New York, USA Fri, Jun 30, 2023 at 4:00 pm EDT
Chicago, USA Fri, Jun 30, 2023 at 3:00 pm CDT
Los Angeles, USA Fri, Jun 30, 2023 at 1:00 pm PDT
UTC, Time Zone Fri, Jun 30, 2023 at 8:00 pm
Phantasmagorias have captivated imaginations, artistic inquiries, and critical discourse for well over two centuries. The phantasmagoric dispositif situates spectator and image in real-time assembly, collapsed within a single time and space, seemingly freed from material constraints. From eighteenth and nineteenth century theatrics; through contemporary stage illusions, themed entertainment, immersive and intermedia arts events, and real-time computational arts; what do historical and contemporary phantasmagorias indicate for the future of art and technology? This event considers diverse perspectives on phantasmagoria through critical and practical approaches in contemporary media arts, architecture, and theatrical production.
We are both painters, and the questions about light that motivate our practice come from that tradition. How can we use light to transform a still image from something one looks at to something one watches. How can we make a drawing with light? How can we use light to transform a picture into a phenomenological experience? How can an image made with light describe material, hold time, or elicit a sense of presence?
A precis of the annual Digital Graffiti projection festival which entered it’s 16th iteration in 2023 showcasing 51 Projection sites, 75 total projection sites in competition and the work of almost 150 artists.
In the cinematic era of CGI and digital VFX, Manual Cinema seeks to create movies in real time in front of live audiences using handmade puppets, light and shadow, retro overhead projectors, and live music.This talk will explore how we seek to create the dreamlike and imaginary by foregrounding the human effort and mundane materials we use in their creation.
Over the last 40 years, the media art festival Ars Electronica has tackled animation in the context of media arts. Based on the early discussions on computer graphics and animation at Ars Electronica and the evolution of Prix Ars Electronica´s category Computer Animation (since 1987), we established the Expanded Animation Symposium in 2013. In keeping with the motto Mapping an Unlimited Landscape, the symposium aims to reflect on the traversal of borders, hybrid forms, and fringe areas of computer animation. In its eleven-year history, the symposium has examined the vast and constantly evolving field of animation and its myriad connections to other disciplines. In this presentation, I will give an insight into the current activities at Ars Electronica, introduce Prix Ars Electronica´s category New Animation Art established in 2023, and discuss current positions in expanded animation, in particular projects developed for Deep Space 8K, at Ars Electronica Center.
Conjuring Theatrical Spaces is a presentation on creating and designing creative spaces that suspends the audiences belief to create a world where anything is possible. In looking at idea of ritual and looking at the origins of narrativity in film exists the modern application of what can be described a process somewhere between magic, the spirit world, and reality.
Matreyek will speak on her artistic practice integrating projected animation and live performing bodies, to investigate perception and illusion in works that weave images of the climate crisis as forces impacting a performing body.
I will speak about two recent theater projects: The Elements of Oz & I Agree to the Terms. Each show used audience members’ smartphones as integral elements of the performance, and each opened new worlds for the audience—a fantastical one for “Oz” and a hidden one for “I Agree”.
For “Oz” we developed AR video & audio elements (tornado, flying monkeys, munchkins) creating both an intimate and immersive experience. During development, we quickly came to see the phone “as Oz,” – something we use every day, but whose operations we can’t explain, and which we are even legally prevented from “looking behind the curtain” to understand.
“I Agree” was developed in collaboration with a community of gig-workers who perform “Human Intelligence Tasks” for micro payments using Amazon’s Mechanical Turk system. We developed a phone-based competition for the audience to help them experience a bit of the euphoria and dread these workers face every day in this automated workplace.
Influenced by hybrid media forms such as the Phantasmagoria, the 20th century invention known as the dark ride was the first fully automated and distributed immersive media format. The dark ride, spook ride or ghost train made advancements in media storytelling that would influence cinema, virtual media and games.
The dark ride was developed as a reaction to the downturn in popularity of amusement park and the need for cheap automated concessions. This media format helped re-purpose indoor spaces using electric carts, triggered sound and light to create frightening and awe-inspiring experiences.
This talk will briefly discuss the thousands of lost spooky rides which used to adorn amusement parks across the USA and the world. Dr Joel Zika will share his observations of the format and the incredible mark it has made on entertainment technology, haunt culture and experimental media today.
Johannes DeYoung is an internationally recognized artist who works at the intersection of computational and material processes. His moving-image works have been exhibited internationally at venues such as: Museo de Arte Contemporáneo de Alicante, Alicante, Spain; Festival ECRÃ, Rio de Janeiro, Brazil; National Taiwan Museum of Fine Arts, Taichung, Taiwan; B3 Biennale of the Moving Image, Frankfurt en Main, Germany; Hesse Flatow (Crush Curatorial), Jeff Bailey Gallery, Robert Miller Gallery, Interstate Projects, Eyebeam, and MoMA PS1 Print Studio, New York, NY; as well as numerous festival screenings in countries such as Australia, Greece, Ireland, New Zealand, Turkey, and Vietnam. His work has been featured in The New York Times, The New York Post, The Huffington Post, and Dossier Journal. DeYoung is appointed Associate Professor of Electronic and Time-Based Media at Carnegie Mellon University. He previously taught at Yale University School of Art (2008—2018), where he was appointed Senior Critic and Director of the Center for Collaborative Arts and Media, and at the Yale School of Drama, where he was appointed Lecturer in Design.