Tränen des Mondes: Die große Australien-Saga (German Edition)
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Sie gibt ihn nicht auf. Sind Sie typisch Mann? Weil sie mich fallengelassen hat. Ich will nicht wissen, wie es endet. Sie sind am Anfang zu sehen und dann lange Zeit nicht mehr, bis Bella nach Italien geht und versucht, Sie zu retten. Machen Sie sich Sorgen, dass Sie so lange nicht zu sehen sind? Ich wusste nicht, wie ich das spielen sollte nicht tot zu erscheinen und gleichzeitig das Interesse aufrecht zu erhalten.
Wie spielt man ein Hirngespenst? Wie habt Ihr die Visionen gedreht? Das Publikum sollte sie kaum bemerken. Edward ist kein Geist und es handelt sich nicht um Telepathie. Ich verrate Ihnen was. Es gibt einige Traumsequenzen, die hervorragend sind und keiner dachte, dass Chris es schafft, sie auf die Leinwand zu bringen. Wie kamen Sie mit dem Wechsel des Regisseurs zurecht? The first deadline is Monday 15 October , after this a first selection will take place. The second deadline is Wednesday 31 October.
From the applicants in this round we will make a second selection of participants. The reason for the two deadlines is so that people who might not be familiar with Bellingcat yet can visit the presentation Bellingcat: This presentation will take place on Saturday 27 October at In the presentation Higgins will present Bellingcat and the details of the workshop.
It is not necessary to register a second time. For more information and questions, you can send an email to bellingcat impakt. Read more about the workshop in this article in the New Yorker. Algorithmic Superstructures is now online! Festival passes and day passes are available via this link.
Below is a map with the festival locations. Sorry, this entry is only available in NL. Algorithmic superstructures are crystallizing into an overarching framework, radically changing and challenging the fabrics of society, including our understanding of public democracy, media ecology and collective action. Our increasingly encoded environment is mediated by digital devices and facilitated by computational infrastructure. The exhibition illustrates how new technologies have become instrumental in advancing some of the greatest challenges we are facing today: Illustrating how algorithmic superstructures are shaping our thinking, our perception, and value system, they speak to a need for accountability and new forms of public democracy.
The exhibition asks how, in this landscape, we can preserve our democratic legitimacy whilst embracing technological developments and maintaining the integrity of democratic processes. Learn about trends, projects, backgrounds and the history of digital culture. You can expect mixed-media installations, virtual reality, interactive games, multimedia performances, surprising lectures and presentations by digital designers, inventors and artists.
Algorithmic superstructures are looking over your shoulder. Moving as you move, determining what you see, anticipating what you desire, they construct the reality around you. How do algorithms influence the way we see reality? After the presentation you will explore the other works in the exhibition with a guide. In this exhibition students explore the complex relationship between computer systems and our daily lives.
Winkel van Sinkel, Oudegracht Character traits can be used to predict your behaviour. During this workshop we show and discuss how you can be labelled by organisations. Anna Ridler created an updated version of the Dutch still life for the 21st century: Centraal Museum, Agnietenstraat 1. What can the internet teach us about the workings of artificial intelligence? Coralie Vogelaar created a pen plotter robot that is fed by trolls from 4-chan. Audiovisual performance by Liam Young When: Hertz Zaal, TivoliVredenburg, Vredenburgkade Take a look in this audiovisual performance by experimental architect Liam Young.
It consists only of footage from Russian television stations and provides a non-Russian audience with a sneak peek into the workings of Russian journalism. After the screening she will discuss the film with Impakt director Arjon Dunnewind. Do you want to help us to make this coming edition a success? We have full time functions, but also more flexible services.
For that period, Impakt is looking for a responsible and reliable exhibition manager who manages the location. This includes opening and closing the exhibition, checking and selling the tickets and being a host for the visitors. Ideal for combining with studying or writing your thesis. For Het Huis Utrecht, Impakt needs assistant location managers to ensure that everything runs smoothly.
They help ensure that each program starts on time, has a coordinating role and is the contact person for guests, artists, public and volunteers. Want to know more about how logistically works at a festival?
Critical and creative views on media culture
Are you a social person with a flexible attitude, who can deal with problems and has a sense of responsibility? Then this position is definitely for you! As a stage manager, you will work with the producer and technicians of Het Huis to make sure the programs run smoothly. For this function it is important that you have some knowledge and experience with audiovisual technology. As an operator, you are responsible for the problem-free realization of the audiovisual programs in Het Huis Utrecht. During the festival you take care of ticket sales and provide guests with information about the program.
You are precise, have a good sense of responsibility, service oriented and hospitable. You run the guest desk, have a lot of contact with visitors, speakers, artists and other guests of the festival. You can give more information about the festival and the program. You make sure we have a delicious lunch every afternoon from groceries to the dishwasher and help the caterer to serve dinner.
Both in Het Huis Utrecht and at the exhibition, the construction and decoration team makes sure Impakt looks good! Are you good with your hands? Buildin a pedestal is easy for you? You know how to screw in a lightbulb?
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You like to paint or build a wall? Want to take a look behind the scenes at the production department? Then this job may be something for you. Together with the producers, you make sure that all materials are in the right place on time. Road knowledge of Utrecht is a pre, no must. A driving license is very convenient. Can you plan well and are not you afraid towork hard? Then we will be happy to meet your application. Higgins is the founder of online open source investigation collective Bellingcat and the Brown Moses Blog. The exhibition is in two locations: Wednesday 24 October at After the Festival the exhibition will remain on view until 11 November.
This session explores the subject of data brokers, companies that sell profiles of people based on aggregated personal data. The conversation will focus on how systems employed by such brokers are designed and built, aiming to understand how choices made during implementation impact the lives of ordinary people.
With online research the open source investigation collective Bellingcat contributed to fact-checking and truth-finding in relation to the MH disaster, acts of terror committed by ISIS and the Syrian civil war. Democracy is based on fair representation. The short films in this screening open a discussion from mathematics as a way of thinking and representing reality to the current political environment in the Netherlands.
New forms of social governance and activism provide alternatives for digital societies trying to reinstate transparency and accountability into the networked system. Can we think of a big data communism, or a digital welfare state, or only techno-capitalisms? What are the infrastructures of trust for a digital society? During this informal talk with the curators, speakers and artists we want to share and discuss the questions, statements and ideas expressed in the festival so far.
What new understandings has the program offered? Can we already imagine new ways to counter the algorithmic superstructures with creative and critical strategies? Everyone is welcome to join. This programme is free of charge. The curators will introduce their festival programme to you.
Surveillance and data collection in smart city projects enhance our public spaces, but also bring a fear of militarized control. In contrast, designers and artists challenge our urban experience in games and augmented reality applications. What is the potential of these technologies for e-governance and e-participation? In a world shaped by signals and codes, technology often becomes the lens through which identity and selfhood are transformed. The films in this program tell the human and inhuman stories across the simulations and real environments in order to question the politics of representation and imagination.
Advanced algorithms such as highfrequency trading have radically changed the socio-economic and technological structure of financial markets. Automation has always been a part of cinema, from perforation on the analogue film to video codecs. This screening will highlight the current algorithmic manipulations of cinema through advanced algorithms and neural networks, with a live presentation from Jan Bot. Algorithmic superstructures are the source of a new computational aesthetics and realism. Particularly with the development of machine learning, artists are exploring questions of representation and meaning-making.
Rather than attributing agency to algorithms we should focus on the question what kind of algorithms are inserted into what kinds of socio-economic models. Evgeny Morozov will discuss algorithms and how they are applied in the context of broader reflections on geopolitics and the technological competition between China and the United States.
New technologies offer tremendous opportunities to build better futures. Open source and grassroots projects around civic tech, data literacy and software infrastructure are sources of innovation and building communities. This talk will discuss how we can look past bleak sci-fi dystopias and focus on how technology can help improve society.
According to Adam Greenfield, the familiar contours of everyday life are already being colonized by information processing. What kind of future will this bring us? If we hope to retain any influence over the shape of the world to come, we need to develop critical awareness of the technologies we embrace, as well as the modes of resistance available to us. This keynote is part of the opening programme that will start at HyperNormalisation , preceded at Everything According to Wikipedia with an introduction by author Maxim Februari. Unless otherwise announced, each event will be in Dutch.
On 16 September at I am an artist and researcher whose practice brings together technology, literature and drawing to create both art and critical writing. I am very interested in working with abstract collections of information or data, particularly self-generated data sets, to create new and unusual narratives in a variety of mediums, and how new technologies, such as machine learning, can be used to translate them clearly to an audience.
I work heavily with technology at both the front and back end of projects what is exhibited as well as the research that goes into the piece. I am interested in the connections and spaces between the tangible and intangible world — for example, the connections between race and algorithms or love and emails. I am currently working with and researching the creative potential of machine learning, and how it relates to drawing and painting.
In this experimental short, the viewer is forced to role-play through the repeated employment and alteration of the text, sound and image until his or her expectations have been truthfully realized. His film work has always attempted to transgress and interweave the boundaries of what defines fiction, documentary and experimental film genres. Have a listen to the talk he gave then and join us again this time! Buy your ticket here! Have a listen below to a talk she gave previously about using data for the public good. With each gesture we make and every act we undertake we transfer information, information that is part of our interaction with the people that are close to us and with the institutions and concepts that define our society.
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In the past these processes mostly happened directly from one human to the other, without an intermediate. Only the most important communications where recorded and archived, in contracts, treaties, paintings or books. With technological developments in the 20th century, the invention of the Internet and the rise of big data, this situation has changed radically. We have created systems that record and archive almost everything we do and virtual realms to mirror the physical world we live in.
What we do and how we express ourselves is tracked, quantified and coded. The datafied individual is categorised and stored in massive databases that are built and managed by companies and governments. We are allowing ourselves to be commodified and manipulated in systems of predictive analytics and micro-targeting and the amounts of private data we are handing over every day of our life, is unprecedented. What will happen now that the way these systems function is determined more and more by artificial intelligence and algorithms?
Film programme organised in collaboration with the Werkleitz Festival in Halle When: Sunday 21 October Panel organised in collaboration with the Retune Festival in Berlin. Silent Green, main stage and discussion area, With their help, artists can generate new texts, sounds and images based on their chosen data, explore questions of machine perception and imagine futures of human and machine co-existence. What are the new forms of storytelling, design and expression made possible with machine learning? How do these tools influence the artist? The role of computer graphics in news reporting and truth telling has a long history, from weathermen to intricate chromakeyed maps of warzones used by news presenters.
As computational power continues to increase exponentially, and with new technologies like machine learning, the ability of these graphics to accurately simulate reality is becoming a worrying reality. Over the last few years, several news programs have used video game footage in stories about global wars and one of the most widely circulated images of a drone, used extensively to this day in reporting on covert warfare is itself a rendering.
The ability of computers to fake reality convincingly is going to become more and more of a critical problem as hackers, extremist news organisations and politicians seek to control the media narrative through increasingly convincing visuals. This panel will consider and speculate on possible futures for rendered realities and suggest strategies for regulating or countering artificial realities created by computation.
Evgeny Morozov is the author of The Net Delusion: The Dark Side of Internet Freedom. He is a contributing editor to Foreign Policy and Boston Review. He was formerly a Yahoo! Eliot Higgins is the founder of online open source investigation collective Bellingcat and the Brown Moses Blog. Eliot focuses on the weapons used in the conflict in Syria, and open source investigation tools and techniques. Sam Lavigne is an artist and educator whose work deals with data, surveillance, cops, natural language processing, and automation.
Donna Verheijden Arnhem, is a graphic designer and videographer. Verheijden graduated from the Sandberg Institute. Her main research focuses on mass and social media, its seductions and underlying power structures. Kyriaki Goni is a visual artist, researcher and educator working across media. She focuses on the relations and interactions between technology and society. Through installations and narration she investigates subjects such as power of information, perception and construction of the self, memory, oblivion, death.
A continuous and multi-layered dialogue with the public is vital to her, therefore her work includes workshops, talks and essays. Marina Otero Verzier is an architect based in Rotterdam. With the After Belonging Agency, Otero was Chief Curator of the Oslo Architecture Triennale , which addressed the implications of architecture in contemporary processes of displacement and identity construction. From Otero was based in New York, where she was Director of Global Network Programming at Studio-X, a global network of research laboratories for exploring the future of the built environment, which was launched by the Graduate School of Architecture Planning and Preservation at Columbia University in In , as a Fulbright Scholar, she graduated from the M.
Albert Jacob Meijer studied chemistry at the University of Nijmegen and communication science at Wageningen University. After finishing his studies, Meijer was responsible for knowledge management at a Dutch organization for development aid and he worked as a consultant with a small Dutch IT firm. In November Meijer received his PhD at Erasmus University Rotterdam for a thesis on parliamentary and legal accountability in the information age. He teaches public administration and policy sciences at the bachelor and master level. He does research on technology and governance.
The platform enables us to explore shared research desires through art, design, writing, education and multidisciplinary collaboration. We continually experiment with different modes of working and have shifted roles from being artists, designers, editors, film directors and project organizers to educational facilitators and lecturers. Throughout our development we have critically reflected upon what it means to produce politically engaged, de-colonial storytelling from our position as non-Western artists working between Europe and the Middle East.
Charlie Clemoes is a writer, editor and podcaster, originally from the South West of England and currently living in Amsterdam. He is an editor at Failed Architecture and co-host of the Failed Architecture podcast. He is also part of the Amsterdam-based design platform fanfare , principally as co-host of fanfare tetatet.
Coming from a background in critical urbanism, his work often concerns the role of culture and technology in both reproducing and challenging the way that power is distributed in cities. Anna Ridler is an artist and researcher who lives and works in London. She is interested in working with abstract collections of information or data, particularly self-generated data sets, to create new and unusual narratives in a variety of mediums, and how new technologies, such as machine learning, can be used to translate them to an audience.
She is currently working with and researching the creative potential of machine learning, and how it relates to drawing and painting. Mario Klingemann is an artist working with algorithms and data. He explores the possibilities that machine learning and artificial intelligence offer in understanding how creativity, culture and their perception work and incorporates latest scientific research in his generative art practice. Adam Harvey is an artist and researcher based in Berlin exploring societal impacts of networked data analysis technologies with a focus on computer vision and counter-surveillance.
He is a graduate of the Interactive Telecommunications Program at New York University and previously studied engineering and photojournalism at the Pennsylvania State University. His work includes websites, performances, routers, installations, startups, armies, and manipulated found images, frequently juxtaposing or consolidating technically dichotomized presentation realms.
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Dullaart has curated several exhibitions and lectured at universities and academies throughout Europe, most currently at the Werkplaats Typografie. Graduate School for the Humanities Cologne. Pictures and video of the Impakt Event: Keiken are a collaborative networked practice, working with artists and musicians who merge the latest technologies such as VR with music and interactive contemporary art.
Keiken are often comprised of multiple collaborators due to its immersive and expansive nature merging multiple voices and mediums to create immersive experiences. In order to see an all encompassing future and test-drive implications. In our self-driving cars we accelerate through crapitalism, piles of data and knowledge, trying to not steer into a strange direction. We look at our out of date, emotional compass, not one way is reality. We throw our compass out the window and look straight ahead.
Who is in control? Blinded by subjectivity, we are about to crash. No longer scared of death, we can wake up to open source, our phygital sunrise. AI new day, AI life 4 u and me and our multiple bodies. Keiken, meaning experience, is the nucleus of their philosophy and practice where they strive to push the boundaries of immersivity. Using narrative and game theories they activate networked spaces and stories for the audience to live out.
This is then used as a site in which the consciousness of archetypal stereotypes and figures are used to unravel the futures and ramifications of our accelerating technological age. They were the first artists to have their virtual reality film projected 22, light years into space by Jon Pettigrew for Planet3artnews. Jaromil holds a Ph. Dries Depoorter is a media artist who uses programming language and digital media to create his work, usually concerning the internet. Currently his main focus lies in giving away his own privacy by the means of software. How is reality made?
The space of the real can become elusive when confronted with new data structures. The films in the program address the glitching and making of reality, from Youtube conspiracies and game worlds to the simulations of a future dystopia. How can we construct reliable resources of information and trusted networks through consensus? What are ethical approaches towards the use of algorithms in these systems?
The workshop can hold a maximum of 15 participants. With an interest in automation practices, disruption of the interface and peer to machine knowledge production, her practice consists of research investigations into technical and bureaucratic knowledge sharing systems. What is personal data in an age when our data is everything but personal?
Not just any data, but our data. In there will be an estimated billion connected devices — 14 for each person.
With brands such as Haute Mort, Seeing is Striking, and The New Infinity, visitors of the Apocalyptic Luxury Fair enter the exclusive realm of arms and survival marketing; a happy merger of luxury and innovation. I am currently working with and researching the creative potential of machine learning, and how it relates to drawing and painting. The internship can be combined with research. Algorithmic superstructures are the source of a new computational aesthetics and realism. The list of speakers, which includes Evgeny Morozov, does nothing to lift this feeling of having been here before. He will build on the discussions between the EMAP artists and the partners of the project.
Will all these new technologies really make our lives more efficient, healthier and safer? The Glass Room Experience explores the companies and mechanisms that make our everyday technologies as well as connect the Internet of Things IoT. Play Fake or Real to see how smart you are in the world of smart devices. Pick up a free Data Detox Kit, our easy, 8-day digital privacy guide that gives you simple steps to take control of your online life, not to mention your smart devices. It is presented by Mozilla, with concept and content by Tactical Tech.
Tactical Tech is a Berlin-based non-profit organisation working at the intersection of technology, human rights and civil liberties. They provide trainings, conduct research and create cultural interventions that contribute to the wider socio-political debate around digital security, privacy and the ethics of data.
Fake News presents this hearing on three screens that each use different Instagram Face Filters. He regularly gives presentations on his artistic explorations of technology, both in the art world and through institutions that promote innovation, such as TEDx. He is currently based in Utrecht, the Netherlands. The group develops situations of disturbance, speculation, and debate, challenging the ideology of innovation and stimulating the dissemination of alternative narratives.
Download to participate now at www. A device which performs intricate functions but whose internal mechanism may not readily be inspected or understood. Formally borrowing from internet aesthetics ranging from YouTube conspiracy videos to instructional desktop demonstrations this piece uses new imaging perspectives to explore the notion of the Black Box as gesture of power and ideology, gestures founded in faith and illusion. The Black Box has sublimity beyond visuality; by definition it is non-visual, a prosaic non-object, yet it has greatness beyond all possibility of calculation, meaning, imagination and imitation; a vertiginous construct; a hall of mirrors.
This is the paradox but also the power of the Black Box. His work is concerned with the politics and ethics of image culture. In this fashion his work often reflects the experience of browsing in which a hyperlink narrative is generated through the seemingly arbitrary montage of different images, ideas and information. Using the visual tropes of a tech-conference presentation, trashy YouTube video and film essay, Peters sifts the foundations of science and mathematics, to disclose how these languages buttress power and galvanize authority.
His collaborative and solo works take the forms of sculpture, text, sound, and video, and his research engages emerging technologies, economic imaginaries, prison education, and the histories of science. Welcome to our temporary filter bubble!
Each round one player spreads news by reading a hidden message with a special mask. XYZ problematizes the present-day interpretation of data through visualization. The digital turnover brought about an increased codification of our everyday life which is not necessarily representational. In this work the human voice gets singled out as the interface that echoes in vain search for responsiveness.
The video is structured as an online tutorial that questions standard modes of communication in an information age. His principal topic concerns the politics of digitization, on screen, off screen and in-between. Most recently, he has worked on the automation of vision and language following the digital turnover.
In his practice he employs a strong research element and his work is most often situated within digital media taking on forms of moving image, video installations, texts and lectures. Lee Centenary Scholarship from her hometown, Hong Kong. Using her background in contemporary dance and physical theatre, she also works on refugee theatre projects at the Dutch National Foundation for the Promotion of Happiness de Vrolijkheid.
The future is full of uncertainty, danger, and fear. We await constantly evolving threats, conflicts, wars and global crises. With brands such as Haute Mort, Seeing is Striking, and The New Infinity, visitors of the Apocalyptic Luxury Fair enter the exclusive realm of arms and survival marketing; a happy merger of luxury and innovation. Welcome to the Apocalyptic Luxury Fair!
Brought to you by Raphael Universal: The VR installation and video aims to immerse the viewers into a hyperreal future scenario — the promise of an impending catastrophe that has to be survived with spectacular taste. Luxury Survival Fair — exceptional showcase of luxury, security and innovation of the future. With a background in academic art, she is engaged in exploring the boundaries of visual communication, design, and new media.
This performative and immersive lecture will unfold the implications of artificial intelligence for the traditional human narratives of reality, fact, fiction and truth in a techno-capitalist society. In , the market encouraged teachers to use the newly released simulation game, SimPark, as a means to educate children about ecology. The introductory pages the manual claim that the programme provides progressivity and alternative learning. However, the deeper one delves into the system of the game the flaws emerge one by one.
The recommended way of starting the simulation is to introduce flora which in turn prompts the algorithm to add animals. Introducing human objects into the park invites a human population. They are ill behaved, straying from their paths to the dismay of the animals and most notably, they produce garbage. In order to get rid of the human waste, one is instructed to populate the park with scavengers such as rats, raccoons and black bears, as these have garbage listed as a nutrition preference.
Humans bring a higher influx of money than your yearly tax revenue and money is a main component to managing your ecosystem. With insignificant funds, it is not possible to add new life.
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In essence, the game insinuates that without money not even the ecosystem can work. We have to assert human management to ensure stability. Spore was released 12 years after SimPark by the same software company. In contrast to its predecessor, you start out as an amoebalike creature and go through both bodily and moral evolution until it is time to colonize the whole galaxy.
Thus the work concentrates itself around the manifestation of our anthropocentrical power paradigm. Out of the darkness a sound emerges. It echoes and drones. Terrified people take to the streets in search of its source. They get their cameras out and document the sky, searching for an author. Unfortunately, the screening of the new film by Emma Charles and Ben Evans James, When Objects Dream, had to be cancelled due to unforeseen circumstances.
However, we are happy to present a new programme for the screening, entitled Earth: As Above, So Below. In the long history of humanity, the Earth has been long seen as a site of struggle, where the human intervention brings ecological catastrophes and diminishing of the natural resources. In the age of data, however, it also has to be re-imagined in relation to the new algorithmic governing forces and to the material infrastructures that permeate the depths and the skies, encasing it in the vast interlocking structures of the planetary computation.
The hybrid field of art and technology is seeing a radical change in the approaches taken by its artists. The work of the artist Jeroen van Loon is a quintessential example of this emerging approach. He embeds himself in subjects such as the production of identities through social media Kill Your Darlings , , pre-Internet societies Life Needs Internet , — , and the evolving market in human genetic data Cellout.
Van Loon makes a significant contribution to our understanding of and relationship to contemporary digital culture and the new realities produced by technological advancement. This contribution is a necessary and timely one, pulling our attention away from the direct, everyday consequences of technology to cast light on its broader impact and structural effects. She directed several award-winning short fiction films and stage productions.
Her video essays about film and media are regularly screened in academic contexts and film festivals. Lee is a US-born, Germany-based filmmaker and critic. Over the last ten years, he has produced over video essays exploring film and media. His award-winning film Transformers: He is now Professor in at the Merz Akademie, Stuttgart. His video work can be found at www. Over the years, though, those shifting sands have gradually exposed this piece of epic landfill, bringing souvenir hunters to gather where archaeologists or Egyptologists used to tread.
Patrick Hough GB, b. Questioning the relationship between humans and objects both virtual and physical his practice reflects upon the way in which cinematic images are indelibly embedded in our perception of history. His new research centres on Irish Bio-archaeology, marking a shift in focus from history as represented in cinema to raw archaeological matter in itself. Bits of a data were taken out of the MECC game software via a text editor resulting in glitched but playable games. Melissa Barron US is an artist currently living in Chicago. She is interested in the history, software and culture that developed during that era of computing.
In there was an increase of mass anxiety surrounding democracy in Europe and the United States in the wake of Brexit and Trump. Part of that anxiety was fostered by the intensive use of harvested personal data during the political campaigns. Parties from both the left and right used Microtargeting, a hyper-personal marketing technique that utilised this data. This technique was reported to be able to sway the voting tactics of any individual within its database. However, time and time again Microtargeting has been proven to be of little to no effect. Targets investigates this misplaced anxiety by bringing leading researchers into a narrative-like discussion based on their specific fields of expertise together with the results of a psychographic advertising generator.
Benjamin Earl GB is a designer and writer interested in digital media, archives, nature and networks. His work investigates the implications of digital media on behaviour in both on- and offline spaces. The Finding Fanon series is inspired by the lost plays of Franz Fanon, a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. David Blandy has established his terrain through a series of investigations into the cultural forces that inform and influence him, ranging from his love of hip hop and soul, to computer games and manga.
His works slip between performance and video, reality and construct, using references sampled from the wide, disparate sources that provide his and our own individualist sense of self. With works that examine his communal and personal heritage — in particular, the intersection between pop culture and the postcolonial position, Achiampong crate-digs the vaults of history.
Louis Henderson is a filmmaker who is currently trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. The working method is archaeological. Computers Watching Movies shows what a computational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches, where the sketching process is presented in synchronized time with the audio from the original clip.
Viewers are provoked to ask how computer vision differs from their own human vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative or historical patterns of vision watch the same things? Computers Watching Movies was computationally produced using software written by the artist.
This software uses computer vision algorithms and artificial intelligence routines to give the system some degree of agency, allowing it to decide what it watches and what it does not. Six well-known clips from popular films are used in the work, enabling many viewers to draw upon their own visual memory of a scene when they watch the work. The scenes are from the following movies: Her research focuses on early modern cultural history , with special attention for the history of emotions and the body, cultural economy, history of knowledge and digital humanities.
She has published about the history of pornography, radical Enlightenment, cultural infrastructure and translation machinery. Christian von Borries DE produces media from other media. He is a conductor, composer, filmmaker and producer of site-specific psychogeographic projects. He is an anti — copyright activist and lives in a greenhouse in Berlin. While a classics professor recalls the image of an ancient political figure, a neural network tries to create one from online searches.
Search results
Emma Verhoeven NL is a designer based in Rotterdam. Interested in the role of mass media and technology in human minds, she thinks out loud through playful video works and installations. She is trying to disrupt reading habits by shifting the context or working with the materiality of words rather than changing wording itself. Jan Bot is a computer program that works day and night creating experimental films that match early twentieth century footage with current trending events.
How can you breathe new life into an old film collection? Film archives devote endless amounts of time and energy to the preservation of old films.
But this work has little significance if these treasures remain hidden from the audience. Jan Bot is a computer program designed to generate short experimental films based on two ingredients: On its website, www. Each day Jan Bot chooses one of these videos to post on social media.
To produce this huge amount of original work, Jan Bot makes use of artificial intelligence services found by its creators on the web. The results are unexpectedly unique. He has made installations, performances, exhibitions, experimental films, music videos, and web projects. He is author of the Quentin trilogy, an existential foray into the fleeting borders between memory and technology today. He co-directed the experimental feature Manuel de Ribera, which had its international premiere in Rotterdam International Film Festival, and won the prize of best Chilean film in the Santiago Film Festival.
In the Netherlands, Pablo followed the master program at the Dutch National Film Academy, where he first experimented with archival filmmaking for the web. Jan Bot is a direct consequence in this line of work. Blade Runner—Autoencoded is a film made by training an autoencoder—a type of generative neural network—to recreate frames from the film Blade Runner.
The Autoencoder learns to model all frames by trying to copy them through a very narrow information bottleneck, being optimized to create images that are as similar as possible to the original images. The resulting sequence is very dreamlike, drifting in and out of recognition between static scenes that the model remembers well, to fleeting sequences—usually with a lot of movement—that the model barely comprehends.
Terence Broad GB is an artist and researcher based in London. Entire suburbs of Phoenix, Arizona are overgrown with tumbleweed. In Abu Dhabi, palm trees are dying among half-built film studios and sports complexes. Elsewhere, new man-made deserts take shape as shopping mall replicas of Venice, inhabited by the living dead…. At the heart of so many holographic simulations and replicas, in a world custom-made for selfie and instagram tweets, he reveals emptiness and potential violence.
This unique act has amassed theoretical speculation, centered on the Dutch ideal of having nothing to hide. The borders of the private become intimately blurred with the public, separating the outside from the inside, and uniting the two through reflection. Cheung uses the window as a metaphor for the ideology of liberal transparency and openness in Dutch politics. As noted by the Dutch political scientist Prof. Tom van der Meer, The Dutch system is highly proportional which is radical in its principle of when people vote.
The consequence there is that if there is distrust in society, that distrust gets reflected in parliament quite directly, quite easily… so parliament has a chance to cleanse itself, to give people a voice, to canonise distrust in parliament. In the end that is better for democracy. Since the Proportional Representation system was implemented in , no party has ever approached the seats needed for an outright majority, therefore the Dutch parties have consistently worked together to form coalitions, in order to best represent the values for all Dutch people in all its liberal and illiberal shades.
Seecum Cheung GB is working primarily with moving image. Her current work is an ongoing series of films based upon interviews and encounters initiated by the artist with leading specialists in the field of right-wing radicalism, human rights organisations, and activist refugee groups. Her films include coverage of the Dutch elections The Dutch Window, with writer, musician, broadcaster and curator Morgan Quaintance, and extensive interviews on the rise of the far-right in Germany with political journalist Richard Cooke with SBS Public Broadcasters Interview with Lennart, She is currently directing a series of films as commissioned by NHS England, in collaboration with human rights equality charity brap, to address the inequalities that BME patients face in cancer care-services.
The artists have retrained these image recognition networks to include European artefacts, creating an image dataset. It questions the networks capacity to learn on the basis the collected images. Visitors can access the EuroNet via the touchpad. On the technical side, the image dataset was collected using a combination of manually and semi-automated image gathering techniques. More popular categories, such as Whiskey , were easier to obtain using semi-automated image scraping with imsearch-tools , while others were manually pieced together.
The bounding boxes that define the objects within the images were all manually annotated using both in-house and crowdsourced labor. Each class contains approximately images. The vending machine of scratch tickets where visitors can win fake followers, questions the idea of new publics created around popularity through follower numbers in the attention economy. Global Direct suggests a visionary political philosophy promoting global participatory democracy driven by information technology and the failure of current political systems.
Proposing ideas around global direct democracy enhanced through the opportunities offered by distributed network technology for participatory decision-making, transparent accountability and civil awareness, the artist created 15 diagrams illustrating new models for global governance, justice, and economy. For this new political civilization, Global Direct aims to inspire new protocols, procedures, and policies that can cope with the social complexity, crises, and speed of contemporary life.
Accompanying the diagrams are video statements of visionaries which informed the artists research. For more information see: A war experienced in exile through images from the news, a correspondence with home, and interviews with fellow ex-patriots. A reflection on the relativity of objective news media and collective memory. Film maker and visual artists. His work centers on cultural criticism and is concerned with analysing the hidden mechanisms of ideology and how they form and guide reality. Frequently Asked Questions — FAQ is made of sampled footage from fiction films, documentaries and archive footage.
A new story is woven together from old impressions, pondering and re-meditating on questions such as love, images, poetry, science, war, history and death. A contemplation on distant representation, empathy, the art of war and the philosophy of precision. In 29, the constant zooming into certain landscape features displays a constant exploration for an argument. During editing crucial data is removed from the mpeg-stream, forcing software to re-interpret visual information.
This drawing bot consist of a rudimentary neural network that is fed by the constant data—stream of anarchistic message board 4-chan. Out of this data the algorithm seeks out sentences on the subject of artificial intelligence. Thereafter, the bot analyses the original sequencing of neighbouring words or groups of words and subsequently generates chains of words that are related by statistical probability.
When writing down these sentences the bot tries to generate handwriting. Coralie Vogelaar is a visual artist — with a graphic design background — conducting systematic studies revealing mechanisms happening in our visual culture. She uses quantitative research methods such as image and emotion recognition software and eye-tracking.
Vogelaar graduated in at the design department of the Sandberg Institute and completed in a residency at the Rijksakademie van beeldende kunsten in Amsterdam. This installation continuously prints tweets by Donald J. Trump as he publishes them. The work emphasises the structural changes in political language and the usage of digital mediums constituting new public forums as direct and unmitigated form of communication. By translating the digitally transmitted word into material, the piece questions the meaning of authenticity and volatility.
Does authenticity mean truth, and does digital mean non-permanent? Do we read a text differently if it has physicality that we can touch with our hands? The media used are open-source soft- and hardware and letterpress, all of which have a place in creating universal access to information and knowledge.
Open-source additionally relies heavily on the support of a community to function. It is this combination of communal and individual effort which allows this work to exercise control— and, in a way, power—over the words of a so-called authority. This series of letterpress prints reacts to the current political climate by thematising the rhetoric of Donald J.
Segments of three of his major speeches from the past two years [announcement of his candidacy, post-election and inauguration] are dissected. Presented as visual poetry, the carefully constructed system that lies underneath is laid bare. The video illustrates the dynamic relations of the contemporary data economy.
If data mining is considered to be the new gold, if humans could be considered to be contemporary mines? The multi-faceted crystal seen in the film called the D. Each facet of the crystal contains moving images from the archive investigating the role of the prosumer, clickbait, the databroker as well as their Freemium services, which start out free as long as the user shares their data.
To what extent are we caught in the loop between what we like and what we are recommended to like? How can we train ourselves to recognise deceptive imagery? How to live in a post-privacy era? During times of drastic political changes, polarising mediascapes, algorithmically programmed information flows, it is of vital importance to strive for a bigger diversity of images and voices. It shows a tulip blooming, an updated version of a Dutch still life for the 21st century.
The appearance of the tulip is controlled by bitcoin price. Tulips growing in popularity were considered a luxury item in the s, reaching extraordinarily high prices on a type of formal futures market where contracts to buy bulbs at the end of the season were bought and sold. In this piece, the stripes depend on the value of bitcoin, changing over time to show how the market around crypto-currencies fluctuates. This piece is the training set — the information given to the neural network from which it learns the characteristics and features of tulips — that was used to create the work, Mosaic Virus.
Ten thousand, or a myriad, of photos of tulips were taken by the artist over the course of tulip season in the Netherlands and each has been categorised by hand, revealing the human aspect that sits behind machine learning. For machine learning to perform reliably it requires a large quantity of data usually several thousand instances on one specific category. Once data sets are linked, marketers can then target precise user segments based on different concatenations of demographic terms. Using this list the artist wrote a computer programme which randomly selects two behavior categories and one interest category from the ad creation page, then overlays that text on top of automatically selected stock footage to generate an ad-like video.
The piece was first developed in such a way, that the program logs the artist in to Twitter, uploads the video, and auto-generates a new ad campaign, targeting the same groups used to generate the video. Users then see, in video form, the demographic categories that Twitter believes represent them. The list sorted by user count can be seen in the displayed book together with the auto-generated ad-campaigns. It explores the concept of parametric democracy in which citizens and the AI are in constant communication and feedback on matters of concern.
On these grounds the AI is able to constantly update its predictions and decisions. The film is a series of vignettes into a speculative future of ubiquitous computation, looking at it through the lenses of citizens, objects and AI. It speaks in a poetic language while contemplating political and philosophical questions on humans and technologies. The Aegean archipelago, located in the Mediterranean Sea, connects but also divides two continents and is therefore of crucial political, social and economic importance in the area. For long, the region has challenged established forms of sovereignty, identity and power.
Thus, after many decades of struggles and decline the Aegean Datahaven was established, organised as a traditional cooperativism, to reconstruct nodes and reconnect the societies of the islands. Their vision is to embrace privacy and ownership of personal data, standing for sustainability and collaboration between the islands while opposing any kind of corporate cloud. Visitors can explore the characteristics and traits of the individual data centers from the website. The Bottled Songs is a series of video letters investigating desire, power and terrorism in online and social media.
The videos give a multifaceted account of the images, people and networks that make up an unruly sphere of online terrorist media. In addition to researching videos and images in relation to the subject, the artists also closely analyse the interfaces through which they are found and experienced, as well as other artifacts that inform their meaning, such as comments, view-counts and links.
As such they use screen recordings as a method of online ethnography. Presented in this exhibition are Chapters 3 and 4 of the series. This leads to an uncomfortable first-person exploration of the gender dynamics behind ISIS recruitment strategies. They depict the increased documentation of war crimes in digital formats, captured by mobile devices and uploaded on social media platforms such as Youtube, Twitter, Facebook.
The work focuses on the instabilities and insecurities created through the sharing, circulating, and manipulating of media in regards to the truth claims produced by different instances. This case is taken as an important and complex example, since they have been the grounds for Western intervention in the Syrian civil war, despite there being no confirmed proof of such attacks.
The investigation takes viewers through witness testimonies, news coverages, and found videos to question the narratives and truth values of the documents. By using subjective methods of analysis, the artists slow down specific key images and details to allow for a questioning of the evidentiary character of the constructed stories.
Video and pictures of the Impakt Event: We all know the images of that open car that slowly drives through the streets of Dallas, the President happily waving to the crowd. And then, those few fatal shots. What must it have been like to be near that car? Interdisciplinary Dutch experience design collective Polymorf designs by any media necessary to create speculative design and multi sensory experiences using cutting-edge technologies.
About Sense of Smell: About the Betweter Festival: During this indoor festival the visitor can explore a dynamic programme of science, art and culture throughout the evening. In the festival will be organised for the third time in TivoliVredenburg, where a large number of halls will be filled with research stories, music, film, theater, experiments and performance.