SUN

Usurpation Rite

Angel Salazar

The dark power change hands, it reveals itself with another face. We go towards a social uprising of unthought consequences helped by the uselessness of the political class. Short lived power because he who has it will keep it while he governs for the few groups that own this country.

Usurpation Rite is a sound action that uses the gestures and voice of those who supported the social struggle in Ecuador during 2019, turning them into acoustic and mechanical energy and bringing them to the present.

Angel Salazar

Artist, cultural manager. His work is developed in a transdisciplinary way between art and technology, exploring various narratives. His research projects articulate the relationship between sound, territory and various technologies, through the exploration of speculative and futurological methodologies. He has presented audiovisual performances in various cities in Ecuador, Peru, Chile and Argentina

The Gesturewriter

The Gesturewriter is a unique tool for composing and performing text. The underlying concept is to understand writing utensils as performative instruments, similar to musical instruments! The musical instrument theremin is known for its playability without physical contact. It can be controlled through the gestures of the left and right hand. A typewriter writes characters on a sheet of paper and is used as a writing medium to store text on paper. However, the Gesturewriter combines both the theremin’s gestural interaction and the typewriter’s storing ability. It forms an instrument that brings together performance and writing.

People commented that the Gesturewriter has several bugs and is difficult to use. In this performance lecture, I will prove that they are wrong.

Joseph Knierzinger

joak is Joseph Oliver Anton Knierzinger and an artist exploring the history and politics of past, present, future and anachronistic media, technology and confusion. Humor and irony is an important method in his undertakings. His compositions, devices, games, installations, interventions, instruments, lectures, performances, performance-lectures, scores and software have been shown in academies, artist-run spaces, community centers, festivals, galleries, hackerspaces, museums, radio station, squats, streets, theaters and universities in Austria, Catalonia, Croatia, Belgium, Bulgaria, China, Germany, Italy, Kugelmugel, Mongolia, Netherlands, Online, Russia and Slovenia. He works on different alogisms and algorithms in Rotterdam and Vienna.

Intersections

Alejandra Tapia, Mauricio Román

R is a free programming language for data analysis, which is defined as a multiparadigm: functional, vectorial, imperative, procedural, object-oriented. These characteristics enable the extended plasticity of its potential as a computational language, being used both for the development of scientific research based on data, and in artistic experimentation, among others.

Art as a transversal language leaves open its ability to subvert what is established. In this axiom, we propose to use R for the creation of an audiovisual artistic staging, through passages of algorithms and codes, using specific libraries for the generation of audio and images, which interact with other languages ​​and programs for Live Coding such as Supercollider and Tidal Cycles.

This live presentation will take place as an audiovisual concert at Festival Piksel 20, and is part of the Rstart project (www.rstart.cl), which was born out of the concern to experiment with various multiparadigm free computer programs for transversal creation and production. between media arts, science and digital culture.

Alejandra Tapia: Co-founder of Rstart. She has a PhD in Statistics from the University of São Paulo, Brazil. She is currently an academic at the Catholic University of Maule. She is also the founder and organizer of the RLadies Talca chapter.
https://rladies.org/chile-rladies/name/alejandra-tapia/

Mauricio Román: Co-founder of Rstart. Medial artist, computational poet with an interest in the development of creative proposals and shared knowledge between the interrelation between art – science – nature through technology. He develops his work from creative computer code to audiovisuals generated in real time.

Incidental Effects

Giuseppe Torre

“Incidental Effects” is a three-part live coding performance.

OS: Debian
Sotware: ORCA, Carla, Surge-XT, QJAck

Giuseppe Torre [Laurea/M.Phil., MSc, PhD] is Lecturer of digital art practices at the University of Limerick (Ireland). His research interest lies at the crossings between digital art practices, open source technology/culture and philosophy. These interests respond to a questioning of the relationships between technology and art, code and aesthetics, numbers and self; a process that has so far led him
to question under what forms and forces truly creative efforts may, or may not, arise. He is the author of An Ethico-Phenomenology of Digital Art Practices (Routledge, 2021).
His academic writings feature in journals and books by publishing houses such as MIT Press, Springer, Routledge/Taylor & Francis. As an active digital art practitioner, his works and performances have been showcased nationally and internationally. He is a advocate of FLOOS (Free and Libre Open Source
Software) in the teaching and professional practice of all digital arts.

Akira

Shawn Lawson, Ryan Ross Smith

Shawn Lawson and Ryan Ross Smith will collaboratively live code a single text buffer from two remote locations to perform the audiovisual work. Lawson will live code visuals with the OpenGL Fragment shader and python in Touch Designer and Smith will live code audio with Tidal Cycles.

Shawn Lawson is a computational artist and researcher creating the computational sublime. He performs under the pseudonym Obi-Wan Codenobi where he live-codes real-time computer graphics with his open source software, The Force and The Dark Side. Lawson’s other work explores the computational sublime through a range of technology: stereoscopy, camera vision, touch screens, game controllers, hand-held devices, random number generators; and output formats: print, sculpture, mobile apps, instruction sets, animation, and interactive.

He has performed at NIME, Australia; Radical dB, Spain; ICLI, Portugal and UK; ICLC, UK, Canada, Mexico, Spain; ISEA, Canada; GENERATE!, Germany; Live => Coding, Brazil; CultureHub, NYC, CCRMA, and more. Shawn’s artwork has exhibited or screened in museums, galleries, festivals, and public space in England, Denmark, Russia, Italy, Korea, Portugal, Spain, Brazil, Turkey, Malaysia, Iran, and Canada; locally in ACM SIGGRAPH, IEEE ProCams, ACM MM, The Art Institute of Chicago, Milwaukee Art Museum, Chelsea Art Museum, Eyebeam, Aperture Foundation Gallery, Nicholas Robinson Gallery, MIT, OSU, ASU, and LTU. He has given workshops on programming or live coding in Europe and the USA. Shawn is published in the proceedings of ICLC, ACM CC, ACM SIGGRAPH, ACM SIGCHI, ACM MM and the Journal of Electronic Dance Music Culture.

Lawson has received support from from the Electronic Media and Film Program at the New York State Council on the Arts, the Experimental Television Center’s Finishing Funds Program, Kamel Lazaar Foundation, CultureHub’s Micro-Residency, and Signal Culture’s Toolmakers in Residency. Lawson studied fine arts at Carnegie Mellon University and École Nationale Supèrieure des Beaux-Arts. He received his MFA in Art and Technology Studies from the School of the Art Institute of Chicago in 2003. He is an Associate Professor and Animation Area Coordinator at Arizona State University and selectively consults for independent artists and commercial R&D.

Ritmo 2021: a code generated film

Luis Fernando Medina Cardona

Ritmo 2021: a code generated experimental/animation short film
“Rhythm 2021” is an abstract animation short film product of a research-creation process carried out at the Faculty of Arts of the Universidad Nacional de Colombia (Bogotá) by the research group “Espacio de Producción Abierta de Medios” (Open Media Production Space). It is based on a formal experimentation with abstractions initially inspired by the short film “Rhythmus 21” by Hans Richter (Germany, 1921) and it proposes computer code as a new materiality for audiovisual creation in an analogous way to what celluloid represented a century ago in Richter’s short film. This version, called “prototype” because the short film can be considered a computer program, is a video rendering of the original program coded on the creative coding language Processing. All images and sounds were generated by computer code on this language, thus questioning the old duality between image and words, since the whole proposal was written in instructions to be interpreted by a computer. Following this, another paradigm of audiovisual production is re-experienced where the workflow is closer to software production than to normal audiovisual authoring. Although computer generated films are not new, the containing of sounds and moving images in a single textual artifact and the free software ethics used offer a new perspective. Thus, “Rhythm 2021” is an integral experiment in form, product and creative process. Consequently the distribution of the short film is also software inspired. There is a “binary” form of the film, the final video render to be experienced on-line, mostly using a password to comply with the restrictions of most of the cinema festivals. But also the source code of the film can be downloaded from Github, allowing viewers to remix the film if they have the Processing language. For the aforementioned reasons, this project can be seen as an experimental film, an animation film or a software art piece.

Although the short film coded in the Processing creative coding language can be considered the main media artifact, there are another complementary artifacts. These are created using free software tools and ethics:

  1. An explanatory fanzine designed on Scribus and Inkscape an published on the archive.org for free downloading.
  2. An experimental app for the android system where the film can be watched on mobiles phones without being on-line and using just 3M of storage.
  3. Academic papers from different stages of the project published in open access conferences and journals.

In this way, Ritmo 2021 offers a network of artifacts reflecting on the main short film piece where the free software ethics are embodied in the used tools, prototyping process and distribution channels. Moreover, the whole project develops our own concept called “Transmedia Punk” , in which free software practices are hybridized with the alternative media tradition (fanzines) or current related academic debates as open access and open science tenets.

These artifacts can be reached at:
https://linktr.ee/ritmo2021

Luis Fernando Medina Cardona

I am an associate professor at the School of Film and Television and hold a PhD in media arts and sciences from the Academy of Media Arts Cologne, Germany (Kunsthochschule für Medien, Köln – KHM). I am interested in the interaction between art, science and technology from an interdisciplinary perspective. Both my theoretical and practical work is related to free software and culture, collaborative creation methodologies and alternative media. I combine teaching and research with creative practices based on hacker ethics, DIY (do it yourself) and DIWO (do it with others). Also, open knowledge and the research-creation paradigm in a framework of southern epistemologies. My interests also extend to decolonial code studies and the ethical and artistic implications of algorithmic culture. I currently coordinate the research group “Espacio de Producción Abierta de Medios” (Open Media Creation Space) at the Faculty of Arts of the Universidad Nacional de Colombia and I am one of the co-editors-in-chief of the journal “Actio: journal of technology in design, film arts, and audiovisual communication”

Genetic algorithms and its creative possibilities

Manuel Mendoza

Genetic algorithms are often used to solve various computational problems, however, they have various creative possibilities, among which are the generation of images, sounds and text.
In addition, they are one of the first artificial intelligences applied to art.

Manuel Mendoza (Mexico, 1997).

Artist and Digital Communicator from Universidad Autónoma Metropolitana. He is current- ly accepted to study Interface Cultures Master programme at University of Art and Design Linz, in Austria.
He is a professor of creative code at CENTRO University of Design, Film and Television in Mexico City.
He works as an electronic artist and focuses his work on the creative and aesthetic possibi- lities of technology. He has exhibited his work and given talks, conferences and workshops in various museums, festivals and events dedicated to computational creativity in countries such as Mexico, Argentina, Spain and Ecuador. In places like the MediaLab Prado in Madrid, the OpenLab in Ecuador, the Fonoteca Nacional in Mexico, among others.