LINK: Matthew Doyle
LINK: Matthew Doyle
"J'ai fabriqué un rouge à lèvre à connecter sur l'ordinateur pour pouvoir me maquiller et jouer à counter strike en même temps. Pour ce premier essaie je joue contre des bots, mais les prochaines vidéos seront en réseau contre d'autres joueurs sur Twitch." (Chloe Desmoineaux)
Chloé Desmoineaux lives in Marseille, France. She graduated from the ESAA in Aix en Provence and, in 2014, she joined the collective Freesson in Avignon, which supports creativity, electronic music, and events about digital art and culture. Inspired by speculative fabulation, tactical media, and cyberfeminism, her work deals with gender, identity and inter-species relationship. Her practice is based on hacking and experimenting with digital tools such as programming, electronic, video game interventions, interactive installations, and online performances. Her media of choice are code, video, installation and performance and her exhibition space is both online and in the physical world. She also organizes the ongoing Art Games Demos initiative with Isabelle Arvers, dedicated to exhibiting and presenting works of emerging or established artists as projections, live performances, video game demos, prototypes and/or installations.
Lipstrike will be on display at the 2017 UCLA GAME Festival on November 14, 2017.
LINK: Chloe Desmoineaux
Brent Watanabe's follow up to San Andreas Streaming Deer Cam (2016) is titled San Andreas Community Cam, a live video stream from a computer running a modded version of Grand Theft Auto V, hosted on Twitch.tv. It's painful to watch (lots of crying involved) and yet uncannily compelling. It was made for post-human viewers in mind. The side comments are obviously an inherent part of the artwork and, like the activities of the AI controlled characters, are unscripted. Fascinating.
As the artist writes:
The mod follows the citizens of San Andreas, a fictional state in GTA V based on California. The citizens are programmed to control themselves and make their own decisions, with no one actually playing the game. The citizens are 'playing themselves', with all activity unscripted. The piece is presented as a live stream on sanandreascommunitycams.com.
LINK: Brent Watanabe
CALL FOR SUBMISSIONS
Vector Festival 2018
Topic: Born Digital
Deadline: Saturday, December 23rd 2017 (midnight)
Now entering its sixth year, Vector Festival is a participatory and community-oriented event showcasing artistic practices that engage critically with new media and digital game technologies. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, panels, and workshops, Vector Festival acts as a critical bridge between emergent digital platforms and new media art practice. In recent years, the festival has broadened its scope to include a wider spectrum of works critically engaging with many aspects of emerging digital technologies. The festival is proud to be a participatory and community-oriented initiative organized by InterAccess in Toronto, Ont.
Since 2013, Vector Festival has developed an active presence in regional and international communities related to co ntemporary art and critical game cultures. Curators Martin Zeilinger and Katie Micak invite you to contribute artworks for consideration toward festival programming, which will include a feature exhibition at InterAccess throughout the month of July and August, along with off-site screenings, performances, workshops, and panels from July 12-15, 2018. Note that Vector Festival does not charge submission fees to artists applying to participate.
This iteration of the festival turns its focus on the births (and deaths) of the digital. What might it mean to witness the birth of a new technology, or to be ‘born digital’? How does the term ‘digital native’ function in relation to this? How can technologies mold or inform identity? How do artists adopt, advance, hack, or dismantle digital technologies, to critically reflect on their meanings and implications? How does analogue detritus live on in the digital? What comes after the digital, how do post-human ist, post-digital, and post-Internet artistic perspectives inflect these questions?
Invoking everything from endlessly spawning game avatars to ‘permadeath,’ from media-archeological excavations to futurological speculation, from generative digital creation to the digital purgatories of discussion boards and spam, we invite emerging and established artists from diverse perspectives and backgrounds to contribute their critical explorations of these and related concerns and interests.
The curators seek works for the following programs:
Artworks (including interactive installations, experimental game mods, sculptural work, screen-based work, sound art, etc.) for the festival flagship exhibition
Digital artworks that can be exhibited online
Film/video/machinima works for the festival screening
Performance-based propos als (including sound art, live coding, chipmusic concerts, as well as performances and interventions in virtual and public spaces.
1. Project description and artist statement (2 pages maximum)
2. Documentation (maximum five images and one video; ideally, please provide an online streaming link)
3. Detailed description of technical requirements (please outline materials provided by the artist and materials expected from the exhibiting venue)
4. Current CV (3 pages maximum)
5. Artist biography (100 words)
Send your submissions by Saturday, December 23, 2017 at midnight to email@example.com using the subject line VECTOR 2018 SUBMISSION. Attachments should not exceed 15MB. Please indicate which program your submission falls under. All artists selected for participation will receive artist fees, as well as support to apply for external funding.
About Vector Festival
Founded in 2013, Vector F estival is a participatory and community-oriented initiative dedicated to showcasing digital games and creative media practices. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, and workshops, Vector acts as a critical bridge between emergent digital platforms and new media art practice.
Founded in 1983 as Toronto Community-Videotex, InterAccess is a non-profit gallery, educational facility, production studio, and festival dedicated to emerging practices in art and technology. InterAccess’s mission is to expand the cultural significance of art and technology by fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition. Annually we execute multiple exhibitions, a full curriculum of skill-building and critical theory workshops, and a broad range of discursive events that explore the impact of technology on the social, political and cultural aspect s of contemporary life. Our studio space facilitates the circulation of skills and techniques required to produce the work we exhibit in our gallery space.
InterAccess Gallery Hours
Tuesday - Saturday, 11-6
Open until 8pm each Wednesday
Admission is always free
9 Ossington Ave.
For more information contact:
Festival Curators, Martin Zeilinger and Katie Micak
Deadline: 2017-12-23 23:12:00
LINK: Vector Festival
ORLAN's first - and only - video game, is, unsurprisingly, about bodies. Virtual bodies that inhabit intangible spaces. Carnal art goes digital. To create Expèrimentale mise en jeu, the French artist conceived a cyborg-like avatar that performs in electronic spaces, subverting the traditional narratives that prioritize macho/male characters. Moreover, this particular game is about building - rather than destroying - the world. Gameplay is meant as an act of creation rather than destruction. The game is unfinished. As of today, ORLAN has completed three of the announced seven levels. Like Bill Viola's The Night Journey, Expèrimentale mise en jeu is a new kind of developing, updatable digital artwork. The game uses an interesting interface, the Myo armband, a wearable gesture control and motion control device. Such choice is meaningful: ORLAN emphasizes the connection between the virtual and tangible bodies.
Those who live in/visit Rome in the next few weeks will have the chance to see and play the game at the MACRO museum, which is hosting a major retrospective of Orlan's work curated by Alessandra Mammì. Titled Orlan – VideOrlan – Technobody, the exhibition will run until December 3, 2017.
ORLAN (b. 1947 as Mireille Suzanne Francette Porte ) is a performance artist who uses her own body and plastic surgery to create what critics have called "carnal art". Orlan's practice raises questions about the status of the corporeal - and its simulacral manifestations - in society. [read more]
Antonin Fourneau, eggregor8, mixed media, installation view 2016 Eniarof 20 – Roubaix
In this collective game, eight players try to control a single Pacman and navigate a maze. The artists challenge the notion that cooperation can lead to better outcomes than individual efforts. Originally produced in 2008, eggregor8 has been updated and exhibited around the world. Below is the official description of the project.
An eggregore is a concept of a «combined spirit», an autonomous entity or force produced and influenced by the desires and emotions of people united in a common goal. The art installation "Eggregor8" is a device where 8 players all try to control one Pacman. This video game is normally for a single player. The players share share together the same controller like if they put all their hands on the same lever to control a plane. Is there a perfect player? What happens when you combine the desire and reflex of several players into a video game? Can we get a guarantee to finish the more difficult game? Eggregor8 raises the question: Are we always stronger together or even more undecided and therefore much less effective?
eggregorate installation view, via Antonin Fourneau
In 2005, Antonin Fourneau received an Art Diploma from Aix-en-Provence Art School followed in 2007 by a post Diploma in Interactive Art in the Design School of ENSAD Paris. Since his graduation, Antonin has been focused on interaction and relation with popular culture. He created a collaborative project about innovation and new form of funfair named Eniarof.
LINK: Antonin Fourneau
David OReilly, "Everything", 2016; Photo: N. Miguletz, Copyright; Frankfurter Kunstverein
Perception is Reality: On the Construction of Reality and Virtual Worlds
October 7, 2017–January 7, 2018
Opening: October 6, 7pm
Steinernes Haus am Römerberg
Hours: Tuesday–Sunday 11am–7pm,
Participating artists: Thomas Demand, Alicja Kwade, Marnix de Nijs, Hans Op de Beeck, David OReilly, Manuel Roßner, Bayerisches Landeskriminalamt, Christin Marczinzik & Thi Binh Minh Nguyen, Toast
Curated by: Franziska Nori
The Frankfurter Kunstverein presents the thematic group exhibition Perception is Reality: On the Construction of Reality and Virtual Worlds. The invited artists will examine the new conditions of human perception in relation to technically constructed realities. As one of the first exhibition houses in Germany, the Frankfurter Kunstverein will integrate a new forward-looking medium, virtual reality, into a contemporary art exhibition. The exhibition will present a range of analogue and digital works, virtual reality works from recent artistic production, conceptual photography, installations, technical forensics applications as well as innovative games. Through their spatial juxtaposition, a kind of thought experiment will emerge for the audience, raising questions about the intellectual, emotional, and aesthetic implications of artificial visual worlds.
“The exhibition poses questions about the basic conditions of perception today and how we construct our own conception of reality out of them. Technological systems are connecting people, data, and processes more and more closely together. Immersive technologies will increasingly replace analogue surroundings with virtual data rooms, therefore radically changing the way that we interact socially, work, and how we organize our free time,” according to Franziska Nori, director of the Kunstverein and curator of the exhibition.
A matter left mostly to the experts until recently, VR technologies carry the promise of immersing the user into an augmented reality, a digitally created environment, and integrating them into a 360° perspective illusion independently of space and time. They aim to create the most immediate perception possible, incorporating the user’s senses and emotions, who is isolated from the real world by means of headsets and headphones, so that the user can then move and act within this virtually created reality.
Which industries will further develop the potential of this virtual experience space, and with what intent? It is a question of the influence on the viewer. Who conceives of and designs the content of a virtual experience? Which emotional and intellectual reactions should be triggered? Even if actions within a virtual arena of spectacle remain without any real consequences—from criminal offenses to bodily limit experiences—they produce an intense experience in the human brain which is perceived as real and exist as a new category on the spectrum of human experience within an individual’s neural structure, which is subsequently stored as a long-term memory.
What challenges arise for our brain when technically produced virtual worlds increasingly play a role in our lives? How real are our pictures, how real are our experiences? Which perceptions does our brain use to construct an idea, or its own idea, of reality? Which parameters do pictures need to fulfill in order for people to accept them as real?
The juxtaposition of analogue contemporary art and Virtual Reality stations creates a choreography throughout the Frankfurter Kunstverein, which makes crucial observations on the relationship between perception, consciousness, and knowledge-based reason and asks which idea of the world we derive from these.
The invited artists and designers create analogue and virtual spaces in which the viewer has both physical and mental experiences. They experience the spaces with their senses and try to gauge the limits of expectation, illusion, and reality in these constructed visual worlds. The exhibition will open up a mental space for contemplating the complex relationship between the conditions of perception, the resultant constructs, and the idea of reality in the light of technological innovations through immersive VR technology.
The exhibition will be accompanied by an extensive program of lectures by experts from various fields as well as public discussions and talks.
Kindly supported by: Kulturfonds Frankfurt RheinMain
In cooperation with: Bayerisches Landeskriminalamt
Parcours partner of: B3 Biennial of the Moving Image
Permanently supported by: City of Frankfurt am Main (Department for Cultural Affairs), Heymann & Partner, Frankfurter Sparkasse 1822, Nordisk Büro
Call for proposals ART GAMES DEMOS #3 Theme: The city
21 October 2017 at Cargo de Nuit in Arles
Art Games Demos is an evening imagined by Isabelle Arvers and Chloé Desmoineaux, dedicated to the exhibition of video artworks and video games demonstration.
We wish to present, during this evening, works of emerging or confirmed artists, local or international, between projections, live performances, demonstrations of games, prototypes or installations.
We are launching a new call for proposals ART GAMES DEMOS, for an evening organized as part of ON-Octobre Numérique at the Cargo de Nuit in Arles on Saturday 21 October 2017 (19h-02h) on the theme of the city: world city, city of utopia, generative city, town planning … This call for projects is open to students, artists, developers, game designers and any other person wishing to share their creations in the following areas:
Hacks, Alternative Controllers, Independent/Experimental/In development (PC, Mac, Android, IOS, Console, Paper), video/web, 2D, 3D, 4D, VR, installations, prototypes, music, UFOs, unclassifiable …
You can send us your proposals before October 6 by email to: firstname.lastname@example.org or email@example.com
For more information consult the Facebook page
ART GAMES DEMOS # 3 is organized in the framework of ON_October Digital – Encounters of creation, innovation and the digital economy 05/10> 19/11/2017 www.octobre-numerique.fr in partnership with Databit .me, MOPA School, PxL-Lan and the VR Festival.
Appel à projet SOIREE ART GAMES DEMOS Thème: La ville
21 OCTOBRE 2017 AU CARGO DE NUIT ARLES
ART GAMES DEMOS est une soirée imaginée par Isabelle Arvers et Chloé Desmoineaux, dédiée à l’exposition d’œuvres vidéo et à la démonstration de jeux vidéo ;
Nous souhaitons présenter durant cette soirée, des œuvres d’artistes émergents ou confirmés, locaux ou internationaux, entre projections, performances live, démonstrations de jeux, prototypes ou d’installations.
Nous lançons un nouvel appel à projetART GAMES DEMOS, pour une soirée organisée dans le cadre d’ON – Octobre Numérique au Cargo de Nuit à Arles le samedi 21 octobre 2017 (19h-02h) sur la thématique de la ville : ville monde, ville utopique, ville générative, urbanisme… Cet appel à projet est ouvert aux étudiants, artistes, développeurs, game designers et à toute autre personne souhaitant partager ses créations dans les domaines suivants :
Création vidéo/web, 2D, 3D, 4D, VR, Machinimas, Glitch, Hacks, contrôleurs alternatifs, jeux vidéos indépendants/expérimentaux/en développement (PC, Mac, Android, IOS, console, papier), installations, prototypes, performances, musiques, OVNI, inclassifiables…
Vous pouvez nous envoyer vos propositions avant le 6 octobre par mail à : firstname.lastname@example.org ou email@example.com
Pour plus d’information :
Art Games Demos #3 est organisé dans le cadre d’ON_octobre numérique – Rencontres de la création, de l’innovation et de l’économie numérique 05/10 > 19/11/2017 www.octobre-numerique.fr en partenariat avec Databit.me, l’école MOPA, PxL-Lan et le VR Festival.
LINK: Isabelle Arvers
LINK: ART GAME DEMOS
Interesting Decisions (2016) is a "neon-packed walking-simulator," and it is meant as an interactive commentary on the "homogenizing effects of technology" and "the new trends of video-game voyeurism" (Source). In 2016, Hutchinson performed the game live at the 2016 Kyma International Sound Symposium. In Leicester, Great Britain. A composer, new-media artist, and "mad scientist who combines traditional music with digital technology and creative electronics", Hutchinson is acting here as a player/performer who sends data into the Unity3D game engine, which subsequently sends OSC messages to Kyma based on the player/performer’s interactions within a procedurally generated world Unity. Kyma then generates the “soundtrack” to the player/performer’s experience in real time.
Interesting Decisions can be downloaded here, and it looks like this:
Hutchinson has been creating playful projects at the intersection of art, music, technology, and society, including the stunning Plurality Wins (developed with Paul Turowski in 2017) in which players use acoustic musical performance (via the computer’s microphone) to control robots exploring an orb in deep space. The clarinet interface is simply brilliant. Hutchinson will perform the game live at the 2017 of the Kyma International Sound Symposium.
Victor Morales has been working on an ambitious new project for VR platforms using the mighty Unreal Engine 4. The performer will be able to use an Oculus Rift with touch controllers to experiment with a surreal room, manipulating chairs, sofas, and other pieces of furniture. The first examples are available below, and many more will follow in the next few weeks. The project does not have a title yet, so consider this a sneak preview.
If you're new to Morales' world, here's a good introduction:
Victor Morales, Photo credit: Peter Yesley
Born in Caracas, Venezuela, Victor Morales received a Law Degree from Universidad Catolica Andres Bello in 1990. In 1992, Morales completed a Master’s degree in Technology Applied to the Arts at New York University’s Gallatin Division. He spent more than a decade in New York City. Since 2003, Morales, “has been obsessed with the art of video game modifications and has implemented different game engines into most of the works he has participated in or created.” His performances with game engines (in particular, CryEngine) have consistently challenged the nature of simulation. Morales has performed a number of solo shows in art galleries, festivals, and events, including Performance Space 122, The Little Theater in New York City, The Collapsable Hole in Brooklyn, and Gessner Allee in Zurich, Theater Freiburg, and The Hau in Berlin, where he now lives and works.
LINK: Victor Morales