concert for Greenland"] is an important add both to the new norwegian scenic art stage and the academic theater environment. Here artistic history and new technology meet in a chanting bombardment of the senses, that challenges both artistic and academic approaches. The complexity of the work in other words calls for many different ways of enterpretation.
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Kreutzer Kompani
From "Synk" (Photo: Karl Henrik Børseth)
The first version of Synk was produced and performed in 2002 in a split-evening with the video ensemble 242.Pilots. The second and third piece is made during 2004 and presented in different co-productions. All three versions have the same framework but differ in energy and movement material, adapted by different dancers.
Synk is an experimental dance/video/audio piece where video and audio samples and recycles the movements of the dancer on stage, creating rich layers of images and sound. The performance deals with transformation of time ; distortion, displacement, delay, layering and buffering. The idea of Synk is that no prerecorded video or audio will be used, only material sampled during the performance are presented, to investigate live as raw material, and to impose a structure on a live situation to allow unpredictable results within that frame structure.