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IMPAKT Festival 2018 in the media

 

The beauty of the algorithm

→ CORALIE VOGELAAR USES ARTIFICIAL INTELLIGENCE IN COMBINATION WITH DATABASES FOR HER ART. PHOTO CORALIE VOGELAAR –

DESIREE SCHOUTEN

“We consider it important to provide an insight into algorithms and what they can mean in the future. Initially we are an arts festival, but given this year’s theme it is natural for us to involve media and technology”, says Arjon Dunnewind (51), director of Impakt.

The Utrecht-based organisation is known for its critical view of contemporary media and technology at both cultural and a social levels. During the five-day festival, Impakt seeks to present new possibilities in the area of ​​algorithms and artificial intelligence through art, films and panel discussions. The central question: how do we relate to technology, and to the government?

“Algorithms and online data are not only relevant in terms of the provision of information, but also relate to issues such as privacy and the monitoring of our behaviour,” says Dunnewind. “We don’t want to show how bad everything is, but mainly to show how algorithms work, what place they occupy in society and how we can benefit from them.”

In its infancy

A good example of someone who is trying to use the system to his own benefit is Eliot Higgins, founder of online open source investigation platform Bellingcat, which researched the MH17 disaster via online data available to everyone. Higgins will give a lecture about his research methods at the festival next Saturday.

“The way someone like Higgins works goes beyond researchers and journalists,” says Dunnewind. “It has been found that artists who are engaging with data and technology use the same technique to get information.”

One such artist is Coralie Vogelaar (37) from Amsterdam. Originally a graphic designer, she now makes artworks focussing on artificial intelligence and databases. During the Impakt Festival, she will be exhibiting her work I Enjoyed the Parts in Your Mind. “With this artwork, I want to show the poetic side and the unexpected aesthetics of artificial intelligence,” says Vogelaar. “I am not interested in what is not yet possible. It is the development that fascinates me, because artificial intelligence is still in its infancy; we have the opportunity to create a new aesthetics.”

On the wall: a white screen; a ‘drawing bot'; a couple of small screens and a lot of wire. “I like to show the elements behind it so people understand better how the technology was made.”

For the project, Vogelaar drew on her fascination with databases. “The drawing bot, which looks like a thick pencil with a blunt point, is powered by automatically generated sentences about artificial intelligence, which are placed online by users of the anarchist forum 4chan.

Trying out

These sentences are then written by the drawing bot on the screen in handwriting taken from a large database Vogelaar maintains. “In my work I look for a visual surprise: the manuscripts from the drawing bot are expressionist expressions. It is impossible to predict what it will look like beforehand,” Vogelaar explains. “Artificial intelligence has many possibilities, but it remains a matter of trying it out. How we deal with it in the future is still a gamble; but at least we can fantasize about it.”

Impakt Festival: until 28/10 in Utrecht. Associated exhibition: until 11/11.

 

METROPOLIS M

IMPAKT Festival 2018 

27/10/2018 |Review —Domeniek Ruyters

Issue no. 5

Oct – Nov 2018

Entanglement

I can’t help feeling a sense of déjà vu when I see the title of this year’s IMPAKT Festival: Algorithmic Superstructures. Didn’t they tackle this once before? Are they running out of media-critical themes, or have I been watching too many innovative TV documentaries this past year?

The list of speakers, which includes Evgeny Morozov, does nothing to lift this feeling of having been here before. The Boris Groys of media festivals has been a guest here many times in the past. A brilliant speaker, certainly, active on platforms most of us can only dream of – but not quite the kind of original ‘keynote’ for which this festival has become renowned.

The feeling of repetition also follows me around the exhibition. Perhaps this is because Egor Kraft – one of the names who has grown up at this festival – has based his monumental video installation very closely on an older project by Melanie Gilligan. Like Gilligan in the cycle The Common Sense, in his installation – created with Pekka Tynlkkynen, Alina Kvirkveliiya and Karina Golubenko – Kraft projects the future onto a present that seems to have changed little, representing Moscow in 2050. The narrative is about our future subjectivity, which has been consumed completely by a huge Artificial Intelligence, in this case called Plasma. The scenes of philosophic musings are filmed as languidly as Gilligan’s were, and just like hers they are presented on a framework of scaffolding poles with LED screens. It almost looks like plagiarism.

Many of the other works on show feature lots of ‘data mining’ as it’s known in the jargon, with artists posing as investigative journalists and combing the net for in-depth research and critical analyses of today’s excessive digital information flows and the mechanisms that lurk behind them. This exhibition contains more than the average number of information-heavy works that like to reflect the kind of investigative journalism with which Bellingcat is conquering the world. Seen in this light, it is not so surprising that Erik Smit of Follow The Money and Bellingcat’s Eliot Higgins are special guests here at the festival.

As in recent editions, the festival again has a compact structure in which theoretical reflection is starting to dominate. Which is something of a shame, as in the past this festival excelled as a curator of new and under-represented art. Now, there is less exhibition and more discussion, and what’s more this discussion is principally among insiders in the festival’s extensive ‘professional program’. And this is rubbing off on the festival. Lectures simply work differently from exhibitions. Whereas exhibitions tend to be a showcase for young artists, lectures tend to pull in the big names. Like Morozov.

Nevertheless, I did see enough good, new work during my visit to the festival. I was very impressed by the videos by Chloé Galibert-Laine & Kevin B. Lee. Using social media and blogs, they reconstruct the lives of an ISIS fighter and a journalist captured by ISIS. Interspersed with critical reflection, the interweaving of digital and real lives is presented as impossible to disentangle, and some assumptions about good and evil, truth and lies are thoroughly mixed up into the bargain.

Unfortunately the interesting expressionist drawing machine by Coralie Vogelaar, which feeds off of text fragments, wasn’t working but its construction – it is intended to draw on the basis of text compiled pretty much at random – is fascinating and the quality of the drawing promising. A computer with a talent for drawing is not something you see every day.

Foundland Collective also has an exciting new work for those interested in the war in Syria (Idlib in particular) – although their news analysis of Syrian ‘citizen reporters’ on Facebook pales rather in comparison with that of Forensic Architecture in a competing arts centre a little way away (currently at BAK).

An unsettling intermezzo was provided by the print-out of Donald Trump’s Twitter feed by Klara Vith – on paper, the absolutely endless series of Tweets comes across as even more threatening than online. This chattering paper ‘cash register roll’ also lends the exhibition a nice ‘live’ feel, while at the same time showing how the US president feeds his millions of fans and enemies with an endless stream of opinions and accusations through this – in his case – gigantic mass medium.

My attention was drawn mainly to a recent tweet in which he expressed his distaste for a ‘boring’ article in The New York Times about how he uses his telephones. I think I will go look up that article – it could be very interesting when read in the light of this edition of IMPAKT Festival.

IMPAKT Festival Utrecht 24/10 thru 28/10/2018, various locations in Utrecht, exhibition location Casco/Fotodok

Domeniek Ruyters

is editor-in-chief of van Metropolis

 
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IMPAKT Exhibition: A World Without Us

 

A World Without Us imagines a world without humans. The way we, as a species, currently interact with nature and the environment means that time will perhaps arrive much sooner than we can conceive. In 2007, American journalist Alan Weisman published a work of non-fiction entitled The World Without Us in which he describes what would happen to the planet if humans were to suddenly disappear. He outlines which traces of human civilization would soon be lost, how cities and houses would tumble into disrepair, which materials and structures would survive longest as well as how the various non-human organisms would develop after humanity’s disappearance. A World Without Us wants to communicate the urgency of working towards improved dealings with nature. The exhibition will both provide space for examples of the damage we as humans cause as well as how the right use of technology can create solutions.

The programme is aligned with the Post truth theme IMPAKT is focusing on in 2018. Climate change denial is a major issue in our Post-truth society. This denial contributes to an atmosphere in which it is nigh on impossible to create a general sense of urgency. The net result being that there is still insufficient social and political support to implement the necessary changes.

An exhibition with work by:

Anna Dumitriu & Alex May, Katrin Hochschuh & Adam Donovan, IC-98, Robertina’s Šebjanič & Gjino Šutić, Mark Leckey, Maarten Vanden Eynde, Taavi Suisalu, Morehshin Allahyari & Daniel Rourke

What: An exhibition with works about the post-Anthropocene, bio-art and robotics
Where: IMPAKT Center for Media Culture, Lange Nieuwstraat 4
When: Wed – Sun 12:00 -17:00
Ticket: 4 euro (student discount 3 euro)

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Hyper-real Warfare

 

Modern warfare rapidly fuses with high technologies. Smart missiles, lasers, drones and other weapons demonstrate horrifying, but at the same extent spectacular military results. However, the biggest change comes with developments in media and the complicated relation between war and its image. The most decisive victories take place not on the battlegrounds anymore, but on our own screens.

Speculations of experts, death statistics, weaponry comparison analytics, secret archive disclosures, online leaks and rumors represent a new cynical, but technically impeccable  approach to war, which is nothing else but the mutually beneficial symbiosis of a general and cameraman, politician and a media expert. Now, the war promotes the media and the media promotes the war, bombarding our TVs and PCs with infinite streams of information.

Curated by Sergei Filatov, who created this programme as part of his internship at Impakt. The programme was developed in relation to the annual theme of IMPAKT in 2018: Post-truth.

 
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Embodying Gender

 

Films challenge the stereotypes associated with the narratives in which women live. They show how the preconceived notions about gender are embedded in every aspect of our lives. Thus, embodying gender is an everyday performance of a socially appropriated narrative. This programme aims to offer an overview of perspectives on how artists approach and discuss these ideas within their work.

Curated by Teodora Cascarade, who created this programme as part of his internship at Impakt. 

 
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Down the Rabbit Hole

 

In physicist Vlatko Vedral’s 2010 book Decoding Reality: The Universe as Quantum Information, he gives a story about a painter. The painter walks into his garden and decides to paint the garden in all its minute detail. Upon finishing, however, he realizes that he himself is missing from the painting, so he adds himself. Now, he has the painting he wanted

But a second later, he realizes that the painting is incomplete, because the totality of the situation is: a garden, the painter and a painting with a painter painting. So he starts again, but when he finishes he realizes that also the new painting fails to capture the new totality, because the painting should have a garden and a painting with a painter painting a painting with a painter in it. He starts again and again but never manages to paint the garden in all its minute detail.

If reality cannot be accepted as an object-in-itself to be grappled from the outside, what are the ethical and political implications? If the observer is understood to be an inextricable part of reality, how does this affects our definitions of objectivity, truth, neutrality, bias, etc.?

Is the search for reality like an endless sliding-down-and-into the rabbit hole? Or, is it just a temporary tunnel that can lead to a more stable answer? When and how do we make a conscious decision on any given situation? Welcome to the Rabbit Hole!

Curated by Mengxi Wang, who created this programme as part of her internship at Impakt. The programme was developed in relation to the 2018 IMPAKT theme of Post-truth.

 
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Open Call EMARE Residency

 

IMPAKT is happy to announce that through EMARE (European Media Artists in Residence Exchange), you can now apply for a residency at IMPAKT or one of our European partner organisations (see list below).

The new European Media Art Platform offers residencies for media artists in the fields of digital media including Internet and computer-based artists, filmmakers, and those working in media based performance, sound or video as well as robotics or bio-art.

Artists with an EU passport can apply for a two-months residency within April and August 2019 (exact timing has to be negotiated with the host) at one of the following institutions.

Deadline for Applications: 3 December 2018, 12:00 CET.

Participating organisations:

• Ars Electronica Center, Linz, Austria
• Onassis Cultural Centre, Athens, Greece
• Bandits Mages, Bourges, France
• Foundation for Art & Creative Technology (FACT), Liverpool, United Kingdom
• IMPAKT, Utrecht, Netherlands
• Kontejner, Zagreb, Croatia
• LaBoral Centro de Arte y Creación Indstrial, Guijón, Spain
• M-Cult, Helsinki, Finland
• RIXC, Riga, Latvia
• WRO Center for Media Art Foundation, Wroclaw, Poland
• Werkleitz Centre for Media Art, Halle (Saale), Germany (lead organisation)

Although EMARE is an open call, some organisations are particular looking for certain topics, please check all members information carefully!

EMARE includes a grant of 3.000,- Euros, project budget of 4.000,- Euros, free accommodation, travel expenses up to 500,- Euros, free access to the technical facilities and media labs within the host institution, consulting by production and market experts and a professional presentation as well as the option to participate in exhibition tours at our members’ festivals in 2019-2021. All selected artists will be invited for a networking kick-off conference 1st to 3rd of March in Utrecht in the Netherlands. Please save the date!

Applications should be submitted online and must include a CV, (audio )-visual documentation and a preliminary plan or sketch of the proposed project to be developed within the EMARE programme.

Undergraduate and Master’s students are not eligible, but emerging artists, regardless of age, are encouraged to apply. Artists groups are welcome if they are willing to share the conditions including the accommodation, grant and project budget. That also implies that there might be only one artist out of the group getting invited to the networking conference and group shows if there is not enough additional funding to cover the extra costs for the other participants of the group.

Artists with an EU passport can submit their proposals here: call.emare.eu

Contact for any further questions: Werkleitz Gesellschaft e.V. / EMARE / Schleifweg 6 / D-06114 Halle (Saale) phone: 49 68246-0 / fax: -29 / emare@werkleitz.de / www.emare.eu

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The Visual Manipulation Of The Mind

 

Moving images are, in their essence, a visual manipulation; a sequence of still images becomes a moving image. In today’s digitized society images are quickly made, edited, manipulated and distributed. This brings us to the post-truth, people are so used to being manipulated that they don’t even take the time to consider whether something is true or not. A new world is created where every image is ripped out of context and used for the purpose of the message one wants to get across.

Curated by Annemarie Jansen, Bas Postmus, Félice Kuijntjes and Berber Humalda, students at Leiden University who curated this programme as part of their internship at IMPAKT. 

This programme has been developed in relation to the IMPAKT annual theme of 2018: Post-truth

 
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Internships

 

Do you want to be part of an organization full of media, art, film and discoveries? Are you enjoying your studies in the cultural field, but are you also eager to check how it actually works in real life? Or have you just graduated and who could you use a bit more practical experience? Are you looking for a working environment  that challenges you, offers a variety of experiences and gives you a look behind the scenes of a cultural organisation? Do you love art, digital culture and media? Apply for an internship at Impakt!

A brief introduction to who we are: Impakt is a media arts organization based in Utrecht and founded in 1988. We present critical and creative views on contemporary media culture and arts, in an interdisciplinary context. Our aim is to identify emerging paradigms in transglobal culture, by focusing on the relationship between society, media, technology and arts. To this end, Impakt organizes the annual Impakt Festival each autumn, featuring exhibitions, screenings, video art and lectures. Next to this, Impakt is a year-round operation. From our new venue on the Lange Nieuwstraat 4 we organize an annual program that includes events, presentation, exhibitions, artist talks and a residency program.

For our annual program 2018 and the Impakt Festival that will be organized from 24-28 October we have vacancies in different areas.

Management (Preferably Dutch speaking – start and duration to be discussed. Available immediately)

  • Management assistant

Production and programme (immediately available)

  • Assistant Curator (Advanced internship or Work Experience Position)
  • Hospitality
  • Volunteers coordination
  • Technical production
  • Film programming and production of screening
  • Exhibition production
  • Talks (and other projects) production
  • Diversity in program, themes and audience
  • General logistics

Publicity & marketing (Preferably Dutch speaking – immediately available)

  • Press, free publicity and marketing
  • Assistant editor and production of festival print work
  • Digital / Web editor / social media / blogger

In addition, we have ongoing internship vacancies for:

For more information, contact Christine Breur via 030-294 44 93 or interns[at]impakt.nl. If you want to apply immediately, submit your motivation, CV and a completed questionnaire.

 
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The 3d Additivist Manifesto

 

In March 2015 Allahyari & Rourke released The 3D Additivist Manifesto, a call to push the 3D printer and other creative technologies to their absolute limits and beyond, into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions.

#Additivism is a portmanteau of additive and activism: a movement concerned with critiquing ‘radical’ new technologies in fablabs, workshops, and classrooms; at social, ecological, and global scales. The 3D Additivist Cookbook questions whether it’s possible to change the world without also changing ourselves, and what the implications are of taking a position.

The 3d Additivist Manifesto
Morehshin Allahyari & Daniel Rourke
Sound design by Andrea Young
United States of America / United Kingdom, 2015
Video with sound, 10:11 min

The 3d Additivist Cookbook, 2016
PDF with 3D enabled

 
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Subocean Botlights

 

The series Subocean Botlights departs from the fact that most intercontinental communication is done via glass-fibre cables under the seas. This network carries threads of light as thin as a tenth of human hair while being as existential to technological societies as the sun is for the plants. The artificial sun rays plunge through the oceans and light up our faces via bright screens.

Subocean Botlights introduces baits into these networks that lure in threads of light from different parts of the globe generated by creatures of the internet, the bots. After having crossed the depths of the oceans, this light is transformed into growth and searchlights in the exhibition space.

Subocean Botlights
Taavi Suisalu
Estonia / Poland, 2018

Waiting for the light
Wardian cases, plants, (fiber optic) side glow cables, motors, electronics

Touch of the network
Surveyors tripod, lamp, electronics

 
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Homo Stupidus Stupidus

 

Homo Stupidus Stupidus (2009) is a human skeleton taken apart and put back together again in a different way, disregarding our knowledge of human anatomy. From a fictive point in the far future, he tries to imagine how we will look back, and which parts of our evolution and presence on earth will remain. Homo Stupidus Stupidus is a critical comment on human arrogance, naming itself the double wise man, ‘homo sapiens sapiens’, and naming an entire geological era to represent its own influence on earth, the Anthropocene. Homo Stupidus Stupidus questions the extent of human self-awareness, of self-knowledge, where we come from, how we evolved and where we are going.

Homo Stupidus Stupidus
Maarten Vanden Eynde
Belgium, 2008
Human skeleton, clay, 120 x 120 cm

 

 
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GreenScreenRefrigeratorAction

 

GreenScreenRefrigeratorAction (2010) shows a shiny black Samsung smart fridge pondering its existence and mingling with like objects. In a scientifically charged description that concerns its inner workings, the fridge’s anguished, robotic first person voice over renders audible its inner life and its potential dreams. As we create increasingly smarter objects, Mark Leckey predicts a world in which things become sentient, start communicating, and alter our environment into new digital ecosystems.

GreenScreenRefrigeratorAction
Mark Leckey
United Kingdom, 2010
Video with sound, 16:25 min

 

 
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Aqua_forensic: Underwater Interception of Biotweaking in Aquatocene

 

Aqua_forensic illuminates the invisible anthropogenic (pharmaceutical) chemical pollutants – residues of human consumption – “monsters” in the waters. The project combines art/science/citizen science in a “hunt for a phantom” and opens the discussion about our solidarity and empathy with waters beyond human perception. It’s a voyage into the relationship between the microbial seas and humans who are ’aquaforming’ the water habitats all around the planet. The question is: How do the oceans feel our impact?

Aqua_forensic: Underwater Interception of Biotweaking in Aquatocene
Robertina Šebjanič and Gjino Šutić
Slovenia / Austria / Croatia , 2018
Video documentation

 
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Epokhe (The Last Sixth of the Final Hour)

 

A digital doomsday clock repeating the last ten minutes of our planet’s final hour, Epokhe presents a world in which the trusted laws of physics have gone askew. The scene centres on two mountains, one hovering upside-down above the other. Their summits meet in the centre to create a giant hourglass shape. Melting ice from glaciers above rains down; burning forests below send thick smoke up into air. Cold rain, hot smoke, stone and ice particles form an unstable orbit, which rotates around the calm centre of the surrounding chaos. The precarious balance is about to tilt at any moment. For now, the situation seems to continue. A meditation on the idea of the Anthropocene, the high-definition computer-generated landscape consists of short loops reminiscent of gif-animations. This unrealistic and dystopian scene depicts a timepiece arrested in an infinite loop: a projection of deep time into the far future.

Epokhe (The Last Sixth of the Final Hour)
IC-98
Finland, 2017
Video with stereo sound, 10:00 Min in seamless loop


 
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Empathy Swarm

 

While the book The World Without Us imagines a world without humans and the scenarios that lead us there, Empathy Swarm focuses on creating a system in which man and machine co-exist and learn from each other in order to sustain or even lay the basis of creating a future world worth living in.

10 autonomous robots form an emergent system that acts as a human machine interface and creates an ecosystem of man-machine cohabitation, thus laying the foundations to any kind of future scenario in which we need machines to help us survive.

The swarm is a society of robotic creatures based on the equality of all members and constantly negotiates and balances the needs of all individuals. In its role as a human machine interface the robotic system is simultaneously activating and reacting to the emotions of the human actant which informs the swarm’s movement which at the same instant generates the emotional response of the human counterpart and thus shows the interdependence of both.

On another level, Empathy Swarm defines its very own definition of what it means to be a utility apparatus, which is based on the idea of machine education, leading away from an optimization concept of human set goals in the form of machine learning and implements the idea of self-drive and self-determination of the robotic machine instead, that does not evolve from a position of suppression and machine revolution against the human supremacy, but instead fosters the careful convergence of both species into an ecosystem and society of empathy and compassion for each other and among themselves. The human and robotic mind are merged into an extended hive mind that is a source of information and inspiration for future societies and can be utilised as a preventative medicine for a dystopian future.

Empathy Swarm
Katrin Hochschuh & Adam Donovan
Germany/Austria / Croatia, 2018
Robots, cameras, 15 cm

 
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Antisocial Swarm Robots

 

Antisocial Swarm Robots explores how humans psychologically perceive the programmed actions of robots by projecting their own meanings and emotional responses onto them. The tiny identical swarm robots do not like each other, nor the walls of their pen or visitors’ efforts to interact with them. The installation exposes subtle and complicated emergent behaviours that humans will psychologically perceive as having a wide range of high-level priorities, and even emotions and desires.

Originally commissioned by The Science Gallery Dublin and supported by the University of Hertfordshire.

Antisocial Swarm Robots
Anna Dumitriu & Alex May
United Kingdom, 2015
10 Robots, 12 x 10 x 10 cm

 

 
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ArchaeaBot: A Post Singularity and Post Climate Change Life-form

 

ArchaeaBot takes the form of an underwater robotic installation that explores what ‘life’ might mean in a post singularity, post climate change future. The project is based on new research about archaea (the oldest life forms on Earth) combined with the latest innovations in machine learning & artificial intelligence creating the ‘ultimate’ species for the end of the world as we know it.

The work is made in collaboration with researcher/cryomicroscopist Amanda Wilson as part of the EU FET Open H2020 funded MARA project based in the Beeby Lab at Imperial College London, and with Professor Daniel Polani from the School of Computer Science at the University of Hertfordshire. The project is supported through an EMAP/EMARE artists’ residency at LABoral Centro de Arte y Creación Industrial in Spain via funding from Creative Europe and with generous support from Arts Council England.

ArchaeaBot: A Post Singularity and Post Climate Change Life-form
Anna Dumitriu & Alex May
United Kingdom / Spain, 2018
Fish tank, underwater robot, 30 x 30 x 30 cm

 

 
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Impakt Festival 2018: Algorithms And Financial Speculation

 

 
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Impakt Festival 2018: Black Boxes for Fiction Makers

 

 
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IMPAKT at Videonale Bonn, Germany

 

In collaboration with the Videonale Bonn IMPAKT will present the panel Augmented cities on Saturday 23 February.

More information will follow soon!

 
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Impakt Festival 2018: Julia Kloiber

 

 
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Impakt Festival 2018: (Infra)Structures of Trust

 

 
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Impakt Festival 2018: “Honey, I’m Data”

 

 
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Impakt Festival 2018: Augmented Cities. Data and Public Space

 

 
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IMPAKT Festival 2018: Eliot Higgins (Bellingcat)

 

 
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Impakt Festival 2018: Opening Programme

 

 
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IMPAKT Festival 2018: Evgeny Morozov

 

 
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Exhibition: The Way Out is Through

 

Through installations, videos and performances, a group of students from the HKU’s Fine Art and Media departments responds to this year’s theme Algorithmic Superstructures. With an introduction by the students on Saturday at 13:30.

Andrea Asili  |  Megan Auður Maya Berkhof  |  Nianda van Blaricum  |  Geertje Brandenburg Indigo Deijmann  |  Kiana Grigorie Matthijs Hannink  |  Zwaantje Kurpershoek  |  Tom Poelen Rashel van der Schaaf

More information can be found here.

The exhibition will be on view at the Academiegalerie, Minrebroerstraat 16, until Nov 11.
Opening Hours: Wed-Sun 13:00-18:00

 
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IMPAKT Festival 2018: Sunday Pictures

 

Impakt Festival 2018: Sunday

 
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IMPAKT Festival 2018: Saturday Pictures

 

Impakt Festival 2018: Saturday

 
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IMPAKT Festival 2018: Friday Pictures

 

Impakt Festival 2018: Friday

 
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IMPAKT Event: Post-truth Cinema – Truth in Numbers? + Maxim Februari

 

Truth in Numbers? Everything According to Wikipedia (2010) is a documentary that takes a critical look at the Utopian intentions of the information website Wikipedia, the role of founder Jimmy Wales and Wikipedia’s influence as main source for reference for many.

Every month from May until December, IMPAKT and Cinema ‘t Hoogt will organise a film in the series Post-truth Cinema. By means of documentaries and feature films the programme takes a look at our current political landscape. The films and speakers will talk about aspects such as the influence of fake news, the manipulation of social media, political brainwashing and what happens in other countries, like China or Russia.

The film will be introduced by writer Maxim FebruariAfter the screening hewill discuss the film with Impakt director Arjon Dunnewind.

What: screening of Truth in Numbers? Everything According to Wikipedia with an introduction by Maxim Februari
When: 12 December 19:00
Where: Filmtheater ‘t Hoogt, Hoogt 4, Utrecht
Language: Dutch

 
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IMPAKT Event: Bellingcat, Truth in a Post-truth World

 

Join us for the screening of the film Bellingcat, Truth in a Post-truth World, a new documentary about Eliot Higgins and open source investigation collective Bellingcat directed by Hans Pool. The screening is organised with Cinema ‘t Hoogt and IDFA.

They were behind nearly all of the discoveries in the case around the MH-17 disaster and proved that Russia was responsible. A group of nerds and stay-at-home dads who uncovered fake news and became the thorn in the side of the global powers and secret services. They call themselves Bellingcat, analogous to the cat that receives a bell around its neck, so the mice are safe. For the first time we get to see the men behind this story.

Afterwards director Hans Pool will join us from IDFA for a Q&A via live stream.

What: screening of Bellingcat, Truth in a Post-truth World with a Q&A via live stream
When: Friday 16 November 21:00
Where: Filmtheater Hoogt, Hoogt 4, Utrecht

 
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IMPAKT Festival 2018: Thursday Pictures

 

Impakt Festival 2018: Thursday

 
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IMPAKT Festival 2018: Wednesday Pictures

 

Impakt Festival 2018: Opening Night with Adam Greenfield

 
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Patternist Tour

 

On Friday and Saturday at 11:00, gather at the hospitality desk to learn more about Patternist, a game created especially for IMPAKT festival. Patternist is a location-based augmented reality game revolving around the discovery of an alien phenomenon that mysteriously appears overlaid upon Earth’s cities and urban conditions. For IMPAKT Festival, spectacular traces of Patternist have been identified throughout central Utrecht, from Het Huis to Fotodok, from the train station through the canals.

 
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Walking Bus Tour

 

To assist visitors unfamiliar with the city of Utrecht, there will be Walking Bus Tours on Thursday, Friday and Saturday from the festival space to the exhibition space. Each day at 15:00 those interested can gather at the hospitality desk in Het Huis. A guide will then take you for a walk of about half an hour to the exhibition spaces of Algorithmic Superstructures. On Friday at 16:00 there will also be a tour heading to Museum Speelklok to visit the exhibition Robots Love Music.

 

 

 
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Noa Jansma – #DearCatCallers (NL, 2018)

 

 #dearcatcallers, it’s not a compliment

 

Realising many people still don’t know how often and in whatever context catcalling happens, Noa started her project #dearcatcallers. She took pictures of each of her catcallers within the period of one month. By making the selfie, both the objectifier and the object are assembled in one composition. Herself, as the object, standing in front of the catcallers represents the reversed power ratio which is caused by this project.

The collection was posted on Instagram and went viral world wide. With a number of 350.000 followers and tens of millions of views, the projected is now running by itself through other people using the hashtag.

The project had various international exhibitions and is used in multiple teaching-programmes.

In multiple countries governments are now talking about how to treat street harassment more earnestly.

Read more about the project here.

 
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Urth (2016, 19 min)

 

The last woman on Earth. Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments, and visions of the future. Writer Mark von Schlegell contributes a text-read as the final log instalments of a woman sealed inside an unforgiving environment. The film considers what an endeavor such as Biosphere 2 might mean today and in the near future, in terms of human kind’s relationship with the natural world.

About the artist:

Ben Rivers (GB) is an artist and experimental filmmaker based in London. His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects. Rivers’ practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. Rivers uses near-antique cameras and hand develops the 16mm film, which shows the evidence of the elements it has been exposed to – the materiality of this medium forming part of the narrative.

 
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White Mountain (2016, 21 min)

 

White Mountain  is a 16mm docu-fiction film focusing on the Pionen data centre. This former Cold War era civil defence bunker was redesigned by architect Albert Frances-Lanord in 2008 into a data centre, housing servers for clients which once included WikiLeaks and PirateBay. Located 30 meters under the granite rocks of Vita Bergen Park in Stockholm, the subterranean data centre has been designed with direct references to science fiction films such as‘Silent Running’. Playing on the science fiction aesthetic, White Mountain uncovers the varying forms of temporality brought about through an exploration of data space and geology.

Emma Charles (GB, b.1985) is a London-based artist.Working with photography, sound and moving image, her research areas include architecture, digital cultures, media archeology, economics and temporality. She works both in analogue and digital formats which is often mediated by the subject in which the physical and material focus of the work become implicit in the aesthetic process. Built on the structural language of documentary, her work often plays with the blurred lines between documentary and fiction.  www.emma-charles.com

 
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Tickets for separate events

 

Eventbrite - Impakt Exhibition: Algorithmic Superstructures
Eventbrite - Impakt Festival Panel: Black Boxes for Fiction Makers
Eventbrite - Impakt Festival Screening: Automating Cinema
Eventbrite - Impakt Festival Panel: Algorithms and Financial Speculations
Eventbrite - Impakt Festival Screening: The Data Self
Eventbrite - Impakt Festival Panel: Augmented Cities. Data and Public Space
Eventbrite - Impakt Festival Screening: Earth: As Above, So Below
Eventbrite - Impakt Performance: Honey, I'm Data!
Eventbrite - Impakt Festival Screening: Reality Glitch
Eventbrite - Impakt Festival Panel (Infra)Structures of Trust
Eventbrite - Impakt Festival Screening: Quantified Trust
Eventbrite - Impakt Festival Screening: Desert of the Real

 
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Patternist

 

Patternist is a location-based augmented reality game, serving as a platform for users to engage with alternative urban infrastructures and economies through speculative fiction. The narrative gameplay of Patternist revolves around the discovery of an alien phenomenon that mysteriously appears overlaid upon Earth’s cities and urban conditions.  In order to fully understand Patternist, players must explore their existing cities, trade and interact with other players, and uncover the patterns that algorithmically link these simultaneous planets. Players use the AR interface to detect Patternist elements spawning in location-bound urban infrastructure of their Earthly cities, and combine them to generate the co-existing topographic superstructure of Patternist.

For Impakt Festival, spectacular traces of Patternist have been identified throughout central Utrecht, from the Het Huis to Fotodok, from the train station through the canals.

Download to participate now at www.pattern.ist   

 
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Paolo Cirio

 

Paolo Cirio works with legal, economic and semiotic systems of the information society. He investigates social fields impacted by the Internet, such as privacy, copyright, democracy, and finance. He shows his research and intervention-based works through artifacts, photos, installations, videos, and public art.

 
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Mosaic Virus by Anna Ridler at Barbican Center

 

Mosaic Virus, the work produced by artist Anna Ridler as part of her EMAP residence at IMPAKT, will be on display as part of a new survey of creative and scientific developments in Artificial Intelligence at the Barbican Centre in London. The exhibition AI: More Than Human, with projects by artists, scientists and researchers Joy Buolamwini, Stephanie Dinkins, Mario Klingemann, Kode 9, Lawrence Lek, Massive Attack, Lauren McCarthy, Yoichi Ochiai, Neri Oxman, Chris Salter, Sam Twidale and Marija Avramovic, and Universal Everything, will take place in The Curve gallery of the Barbican from 16 May until 26 August 2019.

Anna Ridler will also take part in the panel discussion Algorithms and Financial Speculation on 25 October during IMPAKT Festival and the work Mosaic Virus will be shown as part of the exhibition Algorithmic Superstructures.

eu-emap-emare-logo

 
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Alli Coates & Signe Pierce – American Reflexxx (US 2013, 14:02 mins)

 

 

A social experiment with performance artist Signe Pierce who walked the streets of Myrtle Beach, South Carolina in a sexy tight dress and mask. Director Alli Coates and Pierce agreed not to communicate until the experiment was over, but never expected the terrible responses. A technicolour spectacle that elicits questions about gender stereotypes, mob mentality and violence in America.

Bio:

Alli Coates is a multimedia artist based in New York City and Los Angeles. She has been privileged to work with some of the top international brands and publications in the world, including Helmut Lang, Theory, Uniqlo, MAC Cosmetics, Diane Von Furstenberg, L’Oréal, and many others. Her photography and design work has appeared in Vogue, W, Dazed and Confused, VICE Magazine, GQ, New York Magazine, Complex, and ELLE.

Signe Pierce is an American artist. She has worked in performance, photography, video and digital art. Her work has been shown at the Museum of Contemporary Art, Los Angeles, at the New Museum, New York, and at the Palais de Tokyo in Paris.

 
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Hester Scheurwater – Red Finger Nail Polish (NL 2003, 2:35 mins)

 

In slow motion and close-up, the camera travels along the hands and legs of two women. They are in a corner of a blue concrete room; one woman crawls across the floor to the other, who sits on a low wall, and then returns in the same manner. The colours are faded; only the red nail polish is vivid.

Bio:

Hester Scheurwater (1971) studied monumental art at the Royal Academy of Fine Arts in The Hague. Under the guise of self-portraits, she investigates and critiques the role of woman as a sex object. Photographs of herself posing before a mirror reflects both Scheurwater’s inner thoughts and outward appearance. “The mirrored self-images are my way of reacting on the imitated and fake media images, which are constantly calling upon our imagination, without intending to be taken too seriously, ” she explains. ” I try to deconstruct this call’s effect with my reactions by switching the ‘subject-object’ relationship, without being victimized by it.” Scheurwater’s work is sexually explicit, and therefore well known.The explicit images in her work are shocking and prompt discussion about the purported sexualisation of society. At the same time, her works also share links with international feminist art. Scheurwater’s videos were part of feminist programs and exhibitions, including those at the Brooklyn Museum and the Blanton Museum of Art in the USA.

www.hesterscheurwater.com

 
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Hester Scheurwater – Lisa (NL 2001, 3 mins)

 

Two woman occupy one space. Without showing their faces, the camera lingers on their bodies in images that capture both from an extreme high angle. The camera, set at ground level, distorts the female body, even creating a grotesque effect. A voice repeatedly calls for a women: “Lisa…come here…don’t be afraid…that’s it I won’t hurt you.” This film is a stunning piece of video art which explores the gaze on the female body, and the desires and violence overwhelming it as well.

Bio:

Hester Scheurwater (1971) studied monumental art at the Royal Academy of Fine Arts in The Hague. Under the guise of self-portraits, she investigates and critiques the role of woman as a sex object. Photographs of herself posing before a mirror reflects both Scheurwater’s inner thoughts and outward appearance. “The mirrored self-images are my way of reacting on the imitated and fake media images, which are constantly calling upon our imagination, without intending to be taken too seriously, ” she explains. ” I try to deconstruct this call’s effect with my reactions by switching the ‘subject-object’ relationship, without being victimized by it.” Scheurwater’s work is sexually explicit, and therefore well known.The explicit images in her work are shocking and prompt discussion about the purported sexualisation of society. At the same time, her works also share links with international feminist art. Scheurwater’s videos were part of feminist programs and exhibitions, including those at the Brooklyn Museum and the Blanton Museum of Art in the USA.

www.hesterscheurwater.com

 
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Guided Tour Centraal Museum

 

The curators of the Centraal Museum give a guided tour through the exhibition of Janis Rafa and the Line Up, with work by IMPAKT’s artist in residence Anna Ridler, in the presence of Ridler and Rafa.

Festival holders can pick up free tickets from IMPAKT Center for Media Culture, Lange Nieuwstraat 4, on Sunday 28 October. Separate tickets are available for 6 euro. There is space for a maximum of 20 participants.

 
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Guided Tour The Way Out is Through

 

Through installations, videos and performances, a group of students from the HKU’s Fine Art and Media departments respond to this year’s theme: Algorithmic Superstructures. During this guided tour in the Academiegalerie, the students will give an introduction to their work.

 
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Guided Tour Museum Speelklok

 

In Museum Speelklok the music boxes and pianolas are approached in two tours in the light of the theme of algorithmic superstructures.

Festival holders can pick up free tickets from IMPAKT Center for Media Culture, Lange Nieuwstraat 4, on Sunday 28 October.

 
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Impakt Workshop: The Bellingcat Method

 

The Bellingcat Method

13 to 15 November 2018

From 13 to 15 November 2018 IMPAKT, in collaboration with Residenties in Utrecht, will organise a three day workshop by the open source research collective Bellingcat at IMPAKT Center for Media Culture.

During this three day workshop Eliot Higgins and other members of Bellingcat will teach you how you can use the Bellingcat Method to do research yourself. Participants learn how they can use online resources and platforms and easy to obtain software for fact-checking and investigative journalism.

The first two days of the workshop will consist of a mix between trainings and hands-on investigations. The third day will be used for participants to investigate something they’re interested in themselves using the Bellingcat Method. All the work will happen in those three days, there’s no pre-work necessary. The only requirements are having a laptop with Google Earth Pro installed and an internet connection.

Participating and registration (update: application is now closed)

The workshop is open to both professionals and students and costs €300. Students are eligible to attend for the reduced price of €150. The amount of participants is limited, the total amount of participants will be twenty (20) and will be selected by IMPAKT and Residencies in Utrecht.

You can register via the registration form here. As part of the registration you will be asked to send in your motivation and an case study example that you would like to use the Bellingcat Method for. Your motivation and case study example will be taken in account when making the selection.

Two deadlines are in effect for the registration. 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: Online Fact-checking in a Post-truth World by Eliot Higgins, at IMPAKT Festival 2018: Algorithmic Superstructures. This presentation will take place on Saturday 27 October at 17:00 at Het Huis Utrecht. In the presentation Higgins will present Bellingcat and the details of the workshop.

If you registered for the first deadline, but weren’t selected, your registration will be automatically taken into consideration for the second selection round. It is not necessary to register a second time.

For more information and questions, you can send an email to bellingcat@impakt.nl.

Read more about the workshop in this article in the New Yorker.

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Complete Festival Programme Online!

 

The complete programme of IMPAKT Festival 2018: Algorithmic Superstructures is now online! Check it out in the timetable or in the festival brochure.

Festival passes and day passes are available via this link.

The festival will take place from 24-28 October in Het Huis Utrecht, IMPAKT Center for Media Culture and Casco/FOTODOK. Below is a map with the festival locations.

 
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IMPAKT Event: Teachers explore Algorithmic Superstructures

 

Sorry, this entry is only available in NL.

 
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Exhibition: Algorithmic Superstructures

 

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: the dissociation of publics leading to increased populist tendencies, authoritarianism and social conflicts and an ambient feeling of instability and insecurity on a global scale.

The works in the exhibition are referential to new forms of governance and hegemony being established, that stand in opposition to democratic values and procedures. 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

The exhibition will remain on view at IMPAKT Center for Media Culture, Lange Nieuwstraat 4 and Casco Art Institute: Working for the Commons/FOTODOK, Lange Nieuwstraat 7, until 11 November.

Opening hours: Wed-Sun 13:00-18:00
Tickets: 6 euro, available here or at the ticket desk of the exhibition in IMPAKT Center for Media Culture, Lange Nieuwstraat 4

 
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Impakt Event: Utrecht Digital

 

Along with IMPAKT, the Culturele Zondagen (“cultural Sundays”) would like to introduce the young e-culture sector in Utrecht. This sounds difficult, but isn’t. We’re not always aware but digital culture has become a part of everyone’s daily life. Learn about trends, projects, backgrounds and the history of digital culture. Organisations, artists and courses in Utrecht will open their doors and present various interesting and important projects about subjects that are relevant to today’s society. You can expect mixed-media installations, virtual reality, interactive games, multimedia performances, surprising lectures and presentations by digital designers, inventors and artists.

Impakt Event 2018: Utrecht Digitaal

Overview:

Algorithmic Superstructures 12:00-17:00 at IMPAKT Center for Media Culture & Casco/Fotodok
Exhibition Academiegalerie 12:00-17:00 at Academiegalerie
Donna Verheijden and tour Algorithmic Superstructures 12:30-13:00 at IMPAKT Center for Media Culture
Presentations in the Academiegalerie 13:00-14:00 at Academiegalerie
Beerpong or Voltaire? 13:30-14:30 en 15:30-16:30 at Winkel van Sinkel
Anna Ridler and tour Algorithmic Superstructures 14:00-14:30 at IMPAKT Center for Media Culture
The Fall of the House of Usher and tour De line-up 14:30-15:00 at Centraal Museum
Post-Truth Cinema: High Tech, Low Life 15:30-17:30 at Cinema ‘t Hoogt
Coralie Vogelaar and tour Algorithmic Superstructures 16:30-17:00 at IMPAKT Center for Media Culture
I Spy With My Machine Eye 18:00-19:00 at TivoliVredenburg

Algorithmic Superstructures

What: Exhibition of IMPAKT Festival 2018
When: 12:00-17:00
Where: IMPAKT Center for Media Culture and Casco Art Institute: Working for the Commons/Fotodok

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 and when did that happen, and why haven’t we noticed?

Exhibition Academiegalerie

What: Students of the HKU Fine Art en Image & Media Technology about the complex relationship between computer systems and our daily life
When: 12:00-17:00
Where: Academiegalerie, Minrebroederstraat 16

How do algorithms influence the way we see reality? In the exhibition The Only Way Is Through eleven HKU-students present work that responds to the theme of IMPAKT Festival 2018: Algorithmic Superstructures.

Donna Verheijden and tour Algorithmic Superstructures

What: Artist Talk and tour in the exhibition of IMPAKT Festival 2018
When: 12:30
Where: IMPAKT Center for Media Culture

Digital conceit, seduction and apparent freedoms, during her talk video artist Donna Verheijden will provide insight into her work. After the presentation you will explore the other works in the exhibition with a guide.

Presentations in the Academiegalerie

What: Presentations by students of the HKU Fine Art and Image & Media Technology
When: 13:00-14:00
Where: Academiegalerie, Minrebroederstraat 16

In short presentations 5 HKU students will talk about their work in the exhibition The Only Way Is Through in the Academiegalerie. In this exhibition students explore the complex relationship between computer systems and our daily lives.

Beerpong or Voltaire?

What: workshop by Lídia Pereira and Lucia Dossin
When: 13:30 and 15:30
Where: Winkel van Sinkel, Oudegracht 158

Are you an extrovert or an introvert? Are you flexible of rigid? 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 and tour Algorithmic Superstructures

What: Artist Talk and tour in the exhibition of IMPAKT Festival 2018
When: 14:00
Where: IMPAKT Center for Media Culture

Anna Ridler created an updated version of the Dutch still life for the 21st century: an artificial tulip controlled by the fluctuating price of the Bitcoin. After the presentation you will explore the other works in the exhibition with a guide.

The Fall of the House of Usher en rondleiding De line-up

What: Curators Talk at the work of Anna Ridler and tour of the exhibition
When: 14:30
Where: Centraal Museum, Agnietenstraat 1

N.B. Registration necessary! Send an email to: kassa [at] impakt.nl

Visit De line-up alongside the curators of the Centraal Museum,  an exhibition about drawing from the 1950s until now. Highlight of the day is The Fall of The House of Usher by Anna Ridler, an animation created by artificial intelligence.

Post-Truth Cinema: High Tech, Low Life

What: Screening with introduction and discussion by Yan Ting Yuen
When: 15:30
Where: Cinema ‘t Hoogt, Hoogt 4

As part of the film series Post-truth Cinema we will show High Tech, Low Life by Stephen Maing, a documentary about Chinese citizen journalism and internet censorship. Before the film documentary filmmaker Yan Ting Yuen will give an introduction.

Coralie Vogelaar en rondleiding Algorithmic Superstructures

What: Artist Talk and tour in the exhibition of IMPAKT Festival 2018
When: 16:30
Where: IMPAKT Center for Media Culture

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. After the presentation you will explore the other works in the exhibition with a guide.

I Spy With My Machine Eye

What: Audiovisual performance by Liam Young
When: 18:00
Where: Hertz Zaal, TivoliVredenburg, Vredenburgkade 11

We know that they drop bombs on us and even deliver pizza’s, but how does the world look through the eyes of a drone? Take a look in this audiovisual performance by experimental architect Liam Young.

 
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IMPAKT Event: Post-truth Cinema – Our New President + Laura Starink

 

The satirical art project by Maxim Pozdorovkin, Our New President, is a unique report of the Russian media’s coverage of the last American elections. 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. This will be the Dutch premiere of this very current film!

Every month from May until December, IMPAKT and Cinema ‘t Hoogt will organise a film in the series Post-truth Cinema. By means of documentaries and feature films the programme takes a look at our current political landscape. The films and speakers will talk about aspects such as the influence of fake news, the manipulation of social media, political brainwashing and what happens in other countries, like China or Russia.

The film will be introduced by journalist and former Russia correspondent for the NRC newspaper, Laura StarinkAfter the screening she will discuss the film with Impakt director Arjon Dunnewind.

What: screening of Our New President with an introduction by Laura Starink
When: 10 October 19:00
Where: Filmtheater ‘t Hoogt, Hoogt 4, Utrecht
Language: Dutch

 
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Keynote 2018: Metahaven

 

Make sure to join us this year at IMPAKT Festival 2018: Algorithmic Superstructures for the keynote lecture by influential artist duo Metahaven, who will be giving the presentation An Exit (Revisited) about the possibility of exiting the superstructure.

Buy your ticket for the keyuote here or for the whole festival here!

 
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Wanted: Festival Volunteers

 

Would you like to work for a festival of art, music and film?

Volunteers are vital for the Impakt festival. Do you want to help us to make this coming edition a success? We are looking for people who want to work in the run-up to, during and / or after the festival for assistance in building / break down, catering, drivers, stage managers, trainees, etc. We have full time functions, but also more flexible services.

Sign up now!

For more information, you can email to volunteers [at] impakt [dot] nl

or call 030-294 44 93 and ask for Christine.

What’s in it for you?Impakt Festival 2016;  www.Impakt.nl

-Of course a fun time full of film / video, music, new media, fun people with different nationalities.

-Practical experience you will not get in any school. For your CV!

-A daypass for the days you work, if you work 3 or more days, you get a pass-partout for the entire festival!

-Lunch and dinner during your shifts

-The festival t-shirt.

Available jobs:

Impakt Festival 2016;  www.Impakt.nl

Exhibition manager Casco/Fotodok (fulltime – possible internship)

The exhibition of the Impakt festival is at Casco / FOTODOK and runs from 25 October to 12 November. 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.

Availability: from Wednesday 24 October to Sunday 11 November from 12:00 to 20:00 (except Mondays and Tuesdays)

Impakt Festival 2016;  www.Impakt.nl

Assistant location manager Het Huis Utrecht (fulltime)

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? 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!

Availability: 5 to 6 hours a day / evening available from Wednesday 24 October to Monday 29 October.

Impakt Festival 2016;  www.Impakt.nl

 Stage manager (fulltime)

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.

Availability: 5 to 6 hours a day / evening available from Thursday 25 October to Sunday 28 October

 

Impakt Festival 2016;  www.Impakt.nl

Operator (fulltime)

If you can handle digital movie projectors without any problems, you’re independent and technically skilled, this is the job for you! As an operator, you are responsible for the problem-free realization of the audiovisual programs in Het Huis Utrecht.

Availability: 5 to 6 hours a day / evening, available from Thursday 25 to Sunday 28 October.

 

 

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Ticket office (flexibel)

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.

Availability: 5 to 6 hours a day / evening, available from Thursday 25 to Sunday 28 October.

 

 

Impakt Festival 2016;  www.Impakt.nl

Hospitality / host (flexibel)

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 are social, hospitable and speak fluent English and you love to represent Impakt.

Availability: 5 to 6 hours a day / evening, available from Thursday 25 to Sunday 28 October.

 

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Catering (flexibel)

You make sure we have a delicious lunch every afternoon (from groceries to the dishwasher) and help the caterer to serve dinner. If you are doing well, you will probably make a lot of friends, because love really does go through the stomach.

Availability: 5 to 6 hours a day / evening, available from Wednesday 24 to Sunday 28 October.

 

Impakt Festival 2016;  www.Impakt.nl

Builders (Construction and decoration)

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? You like to paint or build a wall? Then this is job for you!

Availability: Sunday 21 October to Wednesday 24 October, Sunday 28 and Monday 29 October, Sunday 11 and Monday 12 November

 

productie-570x380 half

“Lorry driver” and logistics

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.

Availability: Sunday 21 October to Wednesday 24 October, Sunday 28 and Monday 29 October, Sunday 11 and Monday 12 November

 

 
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Keynote 2018: Eliot Higgins

 

Also keynote speaker of IMPAKT Festival 2018: Algorithmic Superstructures, is Eliot Higgins with Bellingcat: Online Fact-Checking in a Post-Truth World. Higgins is the founder of online open source investigation collective Bellingcat and the Brown Moses Blog. He focuses on the weapons used in the conflict in Syria, and open source investigation tools and techniques.

Buy a ticket for the keynote here or for the whole festival here!

 
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Guided Tour Algorithmic Superstructures

 

Curators and artists give guided tours through Algorithmic Superstructures, the exhibition of the IMPAKT Festival.

The exhibition is in two locations: IMPAKT Center for Media Culture, Lange Nieuwstraat 4 (start of the tour) and Casco/FOTODOK, Lange Nieuwstraat 7

Opening Exhibition: Wednesday 24 October at 17:00
Opening hours: Oct 25-28 10:00-18:00

After the Festival the exhibition will remain on view until 11 November. Opening hours: Wed-Sun 13:00-18:00

 
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Exhibition: Special Projects

 

Various special projects will be on view in Het Huis for the duration of the festival.

 
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Tech Solidarity Meetup Data Brokers

 

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.

Get your free ticket at the hospitality desk of the festival. First come first served!

 
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Bellingcat: Online Fact-Checking in a Post-truth World

 

With online research the open source investigation collective Bellingcat contributed to fact-checking and truth-finding in relation to the MH-17 disaster, acts of terror committed by ISIS and the Syrian civil war. In this presentation Higgins will also discuss the workshop that Bellingcat will give in Utrecht, later on in 2018, in collaboration with IMPAKT and Residenties in Utrecht.

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Quantified Trust

 

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.

Present for a Q&A after the screening: Milos Trakilovic and Seecum Cheung

 
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(Infra)Structures of Trust

 

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?

 
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Algorithmic Deconstructions

 

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.

 
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Introduction to Algorithmic Superstructures

 

The curators will introduce their festival programme to you. They will discuss how the program has developed from their initial research and the way the art projects and speakers in their selection research today’s algorithmic superstructures.

 
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Augmented Cities

 

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?

 
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The Data Self

 

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.

Present for a Q&A after the screening: Emma Verhoeven and Benjamin Earl

 
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Algorithms and Financial Speculation

 

Advanced algorithms such as highfrequency trading have radically changed the socio-economic and technological structure of financial markets. This panel will put into context how financial markets have been created, governed and manipulated from the tulip mania in the 17th century to today’s algorithm-driven decision-making and speculation.

 
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Automating Cinema

 

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.

Present for Q&A and presentation: Bram Loogman and Pablo Núñez Palma

 

 
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Egor Kraft

 

In­ter­dis­ci­pli­nary artist Egor Kraft (b. 1986 in St. Pe­ters­burg, Rus­sia) cur­rently lives and works in Moscow, Vi­enna and Berlin. Hav­ing ac­quired his ba­sic ed­u­ca­tion in Fine Arts in Swedish foun­da­tion Art School Ger­les­borgsskolan, he con­tin­ued stud­ies in Arts & Dig­i­tal Me­dia at the Moscow Rod­chenko Art School (BA), The Acad­emy of Fine Arts in Vi­enna (MA), fol­lowed by an Cen­tral Saint Mar­t­in’s Col­lege of Art and De­sign in Lon­don (MA schol­ar­shipand) and lastly ‘The New Nor­mal’ Post­grad­u­ate re­search pro­gramme at Strelka In­sti­tute in Moscow. He par­tic­i­pated in The 5th and 2nd Moscow In­ter­na­tional Bi­en­ni­als for Young Art, 1st Ukran­ian Bi­en­nale ‘Ar­se­nale’, Man­i­festa 10, Par­al­lel Vi­enna and in­ter­na­tional ex­hi­bi­tions, screen­ings and fes­ti­vals across Aus­tralia, Eu­rope, South Amer­ica, US and the UK.

 
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Black Boxes for Fiction Makers

 

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. The panel discusses what new forms of fictional storytelling are  made possible with these technologies.

 
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Evgeny Morozov: Big Tech Beyond the Algorithm

 

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.

This keynote will be moderated by tech journalist Eva de Valk

 
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Julia Kloiber: Request for Optimism

 

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.

The keynote will be moderated by New Media professor Imar de Vries.

 
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Adam Greenfield: Radical Technologies, The Design of Everyday Life

 

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 20:00.

 
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Post-truth Cinema

 

Every second Wednesday of the month from May until December, IMPAKT and Cinema ‘t Hoogt will organise the film series Post-truth Cinema. By means of documentaries and feature films the programme looks at our current political landscape and aspects such as political brainwashing, media manipulation, the influence of lobbying, tactics of distraction and fake news, Internet activism and media ethics.

Each film will be introduced by a speaker, who will discuss the film afterwards with IMPAKT director Arjon Dunnewind.

The first films on the programme are:

16 May 19:00: The Cleaners with and introduction by tech journalist Eva de Valk

13 June 19:00: Videocracy with an introduction by historians Pepijn Corduwener & Arthur Weststeijn

11 July 18:30: Network with an introduction by journalist Xandra Schutte

29 August 18:30: The Manchurian Candidate with an introduction by film scholar Dan Hassler-Forest

1 September 19:00: HyperNormalisation, preceded at 16:30 by a lecture by Jonas Staal

10 October 19:00: Our New President with an introduction by journalist and Russia expert Laura Starink

4 November 15:30: High Tech, Low Life with an introduction by documentary film maker Yan Ting Yuen

12 December 19:00: Truth in Numbers? Everything According to Wikipedia with an introduction by author Maxim Februari

Tickets for each event will be sold via the website and at the ticket desk of Cinema ‘t Hoogt. Unless otherwise announced, each event will be in Dutch.

Special: On 16 September at 15:00, as part of the Uitfeest in Utrecht, Dan Hassler-Forest will give a presentation with excerpts from film and television that give us a rather confrontational look at how fake news influences our opinions and introduce the upcoming films of the series.

 

 
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Anna Ridler

 

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). My intention is to make work that is not about technology for its own sake, but rather uses these technologies as a tool to talk about other things – memory, love, decay –  or to augment or change the story in a way in that otherwise would not happen. 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.

 
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Phil Patiris – The Iraq Campaign 1991 (US 1992, 18:39 Mins)

 

This 20 minute political remix film entitled “Iraq Campaign 91″ was created in 1991. Phil Patiris transformed network news footage, clips from Star Trek, and sports coverage to critique the media/industrial complex and the 1st Gulf War.

 
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Eduardo Menz – Pinochet’s Women (Canada 2005, 11:43 Mins)

 

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. The video examines class structure, the meaning of beauty and forgotten history through two very different but significant women during Pinochet’s brutal regime of the late 1980s.

Bio:

Eduardo Menz (born in 1977 in Canada) completed his undergraduate program with a minor in photography and a specialization/major in film production at Concordia University. He is a member of the Double Negative Collective who showcase international experimental filmmakers’ works. His film work has always attempted to transgress and interweave the boundaries of what defines fiction, documentary and experimental film genres.

 
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Keynote 2018: Evgeny Morozov

 

One of the keynote speakers of IMPAKT Festival 2018: Algorithmic Superstructures is writer and critic Evgeny Morozov, who was also a guest at Impakt Festival 2015. Have a listen to the talk he gave then and join us again this time!

Buy your ticket here!

 
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Keynote 2018: Julia Kloiber

 

Julia Kloiber, researcher, designer and founder of the Prototype Fund will give a keynote lecture during this year’s IMPAKT Festival: Digital Superstructures! Have a listen below to a talk she gave previously about using data for the public good.

Buy a ticket for the keynote here or for the whole festival here!

 
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Metahaven: An Exit (Revisited)

 

In “The If Borderlands,” the American poet Elise Partridge (1958–2015) wrote about life as a series of roads not taken, about what if this other thing—not the thing that actually happened—would have happened. “We raid the warehouses of inerrant fortune cookies,” Partridge wrote, longing for lost loved ones, lost passports, and for a globe “tender as a peach,” that might have been.

What this festival has named “algorithmic superstructures” sees its front end in the shopping mall internet of social media and clickbait news. This formation is, perhaps, only mirroring the final stages of our own uninterrupted attention. What would have happened, or what would happen, if we’d raided, or would raid, the warehouses of inerrant fortune cookies, and took the road not taken: exiting the superstructure, simply leaving, from within?
The keynote will be moderated by history and philosophy professor Adriaan van Veldhuizen.
 
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Keynote 2018: Adam Greenfield

 

Also keynote speaker of IMPAKT Festival 2018: Algorithmic Superstructures, is writer and urbanist Adam Greenfield, who will talk about critical awareness of the technologies we embrace and the modes of resistance that are available to us. 

Buy a ticket for the keynote here or for the whole festival here!

 
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Adam Greenfield

 
Adam Greenfield is a London-based writer and urbanist. His most recent book is Radical Technologies: The Design of Everyday Life, out in paperback now from Verso.
 
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Julia Kloiber

 
Julia is a researcher and designer who works at the intersection of technology and society. She develops strategies and concepts to innovate programs for the digital world. In 2016 she founded the Prototype Fund, Germany’s first open source funding program that supports technology projects for the public good. As part of the Open Knowledge Foundation, she has been running multiple initiatives that promote transparency and use technology for the common good. She is a Senior Fellow at Mozilla where she focuses on building public awareness to demand ethical internet technologies. Based in Berlin, she is currently researching emerging technologies and exploring future narratives.
 
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IMPAKT at Bandits Mages Festival, Bourges

 

WE ARE DATA

What: Film programme organised in collaboration with the Bandits-Mages Festival in Bourges
When: Friday 16 November 21:00
Where: Bandits Mages, Friche l’Antre-Peaux, 24 route de la Chapelle in Bourges, France

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. 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. We’ve filled our habitats with datafied objects and more and more we have become sets of data ourselves. 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. They tell us that they want to “connect us” and provide us with better services, but they are also there to make profit and control us. 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?

Films:

The Hands on Tuesday (Ruce v úterý) – Čeněk Zahradníček (Czechoslovakia 1935, 13 min)
The Expression of Hands (Der Ausdruck der Hände) – Harun Farocki (Germany 1997, 30 min)
Toute la mémoire du monde – Alain Resnais (France 1957, 21 min)
A Dialogue with Cyberspace – Brian den Hartog (BE/NL, 2018, 14 min)
Remind Me – H5 (Ludovic Houplan & Hervé de Crécy) and Röyksopp (France 2002, 5 min)
Hyper-Reality – Keiichi Matsuda (Colombia 2016, 6 min)
Wir sind Daten – Peter Weibel & Hotel Morphila Orchester (Germany 2013, 5 min)

Programme curated by Arjon Dunnewind, Impakt Festival, Utrecht.

 
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IMPAKT at Werkleitz Festival, Halle

 

We Are Data

What: Film programme organised in collaboration with the Werkleitz Festival in Halle
When:
Sunday 21 October 21:00
Where: Werkleitz Festival Zentrum, Kleine Märkerstraße 7a, Halle (Saale), Germany

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. 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. We’ve filled our habitats with datafied objects and more and more we have become sets of data ourselves. 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. They tell us that they want to “connect us” and provide us with better services, but they are also there to make profit and control us. 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?

Films:

The Hands on Tuesday (Ruce v úterý) – Čeněk Zahradníček (Czechoslovakia 1935, 13 min)
The Expression of Hands (Der Ausdruck der Hände) – Harun Farocki (Germany 1997, 30 min)
Toute la mémoire du monde – Alain Resnais (France 1957, 21 min)
A Dialogue with Cyberspace – Brian den Hartog (BE/NL, 2018, 14 min)
Remind Me – H5 (Ludovic Houplan & Hervé de Crécy) and Röyksopp (France 2002, 5 min)
Hyper-Reality – Keiichi Matsuda (Colombia 2016, 6 min)
Wir sind Daten – Peter Weibel & Hotel Morphila Orchester (Germany 2013, 5 min)

Programme curated by Arjon Dunnewind, Impakt Festival, Utrecht

 
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IMPAKT at Retune Festival, Berlin

 

BLACK BOXES FOR FICTION-MAKERS

Panel organised in collaboration with the Retune Festival in Berlin

Silent Green, main stage and discussion area, 15:00-15:30 27 September 2018, Silent Green Berlin

The development of deep and reinforcement learning algorithms has expanded the range of technologies available to today’s artists and designers to include self-learning systems that are not only tools and techniques, but creative partners in their own right. 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?

With: Albert Barqué-Duran, Appu Shaji (Mobius Labs) and Samim Winiger (samim.io)

Curated and moderated by Luba Elliott (co-curator of the Impakt Festival 2018 and Creative AI researcher)

 

 
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IMPAKT at Ars Electronica, Linz

 

Deep Fake or Rendering the Truth

Panel is co-organized with Tobias Revell, Natalie Kane and the Ars Electronica Festival in Linz

Sunday September 9th, 15:00 – 16:30. Ars Electronica Festival, Linz, Austria

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. In August 2017, the Graphics and Imaging Laboratory at Washington University released a video ‘Synthesizing Obama’ which demonstrated the ability to synthesize a life-like rendering of Obama in real time. 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.

Guests: Tobias RevellEliot Higgins (Bellingcat)Lauren Alexander (Foundland), Simone Niquille and Leonhard Lass

Moderator: Arjon Dunnewind.

In addition to this panel IMPAKT is also present at Ars Electronica with an installation by Foundland (co-production IMPAKT and Ars Electronica) and Mosaic Virus by Anna Ridler (IMPAKT EMAP resident 2018)

 
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Evgeny Morozov

 

Evgeny Morozov is the author of The Net Delusion: The Dark Side of Internet Freedom. Morozov is currently a visiting scholar at Stanford University and a Schwartz fellow at the New America Foundation. He is a contributing editor to Foreign Policy and Boston Review. He was formerly a Yahoo! fellow at the Institute for the Study of Diplomacy at Georgetown University and a fellow at George Soros’s Open Society Institute, where he remains on the board of the Information Program. Before moving to the US, Morozov was Director of New Media at Transitions Online, a Prague-based media development NGO active in 29 countries of the former Soviet bloc.

Morozov’s writings have appeared in The Economist, The Wall Street Journal, Financial Times, Newsweek, The Washington Post, The International Herald Tribune, The Globe and Mail, The New Republic, Times Literary Supplement, Prospect, The Sunday Times, The Boston Globe, Slate, Le Monde, San Francisco Chronicle, Boston Review, Foreign Policy, Project Syndicate, Dissent and many other publications.

 
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Eliot Higgins

 

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.

 
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Metahaven

 
The work of Metahaven consists of filmmaking, writing, design, and installations, and is united conceptually by interests in poetry, storytelling, digital superstructures, and propaganda. Forthcoming solo exhibitions include “Version History” at the ICA, London (2018), and “EARTH” at Stedelijk Museum Amsterdam (2018). Films by Metahaven include The Sprawl (Propaganda about Propaganda) (2015), Information Skies (2016), Possessed (2018, with Rob Schröder), and Hometown (2018). Publications include Black Transparency (2015) and Uncorporate Identity (2010). A forthcoming new essay is Digital Tarkovsky (2018). Metahaven’s films have been nominated for the European Film Award for Short Film 2017, and the New:Vision Award 2018 at CPH:DOX. Their work is published, screened and exhibited worldwide.
 
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Egor Kraft

 

In­ter­dis­ci­pli­nary artist Egor Kraft (b. 1986 in St. Pe­ters­burg, Rus­sia) cur­rently lives and works in Moscow, Vi­enna and Berlin. Hav­ing ac­quired his ba­sic ed­u­ca­tion in Fine Arts in Swedish foun­da­tion Art School Ger­les­borgsskolan, he con­tin­ued stud­ies in Arts & Dig­i­tal Me­dia at the Moscow Rod­chenko Art School (BA), The Acad­emy of Fine Arts in Vi­enna (MA), fol­lowed by an Cen­tral Saint Mar­t­in’s Col­lege of Art and De­sign in Lon­don (MA schol­ar­shipand) and lastly ‘The New Nor­mal’ Post­grad­u­ate re­search pro­gramme at Strelka In­sti­tute in Moscow. He par­tic­i­pated in The 5th and 2nd Moscow In­ter­na­tional Bi­en­ni­als for Young Art, 1st Ukran­ian Bi­en­nale ‘Ar­se­nale’, Man­i­festa 10, Par­al­lel Vi­enna and in­ter­na­tional ex­hi­bi­tions, screen­ings and fes­ti­vals across Aus­tralia, Eu­rope, South Amer­ica, US and the UK.

 
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Sam Lavigne

 

Sam Lavigne is an artist and educator whose work deals with data, surveillance, cops, natural language processing, and automation. He has exhibited work at Lincoln Center, SFMOMA, Pioneer Works, DIS, Ars Electronica, The New Museum, the Smithsonian American Art Museum, and his work has been covered in the New Yorker, the Washington Post, the Guardian, Motherboard, Wired, the Atlantic, Forbes, NPR, the San Francisco Chronicle, the World Almanac, the Ellen Degeneres Show and elsewhere. He is currently an Adjunct Professor at ITP/NYU, The New School, and the School for Poetic Computation, a 2016/2017 Magic Grant fellow at the Brown Institute at Columbia University, and is Special Projects editor at the New Inquiry Magazine.

 
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Donna Verheijden

 

Donna Verheijden (Arnhem, 1989) is a graphic designer and videographer. Verheijden graduated from the Sandberg Institute. As a contemporary image maker, Donna sees it as her responsibility to analyse and criticise today’s apparent or staged realities. Her main research focuses on mass and social media, its seductions and underlying power structures.

 
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Kyriaki Goni

 

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.

 
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Marina Otero Verzier

 

Marina Otero Verzier is an architect based in Rotterdam. She is Director of Research at Het Nieuwe Instituut, where she leads research initiatives such as ‘Automated Landscapes,’ focusing on the emerging architectures of automated labour, and ‘Architecture of Appropriation,’ on squatting as spatial practice.

Otero is the Curator of WORK, BODY, LEISURE, the Dutch Pavilion at the 16th Venice International Architecture Biennale in 2018. With the After Belonging Agency, Otero was Chief Curator of the Oslo Architecture Triennale 2016, which addressed the implications of architecture in contemporary processes of displacement and identity construction.

From 2011-2015 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 2008.

Her work, recently awarded by The Graham Foundation, Design Trust, and the FAD Thought and Criticism Award, has been published in different books and journals. Otero has co-edited Promiscuous Encounters (GSAPP Books, 2014), Unmanned: Architecture and Security Series (Dpr-Barcelona, 2016), After Belonging: The Objects, Spaces, and Territories of the Ways We Stay In Transit(Lars Müller Publishers, 2016).

She currently teaches at ETSA Madrid and RCA, and has taught seminars and studios at ETSAM, Barnard College, and Columbia GSAPP. Otero studied architecture at TU Delft and ETSA Madrid.

In 2013, as a Fulbright Scholar, she graduated from the M.S. in Critical, Curatorial and Conceptual Practices in Architecture at Columbia University GSAPP. She completed her PhD at ETSAM in 2016. Her thesis ‘Evanescent Institutions’​ examines the emergence of a new paradigms for cultural institutions, and in particular the political implications of temporal and itinerant structures.

 
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Albert Meijer

 

Albert Jacob Meijer (1967) 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 2002 Meijer received his PhD at Erasmus University Rotterdam for a thesis on parliamentary and legal accountability in the information age. Since February 2002 Meijer works as an associate professor at the Utrecht School of Governance. He teaches public administration and policy sciences at the bachelor and master level. He does research on technology and governance.

 
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Foundland

 

Foundland Collective was formed in 2009 by South African Lauren Alexander (Cape Town, 1983) and Syrian Ghalia Elsrakbi (Damascus, 1978) and is today based between Amsterdam and Cairo. 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.

Foundland was awarded the Smithsonian Artist Research Fellowship for research in the largest Arab American archive in 2015/2016 and shortlisted for the Dutch Prix de Rome prize in 2015 and Dutch Design Awards in 2016.

Ghalia Elsrakbi (1978, Damascus, SYR) was based in the Netherlands until 2014, before relocating to Cairo, Egypt where she teaches at the American University. After completing a Masters in Design at the Sandberg Institute Amsterdam, she followed a research post-graduate at Jan van Eyck Academy in Maastricht. (2010)

Lauren Alexander (1983, Cape Town, ZAR) lives and works in Amsterdam. After completing a Masters in Design at the Sandberg Institute, Amsterdam, she pursued an MFA at the Dutch Art Institute (DAI) in Arnhem (2011). She tutors in the Graphic Design bachelor and master programme of the Royal Academy of Arts in the Hague (KABK), as well as at the University of the Underground, master programme at the Sandberg Institute, Amsterdam.

 
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Omsk Social Club

 

Omsk Social Club Lives and works in Berlin. They have exhibited across Europe in various institutions, galleries and offsites such as Martin Gropius Bau, Migros Museum für Gegenwartskunst, Zürich, Middlesbrough Modern Institute of Art, Bergen Kunsthalle, Gold and Beton Cologne, “Vomit Apocalypse” for Glasgow International and Kunsthalle Zürich. They have attended The Eternal Internet Brother/Sisterhood residency in Sri Lanka in 2016 curated by Angelo Plessas and was recently awarded The New Networked Normal Project Grant in 2018 with !Medien gruppe bitnik . Last year they were awarded the Gleis 70 Zurich international artist award from Pro Helvetia in 2017 and the 8th ARTWARD Junior Prize in Munich.

Their theoretical essays and creative texts have been commissioned for Kaleidoscope Magazine, NXS, Badlands, A little disaster, NRW Forum Düsseldorf, The Internet is Present, Status Effect curated by Andrew Varano, Websafe2k16, and Oncurating.org. They coined and works heavily with the concept of Cosmic Depression – The theory of depression caused by digital utopia (Paradise without Ecology) and Real Game Play. Omsk’s practice spans from visual to theoretical production often using the model of gaming. Working with a cross disciplinary practice and over many avatars or pseudo-names. The artist is constantly observing and questioning the concept of Self, Individualism and the community both in off and online scenarios. Pioneering the spectacle Ying Colosseum in Berlin (2015-2016). They are heavily influenced by their peers and their voices as collective anonymous mass often incorporating them into her Meta Larps and Real Games. One may liken Omsk’s output to a new form of relational aesthetic practice.

 
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Charlie Clemoes

 

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.

 

 
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Anna Ridler

 

Anna Ridler is an artist and researcher who lives and works in London. She has degrees from the Royal College of Art, Oxford University, University of Arts London and have shown at a variety of cultural institutions and galleries including Ars Electronica, Sheffield Documentary Festival, Leverhulme Centre for Future Intelligence, Tate Modern and the V&A. She is a recipient of this year’s European Media Art Program (partnering with Impakt) and the winner of the 2018-2019 Dare Art Prize. 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.

 
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Mario Klingemann

 

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. An important part of his investigations are digital cultural archives like the British Library’s, the Internet Archive’s or the collection of the Google Arts & Culture where he currently is artist in residence.

He is a regular speaker on international art, design and media festivals, winner of the 2015 creative award of the British Library and his works have been shown at the Ars Electronica Festival, the Photographers Gallery, London, the Centre Pompidou, Paris, the Met and the MoMA, New York.

 

 
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Adam Harvey

 

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 (2010) and previously studied engineering and photojournalism at the Pennsylvania State University.

 
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Constant Dullaart

 

Constant Dullaart

Born 1979, Leiderdorp, Netherlands.

Lives and works in Berlin, Germany and Amsterdam, Netherlands.

Constant Dullaart‘s practice reflects on the broad cultural and social effects of communication and image processing technologies, from performatively distributing artificial social capital on social media to completing a staff-pick Kickstarter campaign for a hardware start-up called Dulltech™. His work includes websites, performances, routers, installations, startups, armies, and manipulated found images, frequently juxtaposing or consolidating technically dichotomized presentation realms. Recent solo Exhibitions include Cultural Matter, LIMA, Amsterdam; 100,000 Followers for Everyone, FOAM, Amsterdam (2018); Phantom Love, Up Projects, London (2017); Synthesising the Preferred Inputs, Future Gallery, Berlin; Deep Epoch, Upstream Gallery, Amsterdam (2016); The Possibility of an Army, Kunsthalle Schirn, Frankfurt; Jennifer in Paradise, Futura, Prague; The Censored Internet, Aksioma, Ljubljana (2015); High Retention Slow Delivery, Jeu De Paume, Paris and Stringendo, Vanishing Mediators at Carroll / Fletcher, London; (2014). Group Exhibitions include I Was Raised on the Internet, MCA, Chicago; When Facts Don’t Matter Lismore Castle Arts, Lismore; (2018); Open codes, ZKM, Karlsruhe (2017-2019); Collecting Europe, V&A Museum, London (2017), Electronic Super Highway, Whitechapel, London; Final Goods, Kunstverein Hildesheim (2016);Then They Form Us, MCA, Santa Barbara; When I Give, I Give Myself, Van Gogh Museum, Amsterdam; Algorithmic Rubbish, Stedelijk Museum Bureau Amsterdam (2015); Casting a Wide net, Postmasters, NYC, USA; Online/Offline/Encoding Everyday Life, Transmediale, Berlin (2014). Dullaart has curated several exhibitions and lectured at universities and academies throughout Europe, most currently at the Werkplaats Typografie. Recently he has been awarded the Prix Net-Art 2015 and was a resident at the ISCP in New York in 2017.

 
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Paolo Cirio

 

Paolo Cirio works with legal, economic and semiotic systems of the information society. He investigates social fields impacted by the Internet, such as privacy, copyright, democracy, and finance. He shows his research and intervention-based works through artifacts, photos, installations, videos, and public art.

 
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Judith Bihr

 

Judith Bihr works as a curator at the ZKM | Center for Art and Media Karlsruhe, Germany. She studied Literature, Fine Arts and Media studies between 2004 and 2010 at the Universities of Konstanz, Germany and Cairo, Egypt, and graduated with a Master of Arts. She completed her PhD on Contemporary Egyptian Art as a scholarship holder at a.r.t.e.s. Graduate School for the Humanities Cologne. Her thesis that was published recently under the title “Muster der Ambivalenz. Subversive Praktiken in der ägyptischen Kunst der Gegenwart” [Patterns of Ambivalence. Subversive Practices in Contemporary Egyptian Art] received the DAVO Dissertation prize 2015. She focuses her research on Media Studies, Global Art History and Postcolonial Studies with a special focus on the Middle East and presented several papers in various venues including the American University in Cairo, the University of Tokyo, New York University, Cape Town University, the University of Nicosia and the Orient Institute in Beirut, among others.

 
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Report Impakt Event: Digital Landscapes – Hidden Realities

 

Pictures and video of the Impakt Event: Digital Landscapes – Hidden Realities that took place on July 13th 2018 at Impakt Center for Media Culture:

Impakt Event 2018: Digital Landschapes - Hidden Realities

 
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Keiken

 

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. Keiken’s praxis applies world-building as a technique to imagine networked, layered futures. 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.

Keiken have exhibited and curated at CTM and Transmediale Vorspiel festival, U Studio at Tate St Ives, London Design Festival, Hervisions, Second Home, London and Newlyn Art Gallery. They have also presented lectures, talks and workshops at LUX Moving Image, KNOW-WAVE Radio, and Goldsmiths University, University of Arts (LCC) and Falmouth University. They were the first artists to have their virtual reality film projected 22,000 light years into space by Jon Pettigrew for Planet3artnews.

 
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Jaromil

 

Denis Roio, better known by the hacker name Jaromil, is CTO and co~founder of the Dyne.org software house and think & do tank based in Amsterdam, known worldwide for developing and distributing free and open source software with a strong focus on peer to peer networks, social values, cryptography, disintermediation and sustainability.

Jaromil holds a Ph.D on “Algorithmic Sovereignty” and received the Vilém Flusser Award at Transmediale (Berlin, 2009) while leading for 6 years the R&D department of the Netherlands Media art Institute (Montevideo/TBA). He is the leading technical architect of DECODE, an EU funded project on blockchain technologies and data ownership, involving pilots in cooperation with the municipalities of Barcelona and Amsterdam.

 
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Dries Depoorter

 

Dries Depoorter is a media artist who uses programming language and digital media to create his work, usually concerning the internet. He lives online in Ghent, Belgium where he works on his Master degree in media art at KASK, School of Arts Ghent, and is inspired by the latest software documentation. Currently his main focus lies in giving away his own privacy by the means of software.

 
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Reality Glitch

 

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.

Present for a Q&A after the screening: José Miguel Biscaya, Hillevi Högström and Mary Ponomareva

 
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trust (in)formation

 

A workshop by Creative Coding Utrecht, with Cristina Cochior and Manetta Berends

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? Trust <in>formation is inspired by the feminist machine learning service of Wikimedia called ORES.

Subscribe via trust@impakt.nl

Entrance free, get your tickets at the ticket desk at IMPAKT Center for Media Culture, Lange Nieuwstraat 4.
The workshop can hold a maximum of 15 participants.

Cristina Cochior (RO/NL) is a researcher and designer working in the Netherlands. 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.

Manetta Berends (1989, NL) combines a graphic design & practice based research, with an interest in social political relations with technology. Manetta holds a MA Media Design from the Piet Zwart Institute, Rotterdam (2016) and a BA in graphic design from ArtEZ, Arnhem (2012).

 
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The Glass Room Experience

 

What is personal data in an age when our data is everything but personal? Our websites, apps, social media and ‘smart’ devices all thrive on the same thing that makes tech companies billions – data. Not just any data, but our data. In 2030 there will be an estimated 125 billion connected devices – 14 for each person. That’s a lot of smart toothbrushes. 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. Find out more about what’s really happening behind the screen in The Internet You Don’t See.

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.

The Data Detox Kit was originally produced as a printed toolkit for The Glass Room NYC and was later adapted for the The Glass Room London. It is presented by Mozilla, with concept and content by Tactical Tech.

About the artist:

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.

Their work has gone through a number of phases since the organisation was founded in 2003, but the core principle hasn’t changed: they investigate the ways in which digital technologies change society and impact individual autonomy and agency, using their findings to drive practical solutions for an international audience of civil society actors and engaged citizens.

 
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Tactical Technology Collective

 

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.

Their work has gone through a number of phases since the organisation was founded in 2003, but the core principle hasn’t changed: they investigate the ways in which digital technologies change society and impact individual autonomy and agency, using their findings to drive practical solutions for an international audience of civil society actors and engaged citizens.

 
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Fake News

 

On 10 April 2018, Mark Zuckerberg was interrogated by US Congress. Fake News presents this hearing on three screens that each use different Instagram Face Filters. The work creates a new absurdist perspective on conversations about fake news, Facebook users’ privacy and future Facebook regulations.

About the artist:

Jeroen van Loon’s work has been displayed in solo exhibitions and international group shows and has earned him a European Youth Award and a KF Hein art grant. He regularly gives presentations on his artistic explorations of technology, both in the art world and through institutions that promote innovation, such as TEDx. Van Loon holds a bachelor’s degree in digital media design and a master’s in European media. He is currently based in Utrecht, the Netherlands.

 
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Demystification Committee

 
The Demystification Committee investigates deep systems of power that shape contemporary society through the study of platforms, legal frameworks, machines and networks, and the production of visual and sound work. The practice currently focuses on the toxic relationship between sovereignty and capital. And on the friction between communication networks and infrastructures of power.
The systems that the Demystification Committee investigates produce large amounts of noise. Adapting to ever-changing scales and speeds in order to identify and amplify such noise across technical, legal and physical boundaries, the Committee seeks alternative narratives to the promises and myths of late capitalism. The Demystification Committee was established in 2016 and is chaired from London, UK and Berlin, DE.
 
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Nicolas Maigret

 

NICOLAS MAIGRET exposes the internal workings of media, through an exploration of their dysfunctions, limitations or failure thresholds which he develops into immersive, ambiguous and critical artworks. He initiated disnovation.org, a working group which aims to disrupt, pervert, and complexify the accounts on technological innovation. The group develops situations of disturbance, speculation, and debate, challenging the ideology of innovation and stimulating the dissemination of alternative narratives. He teaches at Parsons Paris and develops a research on “Black Boxes” with V2_ Rotterdam and UCL Louvain. With Maria Roszkowska he co-edited The Pirate Book, an anthology on media piracy.

His work has been presented in numerous exhibitions and festivals around the world including Transmediale (Berlin), Museum of Art and Design (New York), Chaos Communication Congress (Hamburg), ISEA (Hong Kong), Palais de Tokyo (Paris), Centre Pompidou (Paris), Elektra (Montréal), China Museum of Digital Arts (Beijing), HEK (Basel), Polytechnic Museum (Moscow), File (Sao Paulo), Northwest Film Forum (Seattle), School of the Art Institute (Chicago), The Pirate Bay (Stockholm), Eastern Bloc (Montreal)… His work has been featured in Forbes, Wired, Vice, Motherboard, Libération, Die Zeit, Arte TV, Next Nature, Hyperallergic, Le Temps, Neural.it, Digicult, Gizmodo, Seattle Weekly, torrentfreak.com, and Filmmaker Magazine among others.

 
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Patternist

 

Patternist is a location-based augmented reality game, serving as a platform for users to engage with alternative urban infrastructures and economies through speculative fiction. The narrative gameplay of Patternist revolves around the discovery of an alien phenomenon that mysteriously appears overlaid upon Earth’s cities and urban conditions.  In order to fully understand Patternist, players must explore their existing cities, trade and interact with other players, and uncover the patterns that algorithmically link these simultaneous planets. Players use the AR interface to detect Patternist elements spawning in location-bound urban infrastructure of their Earthly cities, and combine them to generate the co-existing topographic superstructure of Patternist.

For Impakt Festival, spectacular traces of Patternist have been identified throughout central Utrecht, from the Het Huis to Fotodok, from the train station through the canals.

Download to participate now at www.pattern.ist   

 
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SkinGazers

 

SkinGazers is the new cult collective platform for orchestrated life experiences, utilized and mutated through live-action-role-play (LARP) and Real Game Play (RGP) throughout IMPAKT festival. Join the SkinGazers community and enhance your experience at IMPAKT by simply registering at www.skingazers.com

 
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00:00:01s

 

Oneseconds started out as VJ’s at parties. Craving more than showing moving wallpaper we made use of self programmed tools that enabled us to create unique content on the spot together with our audience. Watching people interact with each other and our tools inspired us to evolve our work into installations and performances, where the audience took an even more active role. Human behaviour, and the ability to influence it is an inspiration for most of our work.

We have a fascination for experiences that lay in between the a roller coaster ride and theatre. Something that can be an intense experience and is easy to understand at first, but allows you to explore a more deeper meaning when you are up to it. We believe that a message can come across better when experienced at first hand. With each project we explore a certain emotion, behaviour or system. Going through the experience we want the visitors to question their part in the bigger picture.

 
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BlkBx.mov (2014, 6 min)

 

Black Box, noun: 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.

About the artist

Wilf Speller (GB) is a visual artist and filmmaker living and working at Wysing Arts Centre, Cambridgeshire. His work is concerned with the politics and ethics of image culture. Wilf’s work examines processes of knowledge transfer and production, often representing the patterns and structures of his own research in the work itself. 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.

 
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Pure Difference (2018, 22 min)

 

Pure Difference asks us “What is a number?” It is the debut episode in Anti-Racist Mathematics and Other Stories, a series of learning tools towards a post-capitalist education system. 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. From the notion of a ‘science of revolt’ declared by Brad Werner and contextualized by Donna Haraway, the history of the algorithm from al-Khwārizmī, Karl Marx’s mathematical manuscripts, to IBM’s present-day algorithm that is cited to distinguish refugees from terrorists, this series speculates on the make-up of technical languages and what they could become.

About the artist

Byron Peters is an artist and writer based in Vancouver. 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. Exhibition venues include The Darling Foundry (Montreal), ICA Miami, Para Site (Hong Kong), The Elizabeth Foundation for the Arts (New York), The Asian Art Museum of San Francisco, and others. Two upcoming episodes from the video series Anti-Racist Mathematics and Other Stories will premiere in 2019.

 
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Fact & Fiction

 

Welcome to our temporary filter bubble! Fact & Fiction is a game for 5 to 9 players, where the opinion of the majority is the truth. Each round one player spreads news by reading a hidden message with a special mask. Next it’s up to all players to decide if the news item is fact or fiction.

A game lasts approximately 30 minutes, with a maximum of 9 players each time.

Please sign up at the hospitality desk during the festival. First come, first served!

 
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XYZ (2016, 7 min)

 

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.

About the artist

Miloš Trakilović (NL) is an artist living and working in Berlin and The Netherlands. He holds a MFA from the University of Arts in Berlin where he graduated in the New Media department. 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.

 
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Evelyn Wan

 

Evelyn Wan is a PhD Candidate at the Institute for Cultural Inquiry (ICON) at Utrecht University under the full support of the R. C. Lee Centenary Scholarship from her hometown, Hong Kong. Her dissertation entitled “Clocked!: Time and Biopower in the Age of Algorithms” is currently under examination. She holds a Research Masters in Media & Performance Studies and an MA in Gender Studies from Utrecht University. She is the founder of Performance Studies international’s “Future Advisory Board”, an international emerging scholars’ collective which promotes trans-cultural, trans-generational, and decolonial perspectives in the field. 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).

 
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Luxury Survival Fair (2018, 22 min)

 

The future is full of uncertainty, danger, and fear. We await constantly evolving threats, conflicts, wars and global crises. At the Apocalyptic Luxury Fair, we forecast ‘the end of the world’ to be fabulously glamorous! Get ready for the new millennium with high-end private security systems, state-of-the-art predator drones, luxurious survival condos and encrusted gas masks from Raphael Universal, the world’s number-one provider of future-proof lifestyle must-haves.

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: for those who prefer to survive in style. 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.

Voiceover by Shristie Budhia aka Amelia Clark Productions

About the artist

Mary Ponomareva (RU/NL) is a designer, visual artist and researcher.  Moscow-born, Amsterdam & the Hague- based. With a background in academic art, she is engaged in exploring the boundaries of visual communication, design, and new media. Interested in cultural, social and political impacts of symbols, meanings, representations within today’s media. She is recently graduated with MA in Design, from the Sandberg Institute, Amsterdam.

 
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“Honey, I’m Data!”

 

As a web of  narratives fabricates reality, it is also conditioned, shaped and governed by algorithmic design. 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.

Performance featuring Suzannah Pettigrew, with live sound from Nati Cerutti, live streamed performance from AGF HYDRA, Video design by George Jasper Stone, and including extracts from a conversation with Natasha Vita-More.

“Honey,  I’m Data!” was originally commissioned by Hervisions at LUX

 

 

 
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A Hand in the Game (2017, 25 min)

 

In 1996, 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. 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.

About the artist

Hillevi Cecilia Högström was born in 1994 in Jönköping, Sweden. Received BA of Fine arts from Iceland University of the Arts in 2018. She’s currently based in Reykjavík, Iceland.

 
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Sitting in Darkness (2015, 15 min)

 

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. We watch on, sitting in darkness, our muscles contract and our pupils dilate – “I hope the camera picks this up”. “Sitting in Darkness” is a sensory essay film exploring the circulation, spectatorship and undeclared politics of contemporary networked images.

About the artist

Graeme Arnfield (b. 1991, GB) is an filmmaker & artist living in London, raised in Cheshire, UK. His work explores issues of circulation, spectatorship and history and has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Berlinische Gallerie, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Whitechapel Gallery and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University and is currently making a film with FLAMIN.

 
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Earth: As Above, So Below

 

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 programme will feature Emma Charles’ film White Mountain (2016) and Ben Rivers’ Urth (2016) and is done in collaboration with Theory of Concentric Spheres, curated by Ben Evans James from South Kiosk, London.

Present for a Q&A after the screening: Emma Charles and Ben Evans James

 
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Jeroen van Loon

 

The hybrid field of art and technology is seeing a radical change in the approaches taken by its artists. Rather than working from blueprints based on desktop research, emerging artists in this domain increasingly often choose to embed themselves in a technology’s sphere of influence while keeping a relatively open agenda. Working one’s way towards artistic outcomes from an embedded position encourages a new emphasis on the process of development and the bodily experiences it brings about in the artist. Consequently, the significance of any art objects produced along the way is reduced, challenging the art world’s strict conventions regarding what artistic practice, presentation and spectatorship can and cannot be.

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, 2012), pre-Internet societies (Life Needs Internet, 2014–2016), and the evolving market in human genetic data (Cellout.me, 2016). 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. In an age in which the short-term benefits of new technologies are generously celebrated in the media, promoted through government innovation policies and highlighted in product campaigns, there is a critical need for the efforts of artists like Van Loon to counter this techno-euphoria with an unbiased exploration of technology’s effects on our lives, climate and culture.

Van Loon’s work has been displayed in solo exhibitions and international group shows and has earned him a European Youth Award and a KF Hein art grant. He regularly gives presentations on his artistic explorations of technology, both in the art world and through institutions that promote innovation, such as TEDx. Van Loon holds a bachelor’s degree in digital media design and a master’s in European media. He is currently based in Utrecht, the Netherlands.

 
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Chloé Galibert-Laine & Kevin B. Lee

 

Chloé Galibert-Laîné is a French filmmaker and researcher. She is currently writing a PhD at the art-research doctoral program SACRe (École normale supérieure de Paris), and teaches at Université Paris 8. 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.

Kevin B. Lee is a US-born, Germany-based filmmaker and critic. Over the last ten years, he has produced over 360 video essays exploring film and media. His award-winning film Transformers: The Premake played in several festivals, including the Berlin Film Festival Critics Week. In 2017 he was the first-ever Artist in Residence of the Harun Farocki Institut in Berlin. He is now Professor in at the Merz Akademie, Stuttgart. His video work can be found at www.alsolikelife.com.

 
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And If in a Thousand Years (2017, 22 min)

 

When the film-set for Cecil B DeMille’s The Ten Commandments had had its day, it was, like the biblical civilisation it evoked, lost to the sands of time – in its case, deliberately buried, in an act of money-saving expediency, under the dunes of the Southern California desert where the movie was shot. 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. In Patrick Hough’s video, shot on location at the site, it is not just fake fragments of the past that are disinterred. What hovers over the place is a spirit of uncertainty; one that questions bedrock values like ‘originality’ and ‘authenticity’ and dusts them with other layers of meaning: the extraordinary ease of reproducibility, the spray-on glamour of cinematic semi-celebrity. This spirit of uncertainty is encapsulated by the figure of a sphinx – once part of the décor of the majestic film-set, now wandering in ghostly limbo; haunting the nearby town like a wildcat on the prowl. The sphinx’s hybrid form and cryptic, enigmatic presence is also a symbol of a blurring between the material and the virtual that Hough’s video not only proposes but visibly enacts, using sophisticated digital scanning techniques to suggest the outline of a new technological horizon that is, even as we look back nostalgically at the remnants of earlier eras, writing its own name upon the sand.

Commissioned for the Jerwood/FVU Awards 2017: Neither One Thing Or Another, a collaboration between Jerwood Charitable Foundation and FVU. FVU is supported by Arts Council England.

About the artist

Patrick Hough (GB, b.1989, Galway, Ireland) is an artist living and working between London and Ireland. Incorporating moving image, photography and installation, Hough’s work explores the relationship between cinema, technology and museums through an archive of historical film props. 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. He received his BA in Fine Art Media from NCAD, Dublin in 2011 and his MA in Fine Art Photography from the Royal College of Art, London in 2013. He is a recipient of the Jerwood / FVU Awards 2017 – a major £20,000 prize for emerging artists working with moving image and the 2017 PLASTIK Award at PLASTIK Festival of Artist Moving Image, Dublin.

 
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Odell Lake Glitch (2010, 3 min)

 

Bits of a data were taken out of the MECC game software via a text editor resulting in glitched but playable games. you’ll need an apple 2 emulator to play these games.

About the artist

Melissa Barron (US) is an artist currently living in Chicago. The 1970’s Apple 2 computer is the influence, both as an aesthetic and a medium, for her work. She is interested in the history, software and culture that developed during that era of computing.

 
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Targets (2018, 6 min)

 

In 2016 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.

About the artist

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. He is currently studying a masters degree at the Non-Linear Narrative department at the Royal Academy of Art in The Hague.

 
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Finding Fanon Part Two (2015, 9 min)

 

Finding Fanon Part Two collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition.

The Finding Fanon series is inspired by the lost plays of Franz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. Throughout the series, Achiampong and Blandy negotiate Fanon’s ideas, examining the politics of race, racism and decolonisation, and how these societal issues affect our relationship amidst an age of new technology, popular culture and globalisation.

About the artists

David Blandy (GB)

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.

Larry Achiampong (GB/GH)

Larry Achiampong’s solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and post-digital identity. 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. These investigations examine constructions of ‘the self’ by splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal entrenched socio-political contradictions in contemporary society.

 
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Sunstone (2018, 35 min)

 

Incorporating 16mm celluloid images, digital desktop captures and 3D CGI, Sunstone explores how optical technologies of military and colonial design – from lighthouse Fresnel lenses to global satellite navigation systems – both inform and are informed by Western models of knowledge.

About the artists

Filipa César (PT)

Filipa César (born 1975 in Portugal) is an artist and filmmaker who lives and works in Berlin, and studied at the Faculty of Arts in Porto and Lisbon (1996–99), the Academy of Arts in Munich (1999–2000) and MA Art in Context, University of Arts, Berlin (2007).

Filipa César has exhibited, among other places, at 8. Istanbul Biennial, 2003; Kunsthalle Wien, 2004; Serralves Museum, 2005; Locarno International Film Festival, 2005; CAG- Contemporary Art Gallery, Vancouver, 2006; Tate Modern, 2007; St. Gallen Museum, 2007; International Triennale of Contemporary Art, Prague, 2008; SF MOMA, San Francisco 2009, 12th Architecture Biennial, Venice, 29th São Paulo Biennial 2010, São Paulo and Manifesta 8, Cartagena.

Louis Henderson (GB)

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. Henderson has shown his work at places such as; Rotterdam International Film Festival, Doc Lisboa, CPH:DOX, New York Film Festival, The Contour Biennial, The Kiev Biennial, The Centre Pompidou, SAVVY Contemporary, The Gene Siskell Film Centre, Gasworks and Tate Britain. His work is in the public collection of the Centre National des Arts Plastiques, France and is distributed by Lux (UK) and Video Data Bank (USA).

 
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Computers Watching Movies (2013, 15 min)

 

Computers Watching Movies (2013)

computationally-produced HD video with audio

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: 2001: A Space Odyssey, American Beauty, Inception, Taxi Driver, The Matrix, and Annie Hall.

About the artist

Ben Grosser (US) creates interactive experiences, machines, and systems that examine the cultural, social, and political implications of software. Recent exhibition venues include Eyebeam in New York, Arebyte Gallery in London, Museu das Comunicações in Lisbon, Galerie Charlot in Paris, and Museum Kesselhaus in Berlin. His artworks have been featured in The New YorkerWiredThe AtlanticThe Washington Post, The Guardian, The Telegraph, LibérationEl PaísHet Parool, and Süddeutsche Zeitung. The Chicago Tribune called him the “unrivaled king of ominous gibberish.” Slate referred to his work as “creative civil disobedience in the digital age.” Grosser’s recognitions include First Prize in VIDA 16, and the Expanded Media Award for Network Culture from Stuttgarter Filmwinter. His writings about the cultural effects of technology have been published in journals such as Computational Culture and Big Data and Society. Grosser is an assistant professor of new media at the School of Art + Design, and co-founder of the Critical Technology Studies Lab at the National Center for Supercomputing Applications, both at the University of Illinois at Urbana-Champaign, USA.
 
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Inger Leemans

 

Inger Leemans is Professor of Cultural History & director of the VU Graduate School of Humanities. Her research focuses on early modern cultural history (1500-1850), 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. At this moment Inger Leemans is researching the history of stock trade & the cultural imagination of financial crises.

 
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Christian von Borries

 

Christian von Borries (DE) produces media from other media. He is a conductor, composer, filmmaker and producer of site-specific psychogeographic projects.

His work has been commissioned by the Lucerne Festival, Kunstfest Weimar, Volksbühne Berlin, Kampnagel Hamburg and documenta 12, among others. His CD “Replay Debussy” won an Echo Award. His first film “The Dubai in Me” won an award at the FID Marseille Film Festival and has been screened at film festivals around the world, as well as the Yekaterinburg Industrial Biennale and the Principio Potosi exhibition in Madrid and Berlin. His second film “Mocracy” won the Klaus Wildenhahn Prize at the Documentary Film Week Hamburg. His third film “I’m M”, first performed in Mexico City, was shown at the Bergen Assembly Biennale 2013. His forth film “IPHONECHINA” was shown at Festivals in Europe and in China. in 2017, he finished his last movie “DESERT OF THE REAL” which premiered at the CPH: DOX Film Festival Copenhagen. He is an anti – copyright activist and lives in a greenhouse in Berlin.

In 2011 he was Visiting Professor of Architecture at the Art Academy in Nuremberg, in 2012 he taught at the Filmhochschule HFF in Potsdam. In 2014 he exhibited in the Central Asian Pavilion of the Venice Biennale, the Bergen Biennale and the Werkleitz Biennale in Halle. In 2015, he staged the music project “Conflict Music” for the Cologne Academy of the Arts, from which, together with Wolfgang Voigt, the CD “conflict / re-conflict” was made for the label Compact. In 2017, for the first time, he and the Dresdner Sinfoniker have performed a score that was created entirely by AI algorithms at Dresden’s Frauenkirche. At the end of 2017, he co-curated an exhibition on the digital subject entitled A BETTER VERSION OF YOU in Seoul and Beijing.

 
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Arnaud Castaignet

 
Arnaud Castaignet is the Head of Public Relations of the Republic of Estonia’s e-Residency programme. Previously, he worked for the French President François Hollande during 3 years as a digital strategist and communication officer. Prior to his time at the French Presidency, he has worked as an international PR consultant in Paris, advising governments, politicians and corporations on their public relations and influence strategy, and as a business journalist in Istanbul (Turkey). Arnaud graduated from Sciences Po Bordeaux (Institute of Political Studies) in 2009 with a Master in Governance & International Affairs and a BA in Political Science. As part of his university studies, he has studied at the Faculty of Political Science of the University of Bucharest (Romania) and interned in Belgrade (Serbia), researching about European integration in the Balkans and transitional justice. He is also a Board Member of Open Diplomacy, a Paris-based think tank established in 2010, a Yes Europe Lab fellow, a programme designed to build leadership capacity to implement civic projects and political campaigns in Europe, and a member of the Young Transatlantic Network of Future Leaders, a flagship initiative of the German Marshall Fund of the United States specifically geared toward young professionals 35 years old and younger.
 
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Hillevi Högström

 

Hillevi Cecilia Högström born 1994 in Jönköping, Sweden

Received BA of Fine arts from Iceland University of the Arts in 2018

currently based in Reykjavík, Iceland

Artist Statement

Humans have become something more than just creatures happening to live on a

tumbling rock, circulating a ball of flaming gas in space. We have become an

actual geological force capable of reforming the surface of the planet. Thus my

work centres in the idea of the Anthropocene. I am trying to come to terms with

the world we live in and how we change it by simply being alive.

I have stories to tell, stories with content that reaffirm the catastrophic relationship

we have with our home; A relationship that is causing the beginning of our end.

From my installations one will receive a story utilising the power relationship between

Human – Gaia. The cause and effect of this relationship is normalcy. We no longer

reflect upon as to why there are invasive species disrupting local ecosystems, neither

from where the minerals boosting our economies originate and what kind of bleeding

wounds they leave behind.

 
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Patrick Hough

 
Patrick Hough (b.1989, Galway, Ireland) is an artist living and working between London and Ireland. Incorporating moving image, photography and installation, Hough’s work explores the relationship between cinema, technology and museums through an archive of historical film props. 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. He received his BA in Fine Art Media from NCAD, Dublin in 2011 and his MA in Fine Art Photography from the Royal College of Art, London in 2013. He is a recipient of the Jerwood / FVU Awards 2017 – a major £20,000 prize for emerging artists working with moving image and the 2017 PLASTIK Award at PLASTIK Festival of Artist Moving Image, Dublin.
 
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Melissa Barron

 

Melissa Barron is an artist currently living in Chicago. The 1970’s Apple 2 computer is the influence, both as an aesthetic and a medium, for her work. She is interested in the history, software and culture that developed during that era of computing.

 
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Lina Bondarenko, Martin Byrne, Holly Childs, Kei Kreutler and Jelena Viskovic

 

Patternist is a location-based, augmented reality exploration game created by Lina Bondarenko, Martin Byrne, Holly Childs, Kei Kreutler, Jelena Viskovic.

In Patternist, gameplay is built around urban typologies and dynamics that privilege experiences of the city residents, which often fall outside the dominant approaches to spatial analysis and development.

Each type of in-game element spawns in a different urban layer — from underpasses to security points, the elements you can collect depend on where you are in the city. As players reveal augmented reality landforms by using these elements, the alien landforms become symbolic, visual representations of the urban spaces where players originally collected elements.

Through urban augmented reality, Patternist proposes a shifting alter-landscape, transposing and transmutating everyday city passageways, prime for an alternative entry point into research on urban systems and flows.

 
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Nero (2018, 5 min)

 

Nero explores the (re)construction of memories in a digital age. While a classics professor recalls the image of an ancient political figure, a neural network tries to create one from online searches. 

About the artist

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 currently finishing her MA Non-Linear Narrative at the Royal Academy of Art The Hague.

 
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Klara Vith

 

In her artistic practice, Klara Vith is currently exploring how language is used in order to manipulate. She is trying to disrupt reading habits by shifting the context or working with the materiality of words rather than changing wording itself.

 
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Jan Bot

 

Jan Bot is a computer program that works day and night creating experimental films that match early twentieth century footage with current trending events. This is EYE Filmmuseum’s first robot employee. 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. Seeking a plausible solution to this problem, Eye Filmmuseum collaborated with filmmakers Bram Loogman and Pablo Núñez Palma to envision the future of film preservation. The result: Jan Bot.

Jan Bot is a computer program designed to generate short experimental films based on two ingredients: Eye’s archival film footage, and today’s trending topics. On its website, www.jan.bot, Jan Bot streams an average of ten 30 seconds films per day, which amounts to a total of more than seven thousand pieces to date. 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. “Many big companies, like Google and IBM, are offering tools for image recognition and language analysis, some of them even for free. So we took a bunch of them and glued them together to make films”, says Loogman, one of the minds behind Jan Bot. The results are unexpectedly unique. If at first glance Jan Bot’s films seem to combine images and text in a random fashion, on a second reading however, its choices for footage and intertitles reveal a systematic if unusual sense-making logic.

About the artists

Bram Loogman (NL) has over ten year of experience as filmmaker and software developer, often combining the two disciplines. 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 is also the creator of REVOLVE, a mobile 360 experience inspired by the Gurdjieff dances, which was produced by ARTE France, NFB and IDFA Doclab.

Pablo Núñez Palma (NL/CL) is a Chilean-Dutch filmmaker based in Amsterdam. He co-directed the experimental feature Manuel de Ribera, which had its international premiere in 2010 Rotterdam International Film Festival, and won the prize of best Chilean film in the Santiago Film Festival. Núñez has played different roles in the development of audiovisual projects in Chile, such as in the documentary Beaverland (Hamburg Film Festival) and the documentary web platform MAFI.tv, premiered at the Doclab section of IDFA. 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.

 
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Blade Runner – Autoencoded (2016, 10 min)

 

Blade Runner—Autoencoded is a film made by training an autoencoder—a type of generative neural network—to recreate frames from the 1982 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. By reinterpreting Blade Runner with the autoencoder’s memory of the film, Blade Runner—Autoencoded seeks to emphasize the ambiguous boundary in the film between replicant and human, or in the case of the reconstructed film, between our memory of the film and the neural networks.

About the artist

Terence Broad (GB) is an artist and researcher based in London. He is currently pursuing a PhD at Goldsmiths, University of London. His work has been exhibited internationally at venues including The Garage Museum of Contemporary Art, The Barbican and The Whitney Museum of American Art.

 
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Desert of the Real (2017, 76 min)

 

It’s been six years since the real estate bubble burst, and already, the glittering ruins of developer architecture are being reclaimed by nature. Entire suburbs of Phoenix, Arizona are overgrown with tumbleweed. In post-Soviet Georgia, unfinished resorts rot on the Black Sea Coast. In Abu Dhabi, palm trees are dying among half-built film studios and sports complexes. It is where now the world’s biggest arms fair takes place, held in the same kind of desert that provides the location for most of our time’s real and virtual wars. Elsewhere, new man-made deserts take shape as shopping mall replicas of Venice, inhabited by the living dead…

Composer and filmmaker Christian von Borries’ new film DESERT OF THE REAL visits these contemporary wastelands. In a rich collage of acted scenes and documentary footage, he extends the metaphor of the wasteland to today’s medial reality. 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.

written and directed by Christian von Borries

edited by Halina Daugird

Present for a Q&A after the screening: Christian von Borries

 

 
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The Dutch Window (2017, 35 min)

 

The Dutch Window refers to the cultural tradition in The Netherlands of having open and un-curtained front windows, thus exposing one’s interiors for all to see. 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.

At the heart of the film is a discussion around the Dutch voting system of Proportional Representation, with a focus upon the new fringe parties which ran in this year’s electoral race. 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 1918, 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.

This project was kindly supported by CBK Rotterdam, Anni und Heinrich Sussmann Foundation, Fonds Kwadraat, Arts Council England, Esmée Fairbairn Foundation and Grand Union Gallery.

About the artist

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 2017 Dutch elections (The Dutch Window, 2017) 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, 2016). 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.

Recent exhibitions include solo presentations at Syndkt Gallery, Brussels, and Grand Union, Birmingham (both 2017) and groups shows in Sixty Eight Art Institute, Copenhagen (2018) Bendigo Art Gallery, Perth (2018) with events at The Showroom, London (2018) Impakt Film Festival, Utrecht (2018) and Stuart Hall Library, London (2019). She is a recipient of the Anni and Heinrich Sussmann Award 2015/16 and O&O CBK Rotterdam 2017 research grant.

 
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The European Classes, Euronet

 

Among the ever evolving machine learning technologies, so-called ‘convolutional networks’ (ConvNets) are increasingly developed to recognise objects within photographic images.  The artists have retrained these image recognition networks to include European artefacts, creating an image dataset. The underlying questions is how Europe’s diverse cultural output can be represented within this dataset. And what is a networks’ capacity to recognise what is deemed European. By illustrating the networks’ ability to draw out cultural bias, the artists show a networks understanding and interpretation of Europe in 2017.

The video problematises a machine’s visual understanding of European culture in light of the geopolitics of data sets. 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. In total there are over 20k images in the dataset, which can all be downloaded as JSON files with URLs and bounding boxes from the project website at ImageNet.xyz. Each class contains approximately 50-100 images.

About the artists:

Constant Dullaart‘s practice reflects on the broad cultural and social effects of communication and image processing technologies, from performatively distributing artificial social capital on social media to completing a staff-pick Kickstarter campaign for a hardware start-up called Dulltech™. His work includes websites, performances, routers, installations, startups, armies, and manipulated found images, frequently juxtaposing or consolidating technically dichotomized presentation realms. Recent solo Exhibitions include Cultural Matter, LIMA, Amsterdam; 100,000 Followers for Everyone, FOAM, Amsterdam (2018); Phantom Love, Up Projects, London (2017); Synthesising the Preferred Inputs, Future Gallery, Berlin; Deep Epoch, Upstream Gallery, Amsterdam (2016); The Possibility of an Army, Kunsthalle Schirn, Frankfurt; Jennifer in Paradise, Futura, Prague; The Censored Internet, Aksioma, Ljubljana (2015); High Retention Slow Delivery, Jeu De Paume, Paris and Stringendo, Vanishing Mediators at Carroll / Fletcher, London; (2014). Group Exhibitions include I Was Raised on the Internet, MCA, Chicago; When Facts Don’t Matter Lismore Castle Arts, Lismore; (2018); Open codes, ZKM, Karlsruhe (2017-2019); Collecting Europe, V&A Museum, London (2017), Electronic Super Highway, Whitechapel, London; Final Goods, Kunstverein Hildesheim (2016);Then They Form Us, MCA, Santa Barbara; When I Give, I Give Myself, Van Gogh Museum, Amsterdam; Algorithmic Rubbish, Stedelijk Museum Bureau Amsterdam (2015); Casting a Wide net, Postmasters, NYC, USA; Online/Offline/Encoding Everyday Life, Transmediale, Berlin (2014). Dullaart has curated several exhibitions and lectured at universities and academies throughout Europe, most currently at the Werkplaats Typografie. Recently he has been awarded the Prix Net-Art 2015 and was a resident at the ISCP in New York in 2017.

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 (2010) and previously studied engineering and photojournalism at the Pennsylvania State University.

 
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Get Popular Vending Machine

 

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.

About the artist:

Dries Depoorter is a media artist who uses programming language and digital media to create his work, usually concerning the internet. He lives online in Ghent, Belgium where he works on his Master degree in media art at KASK, School of Arts Ghent, and is inspired by the latest software documentation. Currently his main focus lies in giving away his own privacy by the means of software.

 
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Global Direct

 

Global Direct suggests a visionary political philosophy promoting global participatory democracy driven by information technology and the failure of current political systems. Today’s global networked connectivity has enabled new forms of participatory societal organization, for which however, there is still a lack of prototypes or models that can efficiently work towards a new type of autonomous global democracy.

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: http://globaldirect.today

About the artist:

Paolo Cirio works with legal, economic and semiotic systems of the information society. He investigates social fields impacted by the Internet, such as privacy, copyright, democracy, and finance. He shows his research and intervention-based works through artifacts, photos, installations, videos, and public art.

 
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Sagi Groner – Jenin Journal (IL 2005, 8:11 min)

 

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.

Bio:

Film maker and visual artists. Born in Israel, lives and works in Amsterdam & Beijing. His work centers on cultural criticism and is concerned with analysing the hidden mechanisms of ideology and how they form and guide reality.

 
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Sagi Groner – FAQ (IL 2007, 26:54 min)

 

Frequently Asked Questions – FAQ is made of sampled footage from fiction films, documentaries and archive footage. It is a journey in the footprints of other makers, a ‘nostalgic’ remix of a collection of visual and audio ‘quotes’ from unrelated works. 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.

Bio:

Film maker and visual artists. Born in Israel, lives and works in Amsterdam & Beijing. His work centers on cultural criticism and is concerned with analysing the hidden mechanisms of ideology and how they form and guide reality.

 
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Sagi Groner – Meditations of Violence (IL 2005, 13:02 min)

 

A narrated tour of images from the NATO bombing campaign in Kosovo 1999. A contemplation on distant representation, empathy, the art of war and the philosophy of precision.

Bio:

Film maker and visual artists. Born in Israel, lives and works in Amsterdam & Beijing. His work centers on cultural criticism and is concerned with analysing the hidden mechanisms of ideology and how they form and guide reality.

 
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#29 (2013, 7 min)

 

In #29, the constant zooming into certain landscape features displays a constant exploration for an argument. The camera’s assessment becomes the vessel for embedded associative imaginations and desires linked to the absent argument. #29 belongs to a series, researching the relationship between landscape representation, perception and the unconscious. During editing crucial data is removed from the mpeg-stream, forcing software to re-interpret visual information.

About the artist

José Miguel Biscaya (Lisbon, PT, 1973) is an experimental filmmaker and mixed media artist. In 2006 he graduated at the Fine Arts Department of the Sandberg Institute. He’s interested in the relationship between landscapes and the human mind, while looking into landscape representations in both the traditional and contemporary arts. In order to expand the possibilities of digital moving images, José explores medium specific qualities of digital born, time based material. His artwork has been shown in numerous international exhibitions and festivals, including IFFR, EMAF, IMPAKT, VIDEOEX, 25FPS, Rencontres Internationales Paris/Madrid/Berlin and POP-UP Lisboa. Biscaya’s recent work is being distributed by the EYE Film Museum. He currently works as the A/V Technical Advisor and Specialist at the Rijksakademie van beeldende kunsten in Amsterdam.

 
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I enjoyed the parts in your mind

 

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. The created words are completely randomized and based on the associations’ probabilities of each word used on 4-chan. When writing down these sentences the bot tries to generate handwriting.

Credits:
Coding: Muhammed Atif Ayaz, Gagandeep Singh
Techical Assistance: Léon Spek
Steel Fram: Rob den Dulk

About the artist:

Coralie Vogelaar (1981) 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 2007 at the design department of the Sandberg Institute and completed in 2010 a residency at the Rijksakademie van beeldende kunsten in Amsterdam. She teaches Design Research at the Art Academy ArtEZ in Arnhem.

 
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twitter.getUserTimeline(25073877)

 

twitter.getUserTimeline (25073877) 2017, Java, C++, letterpress, thermal paper, newsprint, thermal printer, Arduino, laptop

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.

In the exhibition Vith will also show:

we are going to rebuild our HIGHWAYS 2017, letterpress on paper

AMERICA FIRST AMERICA FIRST 2017, letterpress on paper

they sweated like dogs 2017, letterpress on paper

This series of letterpress prints reacts to the current political climate by thematising the rhetoric of Donald J. Trump. 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. Following the typography and structure of Stéphane Mallarmé’s ‘Un Coup De Dés Jamais N’Abolira Le Hasard’, the text forces the reader to slow down; and a type of language that is usually consumed at a fast pace can only be taken in word by word.  

About the artist:

In her artistic practice, Klara Vith is currently exploring how language is used in order to manipulate. She is trying to disrupt reading habits by shifting the context or working with the materiality of words rather than changing wording itself.

 
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D.A.T.A. Dock

 

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.A.T.A. Dock dives into the artists’ dynamic archive. 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. Who deceives who? 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.

.

I’m not lost until I lose my memory.

Information flowing like a river in my head,

on my screen, in my interface.

We look at the present through a rear view mirror.

Show me your cookies.

About the artist:

Donna Verheijden (Arnhem, 1989) is a graphic designer and videographer. Verheijden graduated from the Sandberg Institute. As a contemporary image maker, Donna sees it as her responsibility to analyse and criticise today’s apparent or staged realities. Her main research focuses on mass and social media, its seductions and underlying power structures.

 
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Mosaic Virus

 

Mosaic Virus 2018, Video

Drawing historical parallels from “tulip-mania” that swept across the Netherlands / Europe in the 1630s to the speculation currently ongoing around crypto-currencies, this video work is generated by an artificial intelligence (AI). 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 1630s, 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. “Tulip-mania” is generally considered the first recorded speculative bubble which dramatically collapsed in February 1637.

“Mosaic” is the name of the virus that causes the stripes in a petal which increased their desirability and helped cause the speculative prices during the time. In this piece, the stripes depend on the value of bitcoin, changing over time to show how the market around crypto-currencies fluctuates.

In the exhibition Ridler will also show:

Myriad (Tulips) 2018, Data set

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. These data sets need to be created and annotated mostly manually, which makes the data sets a highly sought after asset in today’s economy.

About the artist:

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). My intention is to make work that is not about technology for its own sake, but rather uses these technologies as a tool to talk about other things – memory, love, decay –  or to augment or change the story in a way in that otherwise would not happen. 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.

 
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The Infinite Campaign

 

For The Infinite Campaign the artist downloaded Twitter’s ad creation page to produce a full list of all user segments, their names, descriptions and user count, which together compose a taxonomy of human beings according to Twitter and its data brokers.

Twitter’s user segments are created on the basis “interests” and “behaviors” categories, wherebay interest derives from a users activity on Twitter, while behaviour is information collected by data-brokerage services that track users’ online activity outside Twitter. By linking internal and external sources — a practice known in the adtech industry as “data onboarding” — Twitter is able to tag its users with categories provided by the data brokers. 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.

About the artist:

Sam Lavigne is an artist and educator whose work deals with data, surveillance, cops, natural language processing, and automation. He has exhibited work at Lincoln Center, SFMOMA, Pioneer Works, DIS, Ars Electronica, The New Museum, the Smithsonian American Art Museum, and his work has been covered in the New Yorker, the Washington Post, the Guardian, Motherboard, Wired, the Atlantic, Forbes, NPR, the San Francisco Chronicle, the World Almanac, the Ellen Degeneres Show and elsewhere. He is currently an Adjunct Professor at ITP/NYU, The New School, and the School for Poetic Computation, a 2016/2017 Magic Grant fellow at the Brown Institute at Columbia University, and is Special Projects editor at the New Inquiry Magazine.

 
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Air Kiss

 

Air Kiss is a film and research pro­ject por­tray­ing a sce­nario where cit­i­zen­ship is a dig­i­tal mem­ber­ship – and own­er­ship – to a col­lec­tivized sys­tem in which gov­er­nance is exercised by an artificial intelligence (AI). The pro­ject ex­plores the so­cial, po­lit­i­cal and aes­thetic reper­cus­sions of al­go­rith­mic de­ci­sion-mak­ing ex­e­cuted based on cit­i­zens’ lo­ca­tion and be­hav­iour. It takes a crit­i­cal stand­point to­wards a fu­ture so­ci­ety –nei­ther a dystopia nor a utopia– where state and cor­po­rate gov­er­nance is ren­dered ob­so­lete through a col­lec­tively owned and glob­ally dis­trib­uted neural net­works which pro­vides state func­tions as a vir­tual ser­vice.

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.

About the artist:

In­ter­dis­ci­pli­nary artist Egor Kraft (b. 1986 in St. Pe­ters­burg, Rus­sia) cur­rently lives and works in Moscow, Vi­enna and Berlin. Hav­ing ac­quired his ba­sic ed­u­ca­tion in Fine Arts in Swedish foun­da­tion Art School Ger­les­borgsskolan, he con­tin­ued stud­ies in Arts & Dig­i­tal Me­dia at the Moscow Rod­chenko Art School (BA), The Acad­emy of Fine Arts in Vi­enna (MA), fol­lowed by an Cen­tral Saint Mar­t­in’s Col­lege of Art and De­sign in Lon­don (MA schol­ar­shipand) and lastly ‘The New Nor­mal’ Post­grad­u­ate re­search pro­gramme at Strelka In­sti­tute in Moscow. He par­tic­i­pated in The 5th and 2nd Moscow In­ter­na­tional Bi­en­ni­als for Young Art, 1st Ukran­ian Bi­en­nale ‘Ar­se­nale’, Man­i­festa 10, Par­al­lel Vi­enna and in­ter­na­tional ex­hi­bi­tions, screen­ings and fes­ti­vals across Aus­tralia, Eu­rope, South Amer­ica, US and the UK.

 
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Aegean Datahaven

 

Set in the year 2092, the Aegean archipelago constructed a model of decentralized networks of small, fully sustainable, climate-controlled data centers, as a counter to today’s predominant cloud infrastructure model.

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.

About the artist:

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.

 
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Bottled Songs

 

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. “The Spokesman” investigates the online traces of John Cantlie, a British news reporter who was kidnapped and appeared in several Islamic State propaganda videos. “My Crush was a Superstar” tracks a French ISIS fighter, Abu Abdallah Guitone, through a trail of messages, videos and postings to uncover his existence in both social media and reality. This leads to an uncomfortable first-person exploration of the gender dynamics behind ISIS recruitment strategies.

Bottled Songs was conceived with the support of the Harun Farocki Institut, sponsored by the Goethe Institut. It was further developed at m-cult (Helsinki) with additional funding from the European Media Artists in Residence Exchange, funded by the Creative Europe Programme of the European Union.

About the artists:

Chloé Galibert-Laîné is a French filmmaker and researcher. She is currently writing a PhD at the art-research doctoral program SACRe (École normale supérieure de Paris), and teaches at Université Paris 8. 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.

Kevin B. Lee is a US-born, Germany-based filmmaker and critic. Over the last ten years, he has produced over 360 video essays exploring film and media. His award-winning film Transformers: The Premake played in several festivals, including the Berlin Film Festival Critics Week. In 2017 he was the first-ever Artist in Residence of the Harun Farocki Institut in Berlin. He is now Professor in at the Merz Akademie, Stuttgart. His video work can be found at www.alsolikelife.com.

 
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Real-time History

 

The piece presents an on-going collection of social media traces related to the conflict in  Syria, sharing projects developed in 2012 and 2018. 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.

The video illustrates a case study that deconstructs recent “chemical weapon attacks”, as  they have been labeled in Western media. 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.

About the artists:

Foundland Collective was formed in 2009 by South African Lauren Alexander (Cape Town, 1983) and Syrian Ghalia Elsrakbi (Damascus, 1978) and is today based between Amsterdam and Cairo. 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.

Foundland was awarded the Smithsonian Artist Research Fellowship for research in the largest Arab American archive in 2015/2016 and shortlisted for the Dutch Prix de Rome prize in 2015 and Dutch Design Awards in 2016.

Ghalia Elsrakbi (1978, Damascus, SYR) was based in the Netherlands until 2014, before relocating to Cairo, Egypt where she teaches at the American University. After completing a Masters in Design at the Sandberg Institute Amsterdam, she followed a research post-graduate at Jan van Eyck Academy in Maastricht. (2010)

Lauren Alexander (1983, Cape Town, ZAR) lives and works in Amsterdam. After completing a Masters in Design at the Sandberg Institute, Amsterdam, she pursued an MFA at the Dutch Art Institute (DAI) in Arnhem (2011). She tutors in the Graphic Design bachelor and master programme of the Royal Academy of Arts in the Hague (KABK), as well as at the University of the Underground, master programme at the Sandberg Institute, Amsterdam.

 
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Report Impakt Event: Bellingcat

 

Video and pictures of the Impakt Event: Bellingcat that took place on June 27th 2018 at Impakt Center for Media Culture:

Impakt Event 2018: Bellingcat

 
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Impakt Event: Famous Deaths at Betweter Festival

 

IMPAKT will again attend the Betweter Festival for its 2018 edition, this time with the installation Famous Deaths by design collective Polymorf and the research project Sense of Smell.

About Famous Deaths:
Famous Deaths recreates a famous person’s last few living minutes by using scent. 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? You would smell an autumn wind, the grass, the leather car seats, Jacky Kennedy’s perfume, exhaust fumes mingled with the somewhat musty scent of that limousine, and then suddenly the penetrating scent of blood, brains and gunpowder drilling its way into your nostrils.

About Polymorf:
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:
Sense of Smell is an international co-creation and research project designed by Communication and Multimedia Design (CMD) Breda at the AVANS University of Applied science, the Netherlands, and part of the European cross-border network VIVID (Value Increase by Visual Design).

About the Betweter Festival:
For anyone who wants to know how the world works, who’s not afraid of new experiences and likes to be amazed, there’s the Betweter Festival. During this indoor festival the visitor can explore a dynamic programme of science, art and culture throughout the evening. In 2018 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.

 
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Impakt Event: A Robot Folk Jam Session

 

With Robot Shimon, Continental Ceili Combo ensemble and the Machine Folk algorithms of Bob L. Sturm et al.

What happens when traditional Irish folk music is given to machines and robots for their interpretation? How do these machines understand human music enough to compose and perform it? What are the possibilities for humans and machine collaboration?

This event will see performances from Shimon the Robot with the Continental Ceili Combo ensemble. They will perform a collection of folk tunes composed by artificial intelligence. The compositions are part of a project by Bob L. Sturm of the Centre for Digital Music of the Queen Mary University in London. During the event he will talk with Luba Elliott, IMPAKT Festival 2018 curator, and industrial design researcher Kristina Andersen about the role of artificial intelligence in developing music and other forms of human creativity.

Some of the folk tunes you will hear are created by an artificial intelligence that has analysed real folk music from Ireland and the UK. The computer has learned enough on its own that it can create new tunes sharing many of the characteristics of the real tunes. This particular system has already composed 100,000 new tunes on its own, and has been used to create dozens of new musical compositions in collaboration with human experts. The system is designed to augment human music creativity and experience.

A Robot Folk Jam Session is a collaboration between IMPAKT and Museum Speelklok, organized in the framework of the Robots Love Music exhibition.

Please note that a visit to the museum is included in the entree fee. Since the exhibition will close at 17:00 it is advised to see it before the event starts.

What: musical performance by Shimon the Robot, followed by discussion
When: 3 October 16:30
Where: Museum Speelklok, Steenweg 6, Utrecht
Tickets: 13 euro, buy them here
Impakt Event 2018: A Robot Folk Jam Session
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Impakt & NFF Exhibition: Interactive Expo

 

For the occasion of the Dutch Film Festival you will be able to experience the new interactive installation Long Faces by former IMPAKT resident artist Douwe Dijkstra and media artist Dries Depoorter, on view from 28 September until 4 October at IMPAKT as part of the Interactive Expo. Alongside the installation at IMPAKT, in the Academiegalerie you will be able to see the ten interactive media productions that have been nominated for the Gouden Kalf for best interactive work. The works will be shown as part of this year’s theme of the interactive programme of the Dutch Film Festival: Our Brave New World, during which the hopeful, Utopian and dark facets of new image and media technologies will be examined.

Long Faces is an interactive installation by Belgian artist Dries Depoorter and Dutch film maker Douwe Dijkstra. It is an artwork that consists of a photo booth in which you can take pictures of yourself and your friends. Along with cold hard cash, your sad look and social media identity will be your currency. This photo booth only accepts photos in which the subject looks sad. The captured photos will be part of a simultaneous video work that is a real-time combination of the photo booth’s reality and the online world.

Long Faces is an installation that provides you with a classic selfie, but only if it can really take a look at you with today’s technological methods.

Make sure to join us on 22 September for the Impakt Event: Life in a Virtual Panopticon, during which Douwe Dijkstra and Dries Depoorter give a preview of the work.

Long Faces was made as a collaboration between IMPAKT and the Dutch Film Festival, and has been made possible by a financial contribution by the Dutch Film Fund, Mondriaan Fund, Prins Bernhard Culture Fund and the province of Utrecht.

 
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Impakt Event: Life in a Virtual Panopticon

 

On 22 September artists Dries Depoorter and Douwe Dijkstra (former IMPAKT artist in residence) will join IMPAKT to talk about their upcoming installation Long Faces, which will be on display at Impakt from 28 September until 4 October. The work will be shown as part of the Interactive Expo of the Dutch Film Festival. During this event you will have the possibility to see a test version of the installation. The event will be moderated by arts journalist and editor Sacha Bronwasser.

Long Faces is an interactive installation by Belgian artist Dries Depoorter and Dutch film maker Douwe Dijkstra. It is an artwork that consists of a photo booth in which you can take pictures of yourself and your friends. Along with cold hard cash, your sad look and social media identity will be your currency. This photo booth only accepts photos in which the subject looks sad. The captured photos will be part of a simultaneous video work that is a real-time combination of the photo booth’s reality and the online world.

Long Faces is an installation that provides you with a classic selfie, but only if it can really take a look at you with today’s technological methods.

This work has been made possible with the support of the Mondriaan Fund, the Dutch Film Fund, IMPAKT and the Dutch Film Festival.


Impakt Event 2018: Life in a Virtual Panopticon

 
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Harald Hund – All People is Plastic (2005 Austria, 12:29 mins)

 

Everybody in the city does the same, looks the same. Remote-controlled. Living to work in a big corporation, getting one day off at the weekend to visit the pleasure park, or the public bird on the public tree. Normal people in normal patterns. And a minor deviation.

Bio:

Harald Hund (1967, Austria) studied art and new media in Vienna. He makes music videos and short animation films. Since 2002, he often collaborated with Paul Horn, with whom he made the Living Space series.

 
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Impakt Event: Uitfeest

 

IMPAKT will again be part of this year’s Uitfeest! Check our programmes below and have a look at the weekend’s full programme here.

Post-truth Cinema:
A world where truth doesn’t matter anymore

What: A presentation by Dan Hassler-Forest (Utrecht University)
When: Sunday 16 September, 15:00-15:45
Where: Winkel van Sinkel, Oudegracht 158, Utrecht
Language: Dutch

The world of politics looks more and more like entertainment every day. Strategically placed alternative facts, the creation of attractive myths, sensation and distraction dominate the media landscape. In a series with classic Hollywood films and critical, independent documentaries ‘t Hoogt and Impakt take a look at the Post-truth era. With excerpts from film and television that give us a rather confrontational look at how fake news influences our opinions, Dan Hassler-Forest (Utrecht University) will look ahead at four screenings of Post-truth Cinema that will take place from September until December at Cinema ‘t Hoogt.

dewerelddraaitdol

De Wereld Draait Dol:
The Fake News Talk Show, from Agit-Prop to Pizza Gate

What: A talkshow about Fake News, with Kasper C. Jansen (online critic), Eva de Valk (journalist), Adriaan van Veldhuizen (Leiden University) and Dan Hassler-Forest (Utrecht University)
When: Sunday 16 September, 16:00-16:45
Where: Winkel van Sinkel, Oudegracht 158, Utrecht
Language: Dutch

According to many, the strong increase in social media has been to blame for the quick spread and wide reach of fake news. Bizarre news and extreme opinions score better than nuance and broader perspectives. But isn’t it too easy to blame the rise of social media? In what way do we ourselves contribute to this dynamic, and what is the influence of social media on classic media such as television and newspapers, and vice versa?

hyper-reality

Hyper-Reality by Keiichi Matsuda

What: A short film by Keiichi Matsuda, picked by IMPAKT to open the Open Air Cinema of the Dutch Film Festival
When: Sunday 16 September, 20:30
Where: De Weerdsluis, Bemuurde Weerd, Utrecht
Language: Spanish/English, the main film will be in Dutch

Hyper-Reality presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media.

Impakt Event 2018: Uitfeest

 
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Impakt Event: YouTube Battle

 

Battle for the funniest YouTube video 

Who can find the most bizarre, funny, touching or ridiculous videos on YouTube? Everyone can participate, but beware, you won’t win with sneezing pandas or other videos that everyone already knows. It’ll show who’s in the know! Share your unknown gems. The public decides who makes it to the final and goes home with the prize.

You can register here. Make haste because the number of participants is limited. You can also just show up and vote for your favorite. It’s free!

What: YouTube Battle
When: 15 September 2018
Where: Impakt Center for Media Culture, Lange Nieuwstraat 4, 3512PH Utrecht
Impakt Event 2018: YouTube Battle

 
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Impakt Event: Post-truth Cinema – HyperNormalisation

 

For this special edition of Post-truth Cinema, IMPAKT presents a screening of HyperNormalisation, the latest film by Impakt Festival 2017 keynote speaker Adam Curtis. The screening will be preceded at 16:30 by a lecture by artist Jonas Staal and at 18:00 by stand-up dinner. Read more about it here.

In his documentary HyperNormalisation from 2016, documentary maker Adam Curtis researches how governments and technological Utopians have replaced the complexity of the ‘real’ world with a much simpler world in which consumption is central, complex problems have simple solutions and the boundaries between politics and entertainment are increasingly difficult to find.

Every second Wednesday of the month from May until December, Impakt and Cinema ‘t Hoogt will organise the film series Post-truth Cinema. By means of documentaries and feature films the programme looks at our current political landscape and aspects such as political brainwashing, media manipulation, the influence of lobbying, tactics of distraction and fake news, Internet activism and media ethics.

What: Screening of HyperNormalisation by Adam Curtis
When: 1 September 19:00
Where: IMPAKT Center for Media Culture, Lange Nieuwstraat 4, Utrecht
Language: English

This screening is free. First come first served, so make sure to show up on time!

Tickets for the lecture and dinner can be bought via this link.

 
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Impakt Event: Art and Propaganda, Jonas Staal

 

[edit] Jonas Staal re-wrote his lecture into an article for e-flux, which was published in October 2018. Read it here.

Propaganda Art in the 21st Century

Fake news, alternative facts, and the post-truth era: these terms have become familiar with the rise of Trumpism and manifold authoritarian regimes coming to power the world over. How to understand the mechanisms of contemporary propaganda today, and what is the role of art and culture in shaping the new realities that we life in? Artist Jonas Staal will introduce examples of contemporary propaganda art in ultranationalist and alt-right regimes, specifically oriented on his exhibition-project Steve Bannon: A Propaganda Retrospective (curated by Marina Otero Verzier, on view at Het Nieuwe Instituut, Rotterdam, until September 23). Additionally, he will discuss forms of transformative and emancipatory propaganda art in popular mass movements and stateless insurgencies. This lecture will further serve as an introduction on work of Adam Curtis and the screening of his film HyperNormalisation.

Jonas Staal (1981) is an artist and founder of the artistic and political organization New World Summit (2012-ongoing) and the campaign New Unions (2016-ongoing). Staal’s work includes interventions in public space, exhibitions, theater plays, publications, and lectures, focusing on the relationship between art, democracy, and propaganda. Recent solo exhibitions include Art of the Stateless State (Moderna Galerija, Ljubljana, 2015), New World Academy (BAK, basis voor actuele kunst, Utrecht and Centraal Museum, Utrecht, 2015), After Europe (State of Concept, Athens, 2016) and Museum as Parliament (with the Democratic Federation of North Syria, Van Abbemuseum, Eindhoven, 2018). His projects have been exhibited widely, among others at the Berlin Biennial (2012), the São Paulo Biennial (2014), the Oslo Architecture Triennial (2016) and the Göteborg Biennial (2017). Recent books by Staal include Nosso Lar, Brasília (Jap Sam Books, 2014), Stateless Democracy (With Dilar Dirik and Renée In der Maur, BAK, 2015), and Steve Bannon: A Propaganda Retrospective (Het Nieuwe Instituut, 2018). The artist is a regular contributor to e-flux journal and completed his PhD research Propaganda Art from the 20th to the 21st Century at the PhDArts program of the University of Leiden. Staal lives and works in Athens and Rotterdam.

www.jonasstaal.nl

After the lecture and dinner, at 19:00, is a screening of the film HyperNormalisation. Read more about it here.

What: Lecture by Jonas Staal + dinner
When: 1 September 16:30 lecture/ 18:00 stand-up dinner
Where: IMPAKT Center for Media Culture, Lange Nieuwstraat 4, Utrecht
Language: English
Tickets: buy them here (lecture 10 euro (7,50 with discount)/ lecture + dinner 15 euro/ dinner 10 euro)

Impakt Event: Art and Propaganda, Jonas Staal

 
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Impakt Event: Post-truth Cinema – The Manchurian Candidate + intro

 

The fourth film of the Post-truth Cinema series is The Manchurian Candidate (1962). A Cold War classic and political satire by John Frankenheimer, about a man who is brainwashed and gets caught up in an international conspiracy to murder the candidate for president of the United States of America.

From May until December Impakt will organise the film series Post-truth Cinema in collaboration with Cinema ‘t Hoogt. On a monthly basis, by means of recent documentaries and classic feature films, we will look at our current political landscape in a world where truth and quality journalism matter less and less. The films and speakers will look at the influence of fake news, manipulation by social media, the interaction between politics and media, the influence of foreign governments, the role of technology companies and the value of media ethics.

The film will be introduced by film scholar Dan Hassler-ForestAfter the screening he will discuss the film with Impakt director Arjon Dunnewind.

What: The Manchurian Candidate with Dan Hassler-Forest

When: 29 August, 18:30

Where: Filmtheater ‘t Hoogt, Hoogt 4, Utrecht

Language: Dutch

 
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Impakt Event: Digital Landscapes – Hidden Realities

 

Artists meet politicians in a dynamic evening about web freedom

Should our government or the EU curb the power of tech companies? What is the influence of media on our democracy? How should governments deal with hate speech and the manipulation of elections via social media? Media artist Geert Mul will provide insight into his ideas on our internet-identity with his recent project A.I. and the Other and video artist Donna Verheijden will talk about social media’s influence with a sneak peak of her upcoming short film Kiss the Sky – I Trick the Eye. Along with Ellen Bijsterbosch (D66 Utrecht) and Matthijs Pontier (Piratenpartij Nederland) Mul and Verheijden will also discuss to what extend online micro-targeting, deception and speculation influence our society.

Donna Verheijden worked on her short film Kiss the Sky – I Trick the Eye during her recent residency at Más Arte Más Acción in Colombia, which took place in the context of an exchange project between Impakt and Más Arte Más Acción organised in 2017-2018. As part of the exchange Verheijden was invited to the Más Arte Más Acción’s Chocó Base in Colombia and took part in the International Festival of the Image in Manizales. Verheijden sees it as a responsibility to analyse and criticise today’s imagescapes. Her main research focuses on mass and social media, its seductions and underlying power structures. Verheijden teaches Time Based Media at ArtEZ University of Arts and is represented by LI-MA international platform for media art.

For Mul, art is an poetic exploration and enrichment of media-language and ultimately of perception. Mul teaches Interactive Design – Unstable Media at the Gerrit Rietveld Academie in Amsterdam. Geert Mul is represented by gallery Ron Mandos, lives and works in Rotterdam, The Netherlands.

Ellen Bijsterbosch has been creating critical comedic art about the data driven society at SETUP for the last few years. You will be able to recognize her from De Nationale Verjaardagskalender and her work at the Algoritmisch Historisch Museum. She is currently working at Mr. Hans van Mierlostichting creating a social-liberal perspective on algorithms and profiling. In march she has been elected as council member of D66 Utrecht.

Matthijs Pontier was number two candidate on the Piratenpartij [Dutch pirate party] in the parliamentary elections in 2017. He strives for innovation in democracy and education at the Citizen’s Foundation and Idea Synergy. Furthermore, he is an activist with an abiding interest in creating a free society that focuses on civil rights and democratic renewal.

What: Impakt Event: Digital Landscapes – Hidden Realities, a dynamic evening with screenings and discussions
When: 20:00 on 13 July 2018
Where: Impakt Center for Media Culture, Lange Nieuwstraat 4, Utrecht

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Impakt Event 2018: Digital Landschapes - Hidden Realities

 
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Impakt Center for Media Culture

 

Lange Nieuwstraat 4

3512PH Utrecht

+31 (0)30 2944493

 
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Winkel van Sinkel

 

Oudegracht 158

3511 AZ Utrecht

(+31) 30 230 3030

 
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Impakt Event: Post-truth Cinema – Network + Xandra Schutte

 

From May until December Impakt will organise the film series Post-truth Cinema in collaboration with Cinema ‘t Hoogt. By means of documentaries and feature films the programme looks at our current political landscape and aspects such as political brainwashing, media manipulation, the influence of lobbying, tactics of distraction and fake news, Internet activism and media ethics.

The third film of this series is the classic Network (1976), which will be shown on 35mm. The films is a biting media satire by Sidney Lumet about a television network that is prepared to do anything to get the ratings they want, even encouraging terrorists and driving presenters mad.

The film will be introduced by journalist and editor Xandra SchutteAfter the screening she will discuss the film with Impakt director Arjon Dunnewind.

What: Network with introduction by Xandra Schutte
When: 11 juli, 18:30
Where: Filmtheater ‘t Hoogt, Hoogt 4, Utrecht
Language: Dutch

 
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Impakt Event: Bellingcat

 

Online fact-checking in a Post-truth world

In a world where truth seems to be more fluid, critical thinking and fact-checking has become more important than ever. This Impakt Event will host blogger and research journalist Eliot Higgins. Higgins is the founder of Bellingcat, a network for citizen journalism, fact-checking and online research. With information on social media or by comparing Google Maps and satellite photos with other sources, they point out untruths in statements by official institutions or by parties in a conflict. In The Netherlands they are mainly in the news because of their influential work in connection to the MH-17 disaster. Moreover, Bellingcat has contributed proof for situations involving acts of terror committed by ISIS and in the Syrian civil war.

During this very current Impakt Event Higgins will talk about Bellingcat’s research methods and the way in which they use generally accessible online tools and information for their research.

Impakt Event 2018: Bellingcat

 
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Impakt Event: Expert Meeting with Elliot Higgins of Bellingcat

 

In an expert meeting prior to the evening Impakt Event, Eliot Higgins of Bellingcat met with professionals from Utrecht’s and Tilburg’s Schools of Journalism and other experts in the fields of journalism, critical design, media and digital culture.

The classical platforms and modes in journalism (newspapers, radio, TV) were discussed in relation to new ones like web platforms, online research, crowd sourcing. Questions on the table among others: What are differences and similarities in terms of speed, flexibility, reliability, business model, visibility and vulnerability? Where and how can they collaborate and how can we use new emerging technologies to build stable bases for independent in-depth journalism in rapidly changing volatile media landscapes.

 
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Impakt Event: Post-truth Cinema – Videocracy + intro

 

From May until December Impakt will organise the film series Post-truth Cinema in collaboration with Cinema ‘t Hoogt. By means of documentaries and feature films the programme looks at our current political landscape and aspects such as political brainwashing, media manipulation, the influence of lobbying, tactics of distraction and fake news, Internet activism and media ethics.

The second film of this series is the documentary Videocracy (2009) by Erik Gandini. A film about Silvio Berlusconi, the way that he build his media empire and used it to control Italian politics and society during his time as prime minister.

The film will be introduced by political historian Pepijn Corduwener and Arthur Weststeijn, who is specialised in recent Italian history, together they wrote the new book Proeftuin ItaliëAfter the screening they will discuss the film with Impakt director Arjon Dunnewind.

More information about next films and speakers in the Post-truth Cinema series will be announced soon!

What: Videocracy with Pepijn Corduwener and Arthur Weststeijn

When: 13 June 19:00

Where: Cinema ‘t Hoogt, Hoogt 4, Utrecht

The introduction and discussion will be in Dutch, but the film will be subtitled in English

 

 

 

 
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Impakt Event: Open Studio of Anna Ridler

 

Join us for the Open Studio on June 7th, where you’ll be able to hear more about Impakt artist in residence Anna Ridler’s practice and her current project. Anna will discuss the work she has been making during her residency at Impakt. By creating and categorising a large data set of tulip photos, she has been working on an artificial intelligence that creates digital tulips. This AI will form the basis of the work Mosaic Virus, which connects the financial bubble that occurred with “tulip mania” to the current speculation around crypto-currencies. Mosaic Virus in its final form will be presented at the Impakt Festival in October 2018.

The event will be moderated by Luba Elliott, one of the curators of Impakt Festival 2018 and a producer of Creative AI London.

About Anna Ridler:

Anna Ridler is an artist and researcher whose practice brings together technology, literature and drawing to create both art and critical writing. She is 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.  She works 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). Her intention is to make work that is not about technology for its own sake, but rather uses these technologies as a tool to talk about other things – memory, love, decay –  or to augment or change the story in a way in that otherwise would not happen. She is interested in the connections and spaces between the tangible and intangible world – for example, the connections between race and algorithms or love and emails.  She is currently working with and researching the creative potential of machine learning, and how it relates to drawing and painting.

Anna is a recipient of this year’s European Media Art Program (partnering with Impakt) and the winner of the 2018-2019 Dare Art Prize. She has exhibited at Ars Electronica, Sheffield Documentary Festival, Leverhulme Centre for Future Intelligence, Tate Modern, Centre Pompidou and the V&A.

Impakt is generously funded by The City of Utrecht, Mondriaan Fund, Creative Industry Fund NL and the Democracy and Media Foundation.

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Report Impakt Event: Judging the Machine

 

Videos and pictures of the Impakt Event: Judging the Machine that took place on May 19th 2018 at Impakt Center for Media Culture:

Impakt Event 2018: Judging the Machine

 
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Report Impakt Event: Artist talk Mimi Onouha

 

Video and pictures of the Impakt Event: Artist talk Mimi Onouha that took place on May 18th 2018 at Impakt Center for Media Culture:

Impakt Event 2018: Artist talk Mimi Onouha

 
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Report Impakt Event: Algorithmic Superstructures

 

Videos and photos from the Impakt Event: Algorithmic Superstructures that took place on May 18th at Impakt Center for Media Culture:

Impakt Event 2018: Algorithmic Superstructures

 
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Tony Hill – Spin (UK 2015, 3:31)

 

A spinning camera finds new perspectives on some portraits and other things. Strangely the world does not become an abstract blur but flickers, distorts and merges. Live action somehow becomes animation.

About: 

Born in London in 1946, Tony Hill studied Architecture and Sculpture and makes experimental short films that are somewhere between sculpture and cinema. He has been working as an independent film-maker since 1973, usually taking on all aspects of production and often developing and building his own equipment. He also works with installations, photography and sound.

 
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Impakt Archives and Impakt Channel

 

Impakt has a media archive with entries dating back to the beginning of the festival (1988). The archive consists of video, audio, interactive projects, books and magazines. The archive is still expanding and updated every year with material from new festival editions and events. Also the archive is complemented with additional material we see as relevant for the artists and themes Impakt wants to address. We use the Impakt Channel section of our website to open up our archive for a world wide audience. In curated programs we present selections with old and contemporary video works from our archive. In these selection we respond to themes in our festival or other parts of our annual program. Also new and additional topics can be addressed in curated programs on the Impakt Channel. As an intern you support the digitization and indexation of the archive. You support the production and promotion of the launches of curated selections on the Impakt Channel. As part of the internship students are also invited to develop a proposal for a curated program with material derived from the Impakt Archive.

If you are interested in a work placement at Impakt, please send a short letter with your motivation and resume, together with a filled in questionnaire to Christine Breur at interns[at]impakt.nl.

 
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Diversity in program, themes and audience

 

At Impakt we put effort in presenting an inclusive program with diversity in terms of genders, cultures, etc. We want to have this reflected in the themes we address, the artists and speakers we invite and the audiences we reach. With this internship position we want to support our programmers, curators with on request research in specific areas related to these goals, researching artists and subthemes that can contribute to this diversity. In addition to the on request research self-initiated research can be done. The intern also supports the research for specific partner institutions to collaborate with and for special funds that can support programs aimed at diversity and at the participation of  artists from specific regions or with specific backgrounds. The intern also supports the PR and Marketing with the development and execution of programs, campaigns and activities that bring the Impakt program to wider, more varied and diverse audience, and that reaches out to specific target groups.

If you are interested in a work placement at Impakt, please send a short letter with your motivation and curriculum vitae for the attention of Christine Breur at interns[at]impakt.nl. Please also fill out this questionnaire for us and add it to your application

 
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Film programming and production of screening

 

In 2018 Impakt will focus on the theme of Post-truth. Our annual program will consist among others of the Post-truth cinema series, monthly screening of Post-truth related films, with introductions by experts and discussion, organized together with Filmtheatre ‘t Hoogt. There will be several other film screenings outside of this series and also there are several screenings of short film programs included in the Impakt Festival program at the end of October, 2018
To support or screening programs we are looking for a highly motivated intern with knowledge of art-house cinema, video art and art film and a basic technical knowledge of video and screening formats . Daily activities will consist of communication with artists, curators, filmmakers and distributors. Also the selected film works need to be prepared for screening together with the cinema and/or technicians and press texts need to be prepared. Next to tasks supporting the production of the screenings, additional research and support of the program selection is required.

If you are interested in a work placement at Impakt, please send a short letter with your motivation and curriculum vitae for the attention of Christine Breur at interns[at]impakt.nl. Please also fill out this questionnaire for us and add it to your application

 
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Assistant Curator (Advanced internship or Work Experience Position)

 

For this position we require a motivated, skilled person with a solid knowledge of new media, digital culture and the issues that are central to the 2018 Impakt Annual program: Post-truth and related themes such as the influence of algorithms and other new technologies on our information environment.
Academic working level is required but needs to be combined with a hands on no-nonsense attitude. Most of the work consists of assisting the artistic director, the festival curators and the other curators Impakt works with. Daily activities are supporting the communication with the curators and the artists in the program, supporting the development of programs, research for the content of programs, preparation of programs to be taken over by the production department. The internship can be combined with research. There are possibilities to curate Impakt Channel launchs from the Impakt Archive. Other Curatorial work can be discussed but should be seen as addition to the main assisting activities.

If you are interested in a work placement at Impakt, please send a short letter with your motivation and curriculum vitae for the attention of Christine Breur at interns[at]impakt.nl. Please also fill out this questionnaire for us and add it to your application.

 
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Report Impakt Event: Deep Fake or Rendering the Truth

 

Video and pictures of the Impakt Event: Deep Fake or Rendering the Truth that took place on April 21st 2018 at Impakt Center for Media Culture:

Impakt Event 2018: Deep Fake or Rendering the Truth

 
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Impakt field trip to the Meta Marathon NRW-Forum Düsseldorf

 

On May 25th we’ll take part in a new digital happening: a 42-hour nonstop digital program for around 400 people that are invited to stay with us, and sleep & create – all around the theme “AI”… We’ll have great people coming and it will be a lot of fun! It will take place on the whole 2000qm of NRW-Forum…

About META Marathon: Artificial Intelligence

42 hours of non-stop talks, performances, film screenings, concerts, exhibitions, and workshops on the subject of Artificial Intelligence: the META Marathon is a new technology festival. The participants design the festival themselves, switch roles between expert and amateur as well as experiment with the new format—including on-site accommodation.

Present on behalf of Impakt:

Impakt 2018 curator Alex Anikina, with the lecture-performance Chronic Film (2017)

Impakt 2018 curator Luba Elliott, with the participatory performance Play the Turing Test (2016)

Impakt 2018 curator Yasemin Keskintepe

Piotr Mirowski, with an AI Improv session with HumanMachineLive

Impakt artist in residence Anna Ridler, with the performance Drawing Sound

Communication designer Joana Chicau, with a live coding performance

Also joining Impakt on the field trip to the Meta Marathon are:

Carolien Teunisse and Sabrina Verhage of Creative Coding Utrecht (CCU)

Sebastian Kox and Bas van Eijk of Oneseconds.com

What: META Marathon: Artificial Intelligence

When: 25-27 May, 21:59-9:30

Where: NRW-Forum Düsseldorf, Ehrenhof 2 D, Düsseldorf, Germany

 

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Impakt Event: Judging the Machine

 

Over the past few years, artificial intelligence has become a constant presence in our lives, recommending news articles, recognising faces and providing customer support. Machine learning algorithms have moved beyond shaping our daily practices to automating fundamental decisions that affect individual freedom, including applications in credit scoring and prison sentencing. In the meantime, the ethical components of these systems – fairness, accountability and transparency – as well as the necessary legal regulation have been slow to catch up with the rapid technological progress. As the scope and power of these AI systems expands, so do the concerns around algorithmic bias and interpretability.

This event looks at the dimensions of ethics, accountability and justice in a post-truth world. How should we assign blame and responsibility when engaging with robots and AI systems? Is the creator of the algorithm, the executor or the algorithm itself to blame? How does this influence our development of these systems, the laws and the social codes around this?

Speakers:

Joanna Bryson

Joanna J. Bryson is a transdisciplinary researcher on the structure and dynamics of human- and animal-like intelligence. Her research covering topics from artificial intelligence, through autonomy and robot ethics, and on to human cooperation has appeared in venues ranging from a reddit to Science.

Helen Knowles

Helen Knowles is an artist exploring AI ethics and accountability. She has a BA Hons from Glasgow School of Art and MFA Fine Art from Goldsmiths University. She lectures widely around the UK and abroad. A recipient of awards from Arts Council England and The Amateurs Trust, in 2012 she won the Neo Art Prize, Great Art Prize for two works from the Youtube Portraits Series. She is one of seven artists on the Fault Lines programme, Future Everything. She is the curator of the Birth Rites Collection, Kings College London and was recently shortlisted for the Deutsche Bank DBACE Prize.

• Maaike Harbers

Maaike Harbers is a research professor in Artificial Intelligence & Society at Knowledge Center Creating 010, and a senior lecturer at the Creative Media and Game Technologies program, both at Rotterdam University of Applied Sciences. Her work focuses on artificial intelligence, ethics and design. She studies how designers can create interactive, intelligent technology in a responsible way by accounting for the ethical implications of their concepts during design time.

Film:

The Trial of the Superdebthunterbot, Helen Knowles (45 min)

The work imagines a speculative scenario in which the intelligent algorithm “Superdebthunterbot” is put on trial, questioning ethics and accountability in relation to the increasing and often unseen computer automation of our lives. “Superdebthunterbot” is an algorithm created by a debt collecting company to ensure fewer loan defaulters, and is already responsible for several deaths.

Programme:

5 pm: screening of The Trial of the Superdebthunterbot by Helen Knowles (UK, 2016)

6 pm: Panel discussion Judging the MachineThis programme is curated by Luba Elliott (UK), Alex Anikina (UK/RU) and Yasemin Keskintepe (DE), curators of the Impakt Festival 2018. The curators will give a brief introduction of the upcoming festival.

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Impakt Event 2018: Judging the Machine

 
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Impakt Event: Artist Talk by Mimi Onuoha

 

Post-truth and Algorithmic Violence, artist talk by Mimi Onuoha

American artist Mimi Onuoha will be visiting Utrecht to talk about her practice, especially invited for the occasion by Impakt, HKU, FIBER and Utrecht University. In her work Onuoha critically addresses the increasing dominance of data, algorithms, and the processes categorizations and social sorting this engenders. Her work The Library of Missing Databases was exhibited at the Impakt Festival 2017. With her particular focus on the power of data to influence the way we perceive the world around us, Onuoha sheds new light on the workings of the Post-truth era. She also highlights the way we are manipulated every day by the so-called algorithmic superstructures, the structures of power created by the collection of our personal data that turn each of us into digital subjects

About Mimi Onuoha (US)

Mimi Onuoha is a Brooklyn-based artist and researcher investigating the social results of data collection and computational categorization. Her work uses code, writing, performance, and objects to explore missing data and the ways in which people are abstracted, represented, and classified. Onuoha has been in residence at Eyebeam, Studio XX, the Data & Society Research Institute, Columbia University’s Tow Center, and the Royal College of Art. She has exhibited and presented workshops in festivals internationally, and in 2014 she was selected to be in the inaugural class of Fulbright-National Geographic Digital Storytelling Fellows. She was recently a visiting faculty member at Bennington College, and currently is teaching at NYU. http://mimionuoha.com.

This event is organized in collaboration with FIBER, Utrecht University’s Media and Culture Studies department and HKU Schools of Fine Arts and Media. Mimi Onuoha is part of a Visitors Programme hosted by FIBER and The New Institute.

Impakt is generously funded by The City of Utrecht, Mondriaan Fund, Creative Industry Fund NL and the Democracy and Media Foundation.

You might also be interested in:

Friday 18 May – 13:30 – 14:30

Algorithmic Superstructures, presentation by the Impakt Festival 2018 curators

Impakt, Center for Media Culture, Lange Nieuwstraat 4, Utrecht

Thursday 17 May – 20:00 – 23:00

Coded Matter(s): Big Bias, organized by FIBER

With artist/queer-theorist Zach Blas (UK), Mimi Onuoha (US) and more

De Brakke Grond, Nes 45, Amsterdam

Ticket & Info

Impakt Event 2018: Artist talk Mimi Onouha

 
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Impakt Event: Algorithmic Superstructures

 

Algorithmic Superstructures, a presentation by the curators of Impakt Festival 2018

In the age of post-truth, algorithmic superstructures are looking over your shoulder. Predictive analysis, data mining, machine learning and other advanced algorithms define the outlines of our lives as digital subjects. When power becomes automated, what can we offer as counter-practices? This year’s Impakt Festival aims to address the condition of algorithmic post-truth and offer critical and creative ways to challenge it. It explores what “deep truths” are brought on by the algorithmic superstructures.

About the speakers:

Luba Elliott is a curator, researcher and consultant specialising in creative applications of artificial intelligence. She is the founder of the Creative AI meetup and has curated events and exhibitions on art and AI.

Alex Anikina is an artist, researcher and film-maker. Her work has been shown internationally, VI Moscow Biennale of Contemporary Art, IV and V Moscow International Biennale for Young Art, Haus der Kulturen der Welt, Berlin among others. She is currently a PhD candidate at Goldsmiths, where she is also Assistant Lecturer in Film and the Audiovisual.

Yasemin Keskintepe is a curator and researcher whose work examines the politics and poetics of digital condition. Since 2016 she is working at the ZKM | Centre for Art and Media Karlsruhe, where she is the co-curator of the exhibition Open Codes. Living in Digital Worlds, and most recently Digital Culture Techniques in Mumbai.

What: a presentation by the curators of Impakt Festival 2018

When: 18 May 13:30

Where: Impakt, Center for Media Culture, Lange Nieuwstraat 4, Utrecht

You might also be interested in:

Friday 18 May – Artist talk by Mimi Onuoha

Impakt, centre for mediaculture, Lange Nieuwstraat 4, Utrecht, 15:00 – 16:30

This program is a collaboration between IMPAKT, HKU Schools of Fine Arts and Media and Utrecht University’s Media and Culture Studies department.

Impakt is generously funded by The City of Utrecht, Mondriaan Fund, Creative Industry Fund NL and the Democracy and Media Foundation.

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Impakt Event 2018: Algorithmic Superstructures

 
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Impakt Event: Post-truth Cinema – The Cleaners + Eva de Valk

 

From May until December Impakt will organise the film series Post-truth Cinema in collaboration with Cinema ‘t Hoogt. By means of documentaries and feature films the programme looks at our current political landscape and aspects such as political brainwashing, media manipulation, the influence of lobbying, tactics of distraction and fake news, Internet activism and media ethics.

The first film of this series is the documentary The Cleaners by Hans Block and Moritz Riesewieck. The film takes a critical look at Facebook and the shadowy underworld of the Internet where questionable content is removed.

The film will be introduced by Eva de Valk, a journalist in the area of technology and innovation. She is responsible for the technology section of the NRC newspaper and frequently provides commentary for Dutch national television as a “tech-friend” about the societal impact of technology. After the screening she will discuss the film with Impakt director Arjon Dunnewind.

More information about the films and speakers in the Post-truth cinema series will be announced soon!

What: The Cleaners with Eva de Valk
When: 16 May 19:00
Where: Cinema ‘t Hoogt, Hoogt 4, Utrecht

This event is Dutch-spoken

 
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Impakt Event: Possessed + Q&A with Metahaven and Rob Schröder

 

On 9 May, in collaboration with Cinema ‘t Hoogt, Impakt will show the film Possessed by Metahaven and Rob Schröder. Afterwards, the makers of the film will be present for a Q&A.

In the middle of former Yugoslavia, the young main character (Olivia Lonsdale) encounters the inheritance of communism: collapsed buildings, abandoned airports, books that were left behind. This confrontation with history makes her melancholy and brings up almost forgotten emotions. She starts to think about the future.

Possessed depicts the effects of the smartphone on our society and on our self image. Accompanied by analyses by political theorists Alex Williams and Nick Srnicek and with a stream of associative, poetic imagery and confrontational found footage, the makers of the film make a stimulating connection between empathy, politics and solidarity.

Possessed was made by artist duo Vinca Kruk and Daniel van der Velden, better known as Metahaven, and the award-winning documentary film maker Rob Schröder.

What: Possessed (The Netherlands, 2018, 67 minutes) + Q&A by Metahaven and Rob Schröder
When: 9 May, 19:00
Where: Cinema ‘t Hoogt, Hoogt 4, Utrecht
Language spoken: English

 
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Impakt Event: Deep Fake or Rendering the Truth

 

The role of computer graphics in news reporting and truth telling has a long history, from weathermen to intricate chromkeyed 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. In August 2017, the Graphics and Imaging Laboratory at Washington University released a video ‘Synthesizing Obama’ which demonstrated the ability to synthesize a life-like rendering of Obama in real time. 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.

Speakers:

Anna Ridler (UK), EMAP artist in residence at Impakt working with abstract collections of information or data to create new narratives

Lucy Hardcastle (UK), interdisciplinary designer and digital artist

Sjef van Gaalen (NL), researcher and designer

Luba Elliott (UK), curator and researcher specialising in artificial intelligence and member of the curatorial team of the Impakt Festival 2018.

This program is curated by Tobias Revell (UK) and Natalie Kane (UK), curators of the Impakt Festival 2017. Natalie Kane will moderate the program.

About Lucy Hardcastle:

Lucy Hardcastle is an interdisciplinary designer and digital artist living in London. Her work focuses on tactility, visual illusions and sensual aesthetics through digital rendered pieces, sculpture, set design an moving image. Her current projects aim to bridge the highly digital and physical aspects of her practice to produce immersive experiential pieces.

About Sjef van Gaalen:

Sjef van Gaalen is a Rotterdam-based researcher & designer working under the name Structure & Narrative. Focused on Futures & Fiction, Collage & Camouflage, he will investigate what stories are being told through these new synthesized realities.

About Anna Ridler:

Anna Ridler is an artist and researcher whose practice brings together technology, literature and drawing to create both art and critical writing. She is 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.  She works 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). Her intention is to make work that is not about technology for its own sake, but rather uses these technologies as a tool to talk about other things – memory, love, decay –  or to augment or change the story in a way in that otherwise would not happen. She is interested in the connections and spaces between the tangible and intangible world – for example, the connections between race and algorithms or love and emails.  She is currently working with and researching the creative potential of machine learning, and how it relates to drawing and painting.

What: Deep Fake or Rendering the Truth, a panel event with presentations and discussion

When: 21 April 20:00

Where: Impakt, Center for Media Culture, Lange Nieuwstraat 4, Utrecht

Impakt Event 2018: Deep Fake or Rendering the Truth

 

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Impakt Event at EMAF: presentation of EMAP

 

Impakt will be present at European Media Art Festival in Osnabrueck with the panel discussion Deep Fake or Rendering the Truth and a presentation of EMAP and our residency programmes.

Presentation: EMAP  The European Media Art Platform – for New Productions

A presentation by Impakt director Arjon Dunnewind about the four-year EU project of the European Media Art Platform (EMAP) with partners throughout Europe. The project supports media artists with residencies in the production of new works.

About EMAF:

EMAF is one of the most influential forums of international Media Art. As a meeting point for artists, curators, distributors, galleries and an audience of experts the festival has a great impact on the topics and aesthetics of Media Art. Each year the festival offers its visitors a current overview of experimental films, installations, performances, digital formats and hybrid forms, ranging from personal and political subjects or formal experiments to provocative statements from the pulsating area of “Media Art – Society”. The Festival sees itself as a place of experimentation and a laboratory where extraordinary works, experiments and ventures are created and presented.

What: EMAP  The European Media Art Platform – for New Productions, a presentation by Arjon Dunnewind

When: 19:00 Friday 20 April

Where: EMAF, Kunsthalle Osnabrück, Hasemauer 1, Osnabrück, Germany

 

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Impakt Event at EMAF: Deep Fake or Rendering the Truth

 

Impakt will be present at European Media Art Festival in Osnabrueck with a panel discussion and a presentation of EMAP and our residency programmes.

Panel discussion: Deep Fake or Rendering the Truth

The role of computer graphics in news reporting and truth telling has a long history, from weathermen to intricate chromkeyed 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. In August 2017, the Graphics and Imaging Laboratory at Washington University released a video ‘Synthesizing Obama’ which demonstrated the ability to synthesize a life-like rendering of Obama in real time. 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.

Luba Elliot will speak on the ways in which artists and creative practitioners are using advancements in Artificial Intelligence. Luba is one of the curators of Impakt 2018, and a producer of Creative AI London.

An artist working directly with AI, Anna Ridler will speak on her recent research and practise. Anna is a recipient of this year’s European Media Art Program (partnering with Impakt) and the winner of the 2018-2019 Dare Art Prize. She has exhibited at Ars Electronica, Sheffield Documentary Festival, Leverhulme Centre for Future Intelligence, Tate Modern, Centre Pompidou and the V&A

Igor Schwarzmann will talk on the strategic and narrative challenges of post-truth dialogue. Alongside Johannes Kleske, Igor is a co-founder of Third Wave in Berlin, a strategy and research firm for the New Normal.

Francis Hunger will argue that the current hype around artificial intelligence is operating with deceptive marketing language. Since 2015 Francis has been working on his Ph.D. at Bauhaus University, Weimar, researching the emergence of the Relational Database Model.

This session will be moderated by artist and designer Tobias Revell. Tobias is Course Leader of Interaction Design Communication MA at the London College of Communication, co-founder of Strange Telemetry, Founder of Supra Studios and one half of Haunted Machines. Tobias was co-curator of Impakt 2017.

This programme is curated by Tobias Revell (UK) and Natalie Kane (UK), curators of the Impakt Festival 2017.

About EMAF:
EMAF is one of the most influential forums of international Media Art. As a meeting point for artists, curators, distributors, galleries and an audience of experts the festival has a great impact on the topics and aesthetics of Media Art. Each year the festival offers its visitors a current overview of experimental films, installations, performances, digital formats and hybrid forms, ranging from personal and political subjects or formal experiments to provocative statements from the pulsating area of “Media Art – Society”. The Festival sees itself as a place of experimentation and a laboratory where extraordinary works, experiments and ventures are created and presented.

What: Deep Fake or Rendering the Truth, a panel event with presentations and discussion
When: 13:00 Friday 20 April
Where: EMAF, Kunsthalle Osnabrück, Hasemauer 1, Osnabrück, Germany

 

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Más Arte Más Acción Artist in Residence: Donna Verheijden

 

We are happy to announce Dutch artist Donna Verheijden as the selected artist for the Parallel Utopias – Hidden Realities residency in Colombia. Verheijden will be artist in residence at Más Arte Más Acción in Chocó, on the Pacific coast of Colombia, for a month from the end of April 2018. As part of the exchange project with Impakt Verheijden has been invited to Colombia to take part of the International Festival of the Image in Manizales and to work among others on her upcoming short film Kiss the Sky – I Trick the Eye. 

The residency will take place in the context of an exchange between Impakt and the Colombian organisation Más Arte Más Acción organised in 2017-2018. In October 2017 Luis Fernando Medina Cardona and Ana Garzón Sabogal of Más Arte Más Acción visited the Netherlands and took part in the programme of Impakt Festival 2017.

About Más Arte Más Acción:

Más Arte Más Acción is a non-profit cultural foundation that generates critical thinking through art. The foundation’s base, on Colombia’s Pacific Coast, is the source of inspiration for artists and other professionals who are invited to explore wide-ranging social and environmental issues.

About Donna Verheijden:

Donna Verheijden (Arnhem, 1989) is a graphic designer and videographer. Verheijden graduated from the Sandberg Institute. As a contemporary image maker, Donna sees it as her responsibility to analyse and criticise today’s apparent or staged realities. Her main research focuses on mass and social media, its seductions and underlying power structures.

The exchange with Más Arte Más Acción and the residency of Donna Verheijden has been made possible by stichting DOEN, Creative Industries Fund NL and the Dutch embassy in Bogotá, Colombia.

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Michael Langoth – Retracer (Austria 1991, 3:45)

 

Back to the beginning or the race against time. In Michael Langoth’s multi-award-winning video from 1991, a normal homebound returner gets caught between the fridge and the TV in the mills of an apparent endless loop and under the acoustic dictation of the incessantly accelerating everyday rhythm. In his work, the Austrian filmmaker, musician and photographer comments on the conditions and limits of his audiovisual imagery in a media-critical and entertaining way.

About:

Michael Langoth, born in 1955, first worked as a freelance photographer and cameraman after studying architecture (Vienna University of Technology) and photography (“the Vienna Graphic Arts”). For music production (from 1982) added to the production of videos since 1988, with which he has since been represented at numerous festivals and art exhibitions and TV programs in Austria, Germany, Spain and Portugal.

 

 
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Richard Fenwick – The Box (UK 2007, 9:15)

 

A city dweller’s anonymous life suddenly becomes the subject of a mysterious televised signal. A spooky conceptual thriller that shows the way everyday world goes awry in inexplicable ways.

About:

Multi award-winning writer/director Richard Fenwick lives and works out of the UK. His work can be chiefly characterized by bold, imaginative storytelling, an eclectic range of styles (romantic drama through to science fiction) and a sharp, satirical wit. Richard began his film-directing career back in 2000 after a background in motion graphics led him to direct his first music video for the band Death in Vegas.With an eye on theatrical features he shifted focus to the writing and directing of short films in 2004 and in a relatively short period of time built up an award-winning portfolio of exciting short film work, including the films Artificial Worlds, The Box, Love Letter, Cherry, Safety Procedures, Albert’s Speech and 10 short films in a series called User Guides.

 
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Report IMPAKT EVENT: EXPERT MEETING IMPAKT FESTIVAL 2018

 

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Robert Arnold – Zeno’s Paradox (US 2003, 5:13)

 

An experimental digital video exploring the illusions of cinematic movement and depth as corollaries of Zeno’s paradox: There is no motion because that which is moved must arrive at the middle of its course before it arrives at the end.

About:

Robert Arnold was born in 1954 in New Jersey, USA, and lives in Boston where he teaches film at Boston University. He obtained a BFA in Sculpture from the University of Illinois in 1977, an MA from the University of Iowa in 1980 and a PhD in Film Studies from the University of Iowa in 1994. He has received numerous awards and fellowships and his works have been widely exhibited. Arnold’s approach is based on advanced digital editing techniques, which he uses to create short videos, designed to be exhibited on a loop. His videos often use effects of sped-up spatial movement and light to manipulate the viewer’s optical experience of the passing of time. Though the works are in a sense highly formal, focusing on transformations of color, shape and form within the video image, in each video these effects are illustrative of a specific theme, ranging from the uniformity of heterosexual desire in pop culture imagery to Ancient Greek philosophical ideas.

 

 
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Curators

 

Luba Elliott (UK)

Luba Elliott is a curator, researcher and consultant specialising in creative applications of artificial intelligence. She is the founder of the Creative AI meetup and has curated events and exhibitions on art and AI.

Yasemin Keskintepe (Germany)

Yasemin Keskintepe is a curator and researcher whose work examines the politics and poetics of digital condition. Since 2016 she is working at the ZKM | Centre for Art and Media Karlsruhe, where she is the co-curator of the exhibition Open Codes. Living in Digital Worlds, and most recently Digital Culture Techniques in Mumbai.

Alex Anikina (UK/Russia)

Alex Anikina is an artist, researcher and film-maker. Her work has been shown internationally, VI Moscow Biennale of Contemporary Art, IV and V Moscow International Biennale for Young Art, Haus der Kulturen der Welt, Berlin among others. She is currently a PhD candidate at Goldsmiths, where she is also Assistant Lecturer in Film and the Audiovisual.

 
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Impakt at Media Art Worlds Helsinki

 

Media Art Worlds – a conference on hybrid economies of digital art

When: Saturday March 24, 2018, from 14:00-18:00

Where: Korjaamo Culture Factory, Töölönkatu 51 B, Helsinki, Finland

About:

The production and presentation of media art takes place in a hybrid economy involving a variety of institutional contexts – art museums, film festivals, science & technology centres, universities – as well as diverse technical and social platforms. The power of media art lies in its capacity to unsettle cultural categories through critical interventions across contexts. However this activity can also result in a precarious position for the artist, who may feel trapped between the worlds.

In this conference we hope to share expertise on how to develop projects, reach audiences and sustain practices across the many media art worlds. The conference is organised by the European Media Art Platform, co-funded by the Creative Europe Programme of the European Union. Hosted by m-cult, the Helsinki conference is supported by FRAME and the Finnish Institute in London.

At 16:40 Arjon Dunnewind, director of Impakt, will lead the wrap-up discussion IMPAKT: Visions  Relevance to society / How can we change the world / make an impact? He will build on the discussions between the EMAP artists and the partners of the project.

The event is free of charge but requires registration. Please register by Sunday March 18.

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To Let: Office and Exhibition Space

 

Grab the opportunity to rent an office or exhibition space with Impakt!

About the building:

For a long time the building Lange Nieuwstraat 2-4 (a listed building due to its aesthetic value for the city) provided shelter to the municipal music school. SWK030 has been renting it since 1994. After a period of planning and preparation municipal buildings were profoundly renovated and split by function. For a long period the building provided headquarters for BAK, but now it holds the main office of Impakt. Part of the facilities will therefore be shared with Impakt. The exhibition space is available to let for fixed periods of time.

About the available office space:

Available from 9 June. Surface area of around 5 by 7 meters. Costs of 600 euro per month including gas, water, electricity, internet and excluding cleaning costs and other services.

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About the available exhibition space:

Available now. Surface area of around 14 by 9 meters. Send us a message for more information.

Contact: please send an email to verhuur[at]impakt.nl

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Impakt Event: Expert Meeting Impakt Festival 2018

 

Together with the curators, Impakt will organise a meeting of experts in the field of technology, art, design, media and film to discuss and expand upon the themes of the upcoming Impakt festival.

Among the topics that will be discussed are:

Post-truth - the question becomes not just about thinking what is true and false, but about the conditions of the possibility of what is true and false. What automated intelligence brings into the larger discussion of post-truth is exactly the basis on which the decisions are made: offloaded to an algorithm, a technological decisionism where taking a decision quickly is valued more than taking a correct one, takes over from the human operator. What else constitutes post-truth? What do post-truth narratives and algorithmic fiction mean to you? What forms of governmentality, ideas of truth and reality does post-truth create?

The algorithmic condition – how does machine learning, data analytics, telemetry and quantification enter the already-existing notions of truth, fact and fiction, and existing power relations between the individual, the state and corporations? What models and frameworks of governance does it propose? How do artists respond to this? How does media art articulate the spectrum between art as formal pursuit of elegant code and aesthetic problem-solving, art as a critical methodology for making visible the algorithmic governance, and art as fiction, or proposing alternative narratives?

How are new forms of visual epistemology / technical imagination reflected in information and knowledge design? How can we think of interfaces as essential tools for constructing the conditions of knowledge?

What are alternatives to seeing the communications field in post-truth era as warfare? (here we can think of recent keywords as ‘weaponised design’, memetic warfare, information warfare, ‘armies’ of trolls.

 

Impakt director Arjon Dunnewind and the Impakt Festival 2018 curators Luba Elliott, Alex Anikina and Yasemin Keskintepe will be present on both days.

On Friday 9 March the experts are: Coralie Vogelaar, Danielle Arets, Donna Verheijden, Ilga Minjon, Lauren Alexander, Dr. Marc Tuters and Viktor Wijnen.

On Saturday 10 March the experts are Dan Hassler-Forest, Imar de Vries, Ine Gevers, Olga Mink, Paulien Dresscher, Pim Verlaek and Ruben Paters.

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New Address!

 

Impakt has moved! We’ve left our old headquarters at Lauwerecht full of warm memories, for our plush central location at Lange Nieuwstraat 4. Come check it out if you’re in the neighbourhood!

Our new address:

Lange Nieuwstraat 4, 3512PH Utrecht, The Netherlands

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Marco Brambilla – Civilization (United States 2008, 3:22 mins)

 

Unfortunately this video is not available on the Impakt Channel, but you can see it here.

This crazy video collage of miscellaneous footage from movies and television displays a different world that illustrates the various layers of society. The video was initially made for the elevator of the standard hotel in New York, taking guests up and down between heaven and hell in the elevator.

About:

Marco Brambilla is a visual and installation artist, based in New York and Berlin. He is primarily known for his elaborate re-contextualizations of found imagery, often employing new technologies in his work. He has pioneered the use of 3D technology in video art with his Megaplex trilogy, LiDAR computer-mapping for Anthropocene (a public art installation in New York City), as well as photo-realistic computer simulations of an Apollo launch, presented on 54 screens in Times Square (2015). Brambilla’s work has been internationally exhibited and is in the collections of the Guggenheim Museum; San Francisco Museum of Modern Art; ARCO Foundation, Madrid; Art Gallery of Ontario, Ontario, Canada; and the Corcoran Gallery of Art, Washington D.C.

 

 
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James T. Hong – The Form of the Good (United States 2005, 4:00 mins.)

 
By combining the classical story of Plato’s cave with the contemporary images of the Iraq war this video shows that news is a reflection of reality. In this way therefore the viewer is stimulated to look at the news more critically.

BIO: James T. Hong (b. 1970, USA) is an Asian American filmmaker and artist whose works tend to focus on philosophical topics and figures, controversial race and class issues, and historical conflicts in Asia. His films and videos include Behold the Asian: How One Becomes What One Is, Condor: A Film from California, Suprematist Kapital, and The Denazification of MH about Martin Heidegger. Hong produced the award-winning documentary 731: Two Versions of Hell about Japan’s Unit 731 in 2007, which was followed by Lessons of the Blood in 2010.

 
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Till Nowak – The Centrifuge Brain Project (Germany 2011, 6:35 mins)

 

Unfortunately this video is not available on the Impakt Channel, but you can see it here.

Dr. Nick Laslowics takes us along in his research to activate the learning curve in adults by putting them onto a roller-coaster ride. He explains the difficulties he faced during his research but those never stopped him from believing in his dream.

About

Till Nowak is an award winning digital artist, designer and filmmaker, born July 28, 1980, working as a professional computer graphics artist since 1999 on his own independent projects and for high profile clients. He graduated 2005 in media design at the University of Applied Sciences in Mainz, Germany. Between 2008 and 2015 he was based in Hamburg. He now lives with his wife and daughter in Los Angeles. Till is the brother of Berlin based artist Nik Nowak.
 
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Gerda Lampalzer and Manfred Oppermann – PARANORMAL (Germany 1997, 49:44 mins)

 
This documentary tells the story of a man in Germany who sees proof of paranormal activity in the disruption of videotapes. According to him, this disruption is a manipulation of images made by ghosts in order to bring us knowledge about the existence of their world and presence.
About:
Gerda Lampalzer (Vienna) and Manfred Oppermann (Hamburg). Since 1993, they have collaborated in the realm of photography, film, video, installations, texts. Their themes are often biographical, experienced or seen shapes, or in the form of finds in science, culture, the media. Their focus lies along the fringes of different media.
 
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GNN – S-11 Redux: (Channel) Surfing the Apocalypse (United States 2002, 10:53 mins)

 
Unfortunately this video is not available on the Impakt Channel, but you can see it here.
The Guerrilla News Network shows their concerns about the fusion of voices between news agencies and the government during wartime. 20 hours of television footage from 13 networks is edited into a sound-bite blitzkrieg that criticizes the mainstream media and the government it belongs to.
About:

Guerrilla News Network was originally an independent news organization with headquarters in New York City and production facilities in Berkeley, California. Our mission is to expose people to important global issues through cross-platform guerrilla programming. GNN was co-founded by Stephen Marshall and Josh Shore in the summer of 2000. The partners first joined forces at MTV (Josh had brought Stephen in to consult on some radical television ideas for the station) when they finally realized that the mainstream networks would never allow their hi-impact brand of television content and design to reach prime-time. GNN’s inaugural project was a NewsVideo called The Diamond Life. Completed in the fall of 2000, the video features the music of Peter Gabriel and was produced in conjunction with his non-profit organization, WITNESS.

 
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RESIDENT ARTIST: Anna Ridler

 

The selection of the first round of EMARE (European Media Artists in Residence Exchange) artists of the new launched European Media Art Platform (EMAP) has taken place. With the generous support of EU’s Creative Europe programme EMAP will host eleven European media artists and groups in the eleven countries of the EMAP members this year. Impakt is one of the 11 organizations in the EMAP network.

We are pleased to welcome Anna Ridler, as our first resident artist in the EMAP programme. From April 3rd until the 8th of June 2018 Ridler will work on a new project called Mosaic Virus:

Drawing historical parallels from “tulip-mania” that swept across Netherlands/Europe in the 1630s to the speculation currently ongoing around crypto-currencies, I will create a video work generated by an artificial intelligence (AI) that will show a tulip blooming, an updated version of a Dutch still life for the 21st century. The appearance of the tulip would be controlled by bitcoin price. “Mosaic” is the name of the virus that causes the stripes in a petal which increased their desirability and helped cause the speculative prices during the time. In this piece, the stripes will depend on the value of bitcoin, changing over time to show how the market fluctuates.

Anna Ridler:

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). My intention is to make work that is not about technology for its own sake, but rather uses these technologies as a tool to talk about other things – memory, love, decay –  or to augment or change the story in a way in that otherwise would not happen. 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 2017 newly founded EMAP (European Media Art Platform), with the generous support of EU’s Creative Europe programme, has started to offer grants in 11 member institutions all over Europe. Check out the activities of EMAP/EMARE here.

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EMAP/EMARE 2018 Artist in Residence Selection

 

We are proud to announce the selection of the first round of EMARE artists of the new launched European Media Art Platform (EMAP). 500 artists from 43 countries submitted their proposal to the call. With the generous support of EU’s Creative Europe programme EMAP is going to host eleven European media artists and groups altogether in the eleven countries of the EMAP members this year:

 

Robertina Šebjanič & Gjino Šutič, Slovenia / Croatia

Aleksandra Niemczyk, Poland / United Kingdom

Robertas Narkus, Lithuania

Anna Ridler, United Kingdom

Adam Donovan & Katrin Hochschuh, Austria / Switzerland

Anna Dumitriu & Alex May, United Kingdom

Chloé Galibert-Laîné, France & Kevin B. Lee, USA / Germany

Kentaro Kumanomido & Thomas Anthony Owen, USA / Germany

Karen Lancel & Hermen Maat, the Netherlands

Taavi Suisalu, Estonia

Douglas Fishbone, United Kingdom

EMAP / EMARE will offer two months production residencies for European Artists working in the fields of digital media, including Internet and computer-based artists, filmmakers, and those working in media based performance, sound or video.

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Report: Impakt at Transmediale

 

 

Launch of EMAP: The European Media Art Platform

During this presentation members of the newly formed European Media Art Platform (EMAP), a network of partners across eleven countries, introduced themselves and their visions behind the project. The platform focuses on hosting artist residencies and is built on the legacy of the European Media Artists in Residence Exchange (EMARE), which will celebrate its 23rd anniversary in 2018. With the support of Creative Europe funds from the European Union it is now being transformed into the biggest international residency platform for emerging media artists. Transmediale is an associate partner of the EMAP platform and proud to host its launch at the 2018 festival edition.

Have a listen to the presentation here.

With Peter Zorn (Werkleitz Centre for Media Art, Halle), Daina Silina (RIXC, Riga), Arjon Dunnewind (Impakt Foundation, Utrecht), Veronika Liebl (Ars Electronica Center, Linz), Agnieszka Kubicka-Dzieduszycka & Dominika Kluszczyk (WRO Art Center, Wrocław), Olga Majcen (KONTEJNER, Zagreb), Isabell Carlier & Olivia Earle (Bandits-Mages, Bourges), Minna Tarka (M-Cult, Helsinki), Karin Ohlenschlaeger (LABoral, Guijón), Christoph Carras (Onassis Cultural Center, Athens), Mike Stubbs (FACT, Liverpool)

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When:

Thu 01.02., 16:30–18:00

Where:

Café Stage

HKW – Haus der Kulturen der Welt

John-Foster-Dulles-Allee 10

D-10557 Berlin

 
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Report Impakt Event 2018: E-Cultuur Utrecht New Years Drinks

 

Nieuwjaarsborrel e-cultuur 2018

 
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Impakt Festival 2018: Algorithmic Superstructures

 

All the names have been announced of the upcoming IMPAKT Festival: Algorithmic Superstructures! We are very happy that we have confirmed a.o. Evgeny Morozov, Metahaven, Paolo Cirio, Constant Dullaart & Adam Harvey, Mario Klingemann and Anna Ridler. More names and information can be found here!

Buy your Festival Pass now!

Looking for a place to stay during the festival? Try StayOkay and use this discount code to get a 10% discount: IMPAKT19

IMPAKT Festival 2018: Algorithmic Superstructures

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 and when did that happen, and why haven’t we noticed?

Algorithmic superstructures reimagine the world as a matter of computational design. Caught in the interconnections of opaque operating systems, created in pursuit of profit and control, we have become streams of data subjected to continuous analysis.

As the democratic foundations of our society are being actively hollowed out and populist rhetoric takes over public space, protocols and interfaces come to govern our experiences, aspirations, life decisions and even politics. The IMPAKT Festival 2018 explores the architecture behind algorithmic super-structures. What hidden realities and new imaginaries do algorithmic superstructures uncover in the post-truth era?

Algorithmic Superstructures offers you a diverse programme of art, technology and media culture.

The IMPAKT Festival 2018 will be curated by a team consisting of Alex Anikina (UK/Russia), Luba Elliott (UK) and Yasemin Keskintepe (Germany).

Luba Elliott (UK) is a curator, researcher and consultant specialising in creative applications of artificial intelligence. She is the founder of the Creative AI meetup and has curated events and exhibitions on art and AI.

Yasemin Keskintepe (Germany) is a curator and researcher whose work examines the politics and poetics of digital condition. Since 2016 she is working at the ZKM | Centre for Art and Media Karlsruhe, where she is the co-curator of the exhibition Open Codes. Living in Digital Worlds, and most recently Digital Culture Techniques in Mumbai.

Alex Anikina (UK/Russia) is an artist, researcher and film-maker. Her work has been shown internationally, VI Moscow Biennale of Contemporary Art, IV and V Moscow International Biennale for Young Art, Haus der Kulturen der Welt, Berlin among others. She is currently a PhD candidate at Goldsmiths, where she is also Assistant Lecturer in Film and the Audiovisual.

 
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Impakt Event: New Year’s Drinks E-Culture Utrecht

 

On Monday the 22nd of January Impaktoneseconds and SETUP would like to invite you to make a toast to a new and creative 2018 for e-culture Utrecht.

Have a drink and a bite to eat while we tell you about our plans for the new year. We’re also keen to hear about your plans; so take the stage and tell us about your plans to let (e-)cultural Utrecht shine during 2018.

For this special occasion we’ll present the interactive works that were made during Installation48. Expect rude robots, air dancers that move to your voice, a magical transformation of a human to a tree and a sand sculpture based on your frustrations.

Please let us know if you can be there via this form.

Date: Monday 22 January 2018
Time: 18.00 – 22.00
Start Installation48: 19.00
Location: oneseconds (Locomotiefstraat 4, 3534 BK Utrecht)

Nieuwjaarsborrel e-cultuur 2018

 
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Impakt Festival 2017: Anab Jain

 
 
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Impakt Festival 2017: Angela Washko

 
 
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Impakt Festival 2017: Liam Young

 
 
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Impakt Festival 2017: Warren Ellis

 
 
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Impakt Festival 2017: The Technological Body

 
 
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Impakt Festival 2017: Exorcising The Database

 
 
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Impakt Festival 2017: Alchemic Materials

 
 
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Impakt Festival 2017: Smart Objects

 
 
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Impakt Festival 2017: Post-Truth & Soft Power

 
 
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Impakt Festival 2017: Speculative Realities

 
 
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Impakt Festival 2017 in 8 minutes

 
 
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Impakt Festival 2017: Saturday Journal

 
 
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Impakt Festival 2017: Friday Evening Journal

 
 
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Impakt Festival 2017: Friday Afternoon Journal

 
 
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Impakt Festival 2017: Thurday Evening Journal

 
 
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Impakt Festival 2017: Thurday Afternoon Journal

 
 
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Impakt Festival 2017: Wednesday Journal

 
 
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Impakt Festival 2017: Exhibition Opening Journal

 
 
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Impakt at DigiFest Durban, South-Africa

 

Our festival director Arjon Dunnewind is about to take off to South Africa, to The Durban University of Technology where the 4th edition of the DigiFest takes place. On November 10 he will present our Soft Machines screening programme about the mutual influence between AI’s and humans. He will also give his lecture Frankenstein in the Garden of Eden, about a selection of projects and artists working with themes like Bio-Hacking and Bio-Creation.

About DigiFest 4

The Durban University of Technology’s fourth annual DigiFest takes place from 6 to 11 November, featuring a series of live art activations, innovations, exhibitions, discussions, workshops, music, poetry, dance and drama as well as craft and street food markets.

DigiFest 4, is a public event that looks to celebrate the creative spirit through multimedia projects from disciplines such as visual and performing arts and promotes a collaboration across art, science and technology.

“The theme this year is “glitch” which informs the content of the fest that will engage, contest, celebrate and question the idea of malfunctions, technical mishaps and imperfections in systems,” says Dr Rene Smith Festival Director and Executive Dean: Faculty of Arts & Design. “Curated projects will speak to the disruption and subversion of formats, spaces, places and technologies. It is about questioning and going beyond traditional notions of art in an interdisciplinary, multimedia world, where design and creativity merge and interact with science and technology broadly.”

Frankenstein in the Garden of Eden at 15:00 at City Campus in Durban, South-Africa

Soft Machines film programme at 16:00 at City Campus in Durban, South-Africa

About the Soft Machines film programme:

Owen Land – New Improved Institutional Quality: In The Environment Of Liquids And Nasals A Parasitic Vowel Sometimes Develops USA 1976, 10:00 mins (16mm to video)
“New Improved Institutional Quality…” is the further autobiographical adventures in the land of educational institutions and I.Q exams. Landow turns his wit on himself with references to Film In Which… and the original Institutional Quality and again plays with the absurd sense of space and scale to parody not only himself but the dreamlike aspect of illusion in film.” – Deke Dusinberre.

Wojciech Bąkowski — Suchy Pion (Dry Standpipe) PL 2012, 12:09 mins
Bakowski develops an architectural metaphor for the way a film can construct emotional states by piecing together certain images and associations. What would it be like to literally build structures from images that capture a certain way of being or a sensation? Despite the obvious impossibility of Bakowski’s project, he manages to reveal allegorical truths about the empathetic capabilities of cinema.

Feiko Beckers — Walking up and down to a woman I once had a crush on NL 2009, 07:00 mins
A self-explanatory short that investigates the formalization of love and nostalgia through the technical tropes of cinema.

Jon Rafman — Still Life (Betamale) USA 2013, US, 4:56 mins
A non-linear portrait of a new kind of digital underground man, whose affective environment consists of violent video – games, arguments on message boards, and erotic fixations on avatars.

Daniel Cockburn — You Are Here (excerpt) CA 2011, 10:00 mins excerpt, original length 79:00 mins
You Are Here is a Jorge Borges-like fantasy composed of multiple worlds, circling and weaving around each other in always-unexpected ways. One of these worlds is “The Chinese Room”, staged after a famous thought experiment by the American philosopher and linguist John Searle. “The set-up is deadpan absurdism: an English-speaking man finds himself locked in a room lined with a document written in Chinese. He’s then presented with a multiple-volume set of mindless instructions for translating it, but not for divining the text’s meaning, turning him, in effect, into a human processing unit. Is this, Cockburn (via Searle) asks, merely an approximation of consciousness, and if so, whose?” (Adam Nayman)

Benjamin Nuel – Last Episode (HOTEL) FR 2013, 7:00 mins
In this conclusion to Nuel’s series, two videogame characters based on opposing “terrorist” and “counter-terrorist” teams find themselves stranded on a meteor hurtling through space. The avatars bond over their alienation and radical lack of purpose within a perpetually peaceful if vaguely menacing environment that has abstracted them from their usual structural relations.

John Butler — The Ethical Governor UK, 2010 8:00 mins
Produced in the mock-serious tone of an intra-governmental presentation Butler’s Ethical Governor uses black humor to skewer the ethical problems of autonomous drone strikes. In narrating the “advanced” capabilities of a computerized killing machine, Butler highlights how the language of Neoliberalism makes broad, cold-blooded equivalences amongst economic, humanitarian, and legal concerns in light of overriding geopolitical goals.

Metahaven – Interference (Music Video for Holly Herndon) USA/NL 2015, 05:18 mins
The Dutch design and art collective Metahaven have premiered their new music video “Interference”, by the much acclaimed experimental musician Holly Herndon. Directing their critical attention to the conditions of sharing and display on social media, and recreating Guy Debord’s A Game of War, their video explores how affect and control converge in a new decentralized culture industry. The production of this video was supported by Impakt.

 

 
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Impakt Festival 2017 Reviews

 

Volkskrant 28 October 2017

Festival: Utrecht’s art festival Impakt sheds light on the future: what does the black mirror in your trouser pocket do to you?

Robert van Gijssel

Fake news takes huge leap due to the mythologising of technology

When you invite a politically engaged and recalcitrant science-fiction writer to speak about his vision on our times you can expect somewhat gloomy reflections. The British Warren Ellis, writer of unequalled and dark comic series such as Transmetropolitan and The Authority, as well as the new Netflix series Castlevania, is honest about it: “We’re doomed. Stay inside.” He is the main speaker on Wednesday during the opening of the five-day art festival Impakt in Utrecht, in a packed theatre hall of Het Huis. There he tries to clarify the festival theme that, in a nutshell, concerns the mythologising of our modern machines. According to Ellis our hyper-technological machines have replaced the function of myths, and that’s not necessarily good news.

In a distant past myths served as a way to guide man in a dark world, Ellis explains. “The myth about Lorelei in the Rhine, for instance, was meant to warn skippers: take care at that rock in the river. The warning was packaged in a story about a singing nymph, because a story can be better remembered and retold.

Now we know everything about the world and we think that we don’t need stories anymore. Ellis: “In our trouser pocket is a machine: a little black mirror in which we can directly follow storms at the other side of the world. We live in a world of over-communication: everyone knows everything about everyone. On Facebook we read fake news that has declared a curse over truth. On TV new fascists appear who tell us what we should be afraid of.” The scariest thing, according to Ellis: “This process has been completed within a few years. We find ourselves in the future of science fiction and realize that it is not as nice as we hoped.”

The opening moves of the Impakt festival offer more food for thought with installation art, lectures and films. The film The Fragility of Life by the Swiss Simone Niquille is also very ominous. The short documentary follows the American Teresa Barnwell: a Hillary Clinton imitator who finds that her identity is slowly absorbed by that of the presidential candidate, in the run up to the elections of 2016. The person Barnwell is turned into a mechanical avatar, a mechanical imagination of Hillary Clinton. Barnwell also tells how the weapons lobby NRA wants to abuse her appearance to put Clinton in a bad light.

“I was always just an entertainer,” says Barnwell, who would perform at parties and as a funny interlude at award shows and TV-shows. Now she is used for malicious fake news. “I wonder whether I want that.”

 

Volkskrant 28 October 2017

Art about magic and technology

Sasha Bronwasser

The exhibitions at Impakt are on point and worth seeing

How much does Donald Trump pay in taxes? What are all the extinct languages? How old are famous actors really? The Library of Missing Databases (2017) by Mimi Onuoha contains information that we really shouldn’t know: so-called holes in the surplus of data. The artist has put them all in a simple filing cabinet that now forms the entry to the main exhibition of the five-day long Impakt Festival. A cabinet that just holds the classified secrets – a wonderful idea. The theme of this year’s festival is the connection between magic and technology. With the new Blade Runner in cinemas and the prospect of robots guarding world peace, this subject is on point, something Impakt has patented. In the exhibitions, that last a bit longer than the five-day festival, the three main themes of the festival (Myth, Magic and Monsters) run together. From the way we look at photographs (and what kind of algorithm can be made of this, a project by Coralie Vogelaar), to a mask that can prevent facial recognition (Zach Blas, a work from 2012). The horoscope of espionage services, the connection between African systems of belief and binary code, a confused robotic vacuum cleaner – the exhibition is rather diverse, but entertaining. A smaller exhibition by HKU students shows the younger generation of artists. Third-year student Erin Dekker made a somewhat clumsy but fun short film in which she portrays how she saw the navigation system TomTom as a child: a man who sat hidden somewhere, inspecting a map and provided a live explanation of the route. Magical thinking, technology can’t do without it.

 

Parool 23 October 2017

Also in Silicon Valley, magic is never far away

Edo Dijksterhuis

Impakt focuses on the space between optimism about, and aversion to technology. We are no longer as level-headed about machines and technology as we think. Impakt festival provides a vision on the relation between technology, magic, religion and the occult with art. Everyone knows the strange emails of Nigerian Internet scammers, but in Ghana cybercrime takes an even more extreme form with sakawa. Contemporary crime is diluted with traditional voodoo practices. It is the subject of Louis Henderson’s documentary Lettres du Voyant. In passing he connects the goldmines that attracted the early colonists to the rubbish heaps where the Western world dumps its discarded computers. The film is a good signpost for the 29th edition of Utrecht’s Impakt festival. Haunted Machines & Wicked Problems is the theme of this multidisciplinary art festival.

The mixing of technology and the supernatural doesn’t remain limited to West Africa. Impakt shows that our handling of devices is a lot less rational than we’d think or like. In its early days Apple was selling its machines of wonder with the slogan “It’s almost magic.” And what to think of software names like Wizard, Obi-Wand and Merlin? Actually, it’s quite strange there aren’t more festivals like Impakt. The world is saturated with technology, it couldn’t even exist without it, and yet we seldom realise it. Impakt shakes us awake. Not in the alarmist fashion of the contemporary luddites, who prefer to live off the grid, but definitely also not in the techno-optimist way of Silicon Valley. Impakt shows a nuanced and sometimes pretty strange world between these extremes.

Not just for nerds

The festival programme is built like a play, with a prologue and an epilogue. The opening act immediately shows that Impakt is not just interesting for computer nerds. Warren Ellis creates his vision of the world with ink on paper. His graphic novels were the basis of many superhero movies and within the comic book world this American is seen as a living legend. Even the concluding words come from the mouth of an international celebrity: filmmaker Adam Curtis. This Brit, who never before performed in our country, will be interviewed about his recent work HyperNormalisation. Curtis delved through the BBC archives and cut and pasted a film essay that shows how since the seventies the complex “real” world has increasingly been replaced by a simplified version that is run by companies and politicians.

The programme between the opening and conclusion consists of films, performances and lectures. Big data is examined in response to Kitty AI, a short film in which the future world is led by an animated cat. Artist and writer Angela Washko interviews gamers about feminism with an avatar and reveals with these conversations the gender differences that are ingrained into computer games. And the film Dreams Rewired looks back from our hyper-connected world to the time when the telephone, film and television were still deemed revolutionary and were ascribed the same revolutionary potential as social media is now.

Criticism and wonder

The combination of criticism and wonder can also be found in the central exhibition. Work is on view that cannot be seen in many other places and has been, in many cases, especially created for the festival. Wesley Goatley produced a new version of his Dark Age of Connectionism, in which he explores the boundaries of the Amazon Echo, the interactive computer system with the virtual assistant Alexa.

The most poetic work is Suite from the Rythm of Life by Thought Collider and Dave Young. It is an installation with gongs, managed by a software programme that converts personal characteristics into music. A middle-aged Dutch bank employee, for instance, sounds different than a French plumber. Clear and elusive at the same time. Magical indeed.

 

NRC 28 October 2017

Eternal happiness and other technical dreams

Lucette ter Borg

Technology in all its aspects is central to the artworks, performances and lectures at the Impakt festival in Utrecht

Utrecht. In the near future, according to Israeli historian Yval Noah Harari, we will see humanity reaching – that’s right – a kind of immortality as well as everlasting happiness. In his bestseller Homo Deus Harari paints a picture of a future in which technology can prolong our lives up to five hundred years, during which time unhappiness is banished due to biochemical means. Harari’s book creates a great deal of questions. Can we really profoundly understand technological developments? Is technology admirable or is it rather terrifying? These are a few of the questions that are discussed at Utrecht’s Impakt festival, which will be held on various locations in Utrecht. Haunted Machines & Wicked Problems, as this edition of the festival is called, focuses on the technology of the present, the past and the future – and especially the dreams and expectations that are involved. British guest-curators Natalie Kane and Tobias Revell have collected a range of films, video’s, international star guests, performance artists and speakers.

Natalie Kane explains during the opening of the festival: “in our programming we show alternative strategies and views and we research how developments in technology influences our way of telling stories.” This year’s edition wants to explore the space in between, which goes beyond the contradiction between either fear or faith in technology.

Up until Sunday, technology will be illuminated with audiovisual art. British artist Wesley Goatley researches the hidden forces of always-listening devices such as Amazon Echo, in an installation that is equally serene as it is cacophonic. Suzanne Treister, also British, maps secret prisons and CIA research centres and represents these in a wonderful mosaic. Swedish filmmaker Erik Bünger dissects the first audio recording in his film essay The Girl Who Never Was (2014), a recording that was thought to be the voice of a girl. This fact – the voice of a girl appears to be the voice of a grown man – is the starting point for a poetic exploration of the history of mechanically reproduced sound and the influence on its environment. A similarly remarkable and long essay film is Dream Rewired (2015) by Manu Luksch, Martin Reinhart & Thomas Tode. Rare archive material is combined with fragments of more than two hundred films, and supported by a rousing score. Voice of actress Tilda Swinton seduces us to absorb all images of the past 120 years. Until the end, when it becomes clear that: “to be is to be connected.”

 
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Waiting list for Adam Curtis – for pass holders only

 
Dear Passe-Partout and Daypass holders of Impakt 2017,
As you probably heard by now, tomorrow’s lecture by Adam Curtis is completely sold out. Since passe-partouts and day passes are only guaranteed tickets for events that aren’t sold out, this means you probably won’t be able to attend, we are so sorry!
But there’s a small opportunity. We will open a waiting list exclusively for passe-partout and Saturday-pass holders tomorrow. If you are on this list you have a guaranteed seat for the live stream in another room inside Het Huis. You’ll also have a small chance to see the lecture in person if there are any last minute free seats.
NOTE: there won’t be a public live stream online due to copyright issues!
If you want to secure a spot on the waiting list, you need to do the following:
  • Come to Het Huis (Boorstraat 107, Utrecht) tomorrow morning from 09:30. You can only put yourself on the waiting list in person, not by phone or email.
  • Upon showing your passe-partout or Saturday day-pass at the box office you receive a number. Hold on this this number! If you lose it we can’t help you. The earlier you come, the lower your number, the bigger the chance you get into the actual lecture instead of the live stream.
  • We only accept a limited amount of people on the waiting list. It’s first come first serve. When it’s full it’s full.
  • Come back to Het Huis in the evening at 19.00 latest, earlier is better. You’ll get a seat in the screening room by showing both your pass and your number.
  • Just before the event starts we will count the empty chairs in the theater, if there are any. The lucky people with the lowest numbers will be taken to the actual lecture hall to see the lecture in person. The others can watch the live stream in the screening room.
  • Of course you don’t have to pay anything extra for all this, since you already have a passe-partout or day-pass.

 
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Wesley Goatley: Data Sonification and Network Politics

 

Tue 24 October | 20:00 hours | Lange Nieuwstraat 4 (voormalige locatie BAK) Utrecht | free

Lecture Wesley Goatley – Data Sonification and Network Politics

coproduction: Impakt & HKU Music & Technology

The British sound artist and researcher Wesley Goatley is invited to The Netherlands by the Impakt festival. Together with the HKU Music & Technology and Impakt, Gaudeamus organizes a guest lecture of this talented artist. In the lecture Data Sonifaction and Network Politics, Goatley takes you into the world of his work, his installations, specifically based on his work The Dark Age of Connectionism, which is exhibited. In this installation Goatley explores the hidden forces of always-listening devices like Amazon’s Echo and Siri from Apple. What are the implications of the tools we use and how can we better understand the frighteningly huge systems that hide behind these tiny devices?

Wesley Goatley has been selected for the European EMARE Residency Exchange Program where Impakt is part of. Goatley is Lecturer in Sonic Media at Brighton University and received a scholarship from Sussex Humanities Lab for a PhD in critical data aesthetics.

Language: English

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Tobias Revell at Robot Love Embassy during Dutch Design Week

 

Impakt will be part of the Dutch Design Week!

The Niet Normaal Foundation presents the Robot Love Embassy in Eindhoven, exploring the relationship between humans and robots.

Join us on Tuesday, October 24th, as Impakt Festival curator Tobias Revell will be giving a lecture at 4pm on exploring narratives of this year’s Impakt Festival themes: myth, magic and haunting monsters around technology.

For more information, click here.

 
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Angela Washko

 

Washko’s (US) work in the exhibition Haunted Machines and Wicked Problems presents her performances in the fantasy role-playing game World of Warcraft. She occupies an avatar to interview other players about their perspectives on feminism, resulting in sometimes humorous, sometimes shocking outcomes. Washko will talk about her work The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft (2012-2016), which is on show at Fotodok/Casco.  She will additionally present and facilitate an audience-participation based performative play-through of her most recent project The Game: The Game, a dating simulator presenting the practices of several infamous pick-up artists.

 
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Superflux

 

Superflux create worlds, stories, and tools that provoke and inspire us to engage with the precarity of our rapidly changing world.
Founded by Anab Jain and Jon Ardern in 2009, the Anglo-Indian studio’s early work brought speculative design approaches to new audiences, working for some of the world’s biggest like Microsoft Research, Sony, Samsung and Nokia, and exhibiting work at MoMA New York, the National Museum of China, and the V&A in London.

Over the years, the studio has gained critical acclaim for producing work that navigates the entangled wilderness of our technology, politics, culture, and environment to imagine new ways of seeing, being, and acting. The studio’s partners and clients continue to grow, and include Government of UAE, Innovate UK, Cabinet Office UK, UNDP, Future Cities Catapult, and Forum for the Future.

 
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Marlene Maier

 
Marlene Maier (b. 1989, AT) is an artist and filmmaker. Her practice engages modes of speculation, fiction and structures of visual representation. Exploring visual aspects of technological transformation, her works address withdrawal and invisibility in relation to the production of images as well as the absence of human bodies and subjects.
She graduated from the Academy of Fine Arts Vienna. Her work has been exhibited in Germany, Japan and Austria. Recently her video essay Food only exists on pictures was awarded Preis der Kunsthalle Wien, resulting in the exhibition Everything a Hand Can’t Take, opening in November 2017.
 
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Nadav Assor

 

Nadav Assor’s (IL / US)  work explores the unstable condition of the hyper mediated body, the “new flesh”, constantly transformed by technology, in its immediate social, political sensory, and emotional environment. His videos, installations and performances were featured in film festivals, museums, galleries and live venues across North America, Europe, and Asia. Recent venues for his work include the Oberhausen Film Festival, Video Vortex XI at Kochi-Muziris, India, Hong-Gah Museum Taipei, Centre Arts Santa Monica Barcelona, Hyphen Hub NYC, Edith-Russ-Haus Oldenburg, Transmediale Festival Berlin, the Koffler Center, Toronto, Julie M Gallery Tel Aviv, and many more. Assor’s work was reviewed in publications such as Artforum, the Creators Project, Vice Motherboard, Art Monthly UK, and Haaretz. He is an Assistant Professor of Expanded Media Art at Connecticut College in the US, where he is also the Associate Director of the Ammerman Center for Arts and Technology.

 
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Complete programme online – Plan your visit now!

 

The complete line-up for Impakt Festival 2017: Haunted Machines & Wicked Problems is now online! Check out the timetable to plan your visit. or click through the programme for more information about all the events, as well as the speakers and artists who will take part in the festival in Utrecht.

Excited?

Festival Passe-partouts and Day Passes for Impakt Festival 2017: Haunted Machines & Wicked Problems are available via this link.

Tickets for individual events are available by clicking on a specific event in our time table or programme.

Or just flip through our program booklet right here!

 

 
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John Butler – The Ethical Governor (United Kingdom 2010, 8:00 mins.)

 

Produced in the mock-serious tone of an intragovermental presentation Butler’s Ethical Governor uses black humor to skewer the ethical problems of autonomous drone strikes. In narrating the “advanced” capabilities of a computerized killing machine, Butler highlights how the obfuscational language of Neoliberalism makes broad, cold-blooded equivalences between economic, humanitarian, and legal concerns in light of overriding geopolitical goals.

BIO: For twenty-years, artist John Butler has been the driving talent behind an incredible array of short animated films and science-fiction series. As one half of the Butler Brothers, John has produced, written and animated original, speculative fictions that examine the nature of our relationship with Government, Military and Corporations through technology.

 
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Richard Fenwick – Artificial Worlds V.3.0 (United Kingdom 2006, 03:40 mins)

 

Artificial Worlds V.3.0 depicts a group of people running for their lives, but not from a visible discernible enemy. This monster is fast, destructive and cruel: but does it have consciousness? As each runner is consumed by a digital interface, each body is fractured and detonated, right up until the final act of human defiance. The film asks to what extent this lifelike technology that surrounds us is taking us over. Despite its somewhat techno-dystopian feel, Artificial Worlds V.3.0 is a testimony to the power of new technology to change the future of the North East. Fenwick worked alongside local artist, Marcus O’Keefe, and many talented individuals from Middlesbrough’s Digital City project, to create a film of immense power.

Bio:

Richard Fenwick is an award winning filmmaker based in Newcastle upon Tyne. With a background in motion graphics, he began directing in 2000, with an extensive career making music videos and work for commercial brands including Sony, Motorola, MTV and Playstation. Alongside his commercial work, he began writing and directing short films in 2004, making work that is characterised by its bold, imaginative and eclectic style. His short films have screened at over 100 film festivals worldwide, including Clermont-Ferrand, Edinburgh, Sydney and Los Angeles, and broadcast with MTV, BBC3, Sky Movies and Filmfour.

 
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Alessandro Ludovico and Paolo Cirio – Face to Facebook (Italy 2011, 01:20 mins)

 

Stealing 1 million Facebook profiles, filtering them with face-recognition software, and then, posting them on a custom-made dating website, sorted by their facial expressions characteristics.

Bio:

Paolo Cirio works as media artist in various fields: net-art, street-art, video-art, software-art and and experimental fiction. He has won prestigious art awards and his controversial works have been sustained by research grants, collaborations and residencies. He has exhibited in museums and art institutions worldwide. As public speaker he delivers lectures and workshops on media tactics.

Alessandro Ludovico is a media critic and editor in chief of Neural magazine since 1993. He’s one of the founders of the ‘Mag.Net (Electronic Cultural Publishers organization). He also served as an advisor for the Documenta 12’s Magazine Project. He has ben guest researcher at the Willem De Kooning Academy in Rotterdam. He teaches at the Academy of Art in Carrara.

 
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Gordan Savicic – Web 2.0 Suicide Machine (The Netherlands 2009, 03:34 mins)

 

The Web 2.0 Suicide Machine is a service that helps users tired of MySpace, LinkedIn and Twitter, to “commit suicide in social networks”, by automatically “removing their private content and friend relationships” (but without deleting or deactivating their accounts).

Bio:

Gordan Savičić is a creative technologist, artist and designer whose work investigates the relationship between people, networks and interfaces. He has a background in media art and visual communication, and he has been active within the fields of academic research, teaching and design industry. His preferred location is the Internet spending his weekends at localhost.

 
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Monsters

 

“Monsters are created to embody the fears and anxieties of being human.”

When we think of monsters we think of Mary Shelley’s Frankenstein or the infamous vampire Dracula, but monsters do not always take such concrete forms. Racial profiling, gender bias and fear from the outsider are examples of contemporary monstrosities in our society. To understand and deal with these horrific problems and the role of technology in this, we need to engage with them so that we can understand the underlying causes. Our selection of video-works do exactly that: they uncover the monstrous side of technology.

Curated by Hristiana Stamou, Suzanne Verras and Xiang Yu Yeung.
Stamou, Verras and Yeung are students at Leiden University and they curated this program as part of their internship at Impakt.

This programme has been developed in relation to the themes of Impakt Festival 2017: Haunted Machines & Wicked Problems

 
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Ewelina Aleksandrowicz & Andrzej Wojtas (Pussykrew) – Giddy (Music Video Perera Elsewhere Ft. Gonjasufi) (Germany 2013, 3:50 mins.)

 

A music video that looks like a desolate post-apocalyptic landscape and an enchanting, shining reality at the same time.

BIO: Pussykrew is an interdisciplinary duo of Tikul and mi$ gogo. Their creative practices range from multimedia installations, 3D imagery, videoclips and audio-visual performance, to DIY electronics and sculpture design. They originally from Poland, developed globally via Ireland, UK, Berlin and Brussels,
currently based in Shanghai and online.

Pussykrew explores post-human concepts, corporeal aesthetics, urban landscapes and fluid identities
with their synthetic-organic notions, constantly searching for liminal states within the digital realm.
Pussykrew is creating gender-bending visual journeys, filtered through carnal data mesh, liquid dysphoria and 3D fantasy shuffle. Pussykrew pieces are known for their multi-sensory purposes and physical affection.

Pussykrew works are being presented in various contexts, such as digital arts and film festivals,
independent art spaces, renown institutions, club environments, as well as commercial events, tech fairs and galleries.

 
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Resident Artist: Wesley Goatley

 

Impakt welcomes Wesley Goatley as a resident artist from 3 October until 30 October 2017.

Goatley was selected as part of the European Media Arts Residency Exchange (EMARE 2017), a collaborative project with Werkleitz Gesellschaft (Halle, Germany), Bandits-Mages (Bourges, France), FACT (Liverpool, UK) and Impakt. Goatley is Lecturer in Sonic Media at Brighton University and received a scholarship from Sussex Humanities Lab for a PhD in critical data aesthetics.

Supported in part by the Edith Russ Haus, the curators of Impakt Festival 2017 invite British artist Wesley Goatley for a residency ahead of the festival to develop the next, new, iteration of his work The Dark Age of Connectionism within the contexts and arguments presented at Impakt 2017: Haunted Machines & Wicked Problems. Shown as part of the main exhibition of Casco/Fotodok, installation work TDAOC explores the hidden capacities of always-listening devices such as the Amazon Echo, and the capacities we have to unravel the massive systems which these devices rely upon.

The European Media Arts Residency Exchange (EMARE 2014-2017), a collaborative project with Werkleitz Gesellschaft (Halle, Germany), Bandits-Mages (Bourges, France), FACT (Liverpool, UK) and Impakt, is generously supported by the EU Culture Programme. Check out the activities of EMAP/EMARE here.

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Curators’ Talk (10:00-10:30)

 

CURATORS’ TALK:
Friday, October 27: 10:00 — 10:30

 
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Edward Akintola Hubbard (Moderator)

 

Edward Akintola (Akin) Hubbard’s scholarly interests are in pop culture, creative economies and ecologies, cultural entrepreneurship, creolization and creole expressive forms, gothic and carnivalesque aesthetics, gender and sexuality, cultural globalization, and the intersection of ethnographic and artistic practice.

He holds a BA in Mass Communication from the University of the West Indies, an MA in Social Sciences from the University of Chicago, and a PhD in Anthropology from Harvard University. Before coming to Universiteit Utrecht in 2015, he designed and taught courses at Harvard and New York Universities on media and globalization, avant-garde aesthetics, cinema, queer studies and ethnographic methods. His courses merge the study of cultural texts, mediascapes and ethnographic data, bringing perspectives on fine arts, music, film, media and literature into dialogue with cultural theory and globalization studies.

 
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Fotodok/Casco Tour

 

During the festival, there will be various tours of the exhibition in Fotodok/Casco by the curators of the festival.

GUIDED TOURS:
Thursday, October 26: 10:00-10:45
Saturday, October 28: 10:00-10:45
Sunday, October 29: 13:30-14:30

 
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Adam Curtis

 

Kevin Adam Curtis (born 1955) is a British documentary film-maker. Curtis says that his favourite theme is “power and how it works in society”, and his works explore areas of sociology, psychology, philosophy and political history. Curtis describes his work as journalism that happens to be expounded via the medium of film. His films have won four BAFTAs. He has been closely associated with the BBC throughout his career.

 
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Museum Speelklok Tour

 

During the festival, there will be various tours in Museum Speelklok by the curators and artists that take part in the festival. The permanent collection of antique automata will be approached in the light of the festival theme Haunted Machines & Wicked Problems.

GUIDED TOURS:
Thursday, October 26: 16:15 — 16:45
Sunday, October 29: 15:00 — 15:30

 
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Recording Ghosts & Weaving Data (10:00 – 18:00)

 

In this exhibition eight students from HKU Fine Arts and HKU Media present their works, responding to this years theme of the Impakt Festival: Haunted Machines & Wicked Problems. Initiated by a seminar in June, the participants worked on their interpretations of what it means for young aspiring artists to deal with modern day rituals and magical approaches to technical processes. For most of them Recording Ghosts & Weaving Data is the first experience with contributing to an exhibition. The result is a number of very diverse pieces, ranging from installations and video to performances, showcasing their ideas about the intertwinement of technology, magic and mysticism.

PARTICIPATING ARTISTS:
Megan Auður (IS)
Erin Dekker (NL)
Reinier van Duijn (NL)
Evita Feltsadas (NL)
Zina Pusep (ME)
Jan Reuser (NL)
Sophie Charlotte Richardson (GB)
Thessa Torsing (NL)

Curated by Anika Schwarzlose

Location: Academiegalerie (HKU)

 
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Phobiarama

 

The new ‘living installation’ by Dries Verhoeven (NL) is a sinister fairground excursion through the current culture of fear. This project is a co-presentation with SPRING in Autumn.

Tickets are sold by the Stadsschouwburg. Impakt festival pass and daypass holders can get a discount for these tickets and will receive a 50% discount code upon the purchase of their pass.

 
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Suite from the Rhythm of Life (Ongoing) (9:30 – 23:00)

 

In this new presentation, Thought Collider chooses a programme of unique biophoton compositions generated by their Rhythm of Life project to play throughout the festival.

 
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Haunted Machines & Wicked Problems Exhibition (12:00 – 17:00)

 

The exhibition runs until November 12. Opening hours: Wednesday until Sunday, 12:00 – 17:00.

Location: Fotodok/Casco, Lange Nieuwstraat 4 & 7, Utrecht.

Fourteen artists explore the myth, magic and monsters found in our technologically mediated world. What is the mythological value of oil in Middle Eastern mysticism? How do networks and machines create dynamic interactions between themselves? And how can we use the symbolism of magic to control self-driving cars?

 

Haunted Machines & Wicked Problems: Myth, Magic & Monsters

Monira Al Qadiri (SN)

Behind The Sun (2013) and Deep Float (2016)

Before oil became a fuel source, it was often used for its medicinal properties. Monira Al Qadiri’s work imagines the resurgence of this therapeutic practice after oil has become worthless as fuel.

Sophia Al Maria (QA/US)

The Magical State (2017)

In contrast to Al Qadiri’s work, Sophia Al Maria explores the extraction of fossil fuels from the desecrated land using allegory: a ritualistic, violent exorcism imposed on the ‘abject’ female body.

 Mimi Onuoha (US)

The Library of Missing Datasets (Dutch edition) (2017)

Mimi Onuoha presents a cabinet of curiosities of missing datasets, such as the number of civilians killed by the police.

Suzanne Treister (GB)

Work on display: 20 CIA BLACK SITES (2010)

Suzanne Treister maps ‘Black Sites’, the CIA’s secret research and detention facilities. Their locations are erased from satellite maps, leaving behind blanks.

Navine G. Khan-Dossos (GB)

Expanding and Remaining (2016)

Blanks similarly constitute a framework for propaganda in Navine G. Khan-Dossos’ work. The work she presents at Impakt shows an edition of IS’ magazine Dabiq stripped of all its content.

Coralie Vogelaar (NL)

Recognized/Not Recognized Topology (2017)

What makes or breaks a press photo? Coralie Vogelaar examines this question in her work through Google’s algorithms.

Ingrid Burrington (US)

Star Charts for Five Eyes (2014)

Ingrid Burrington brings together astrology and spy networks by making horoscope charts for the Five Eyes spy agencies, an allegiance between Australia, Canada, New Zealand, the United Kingdom and the United States.

Auger Loizeau project (GB)

Sublime Gadget – Ripple Counter (2012)

What is the nature of gadgets? Technological innovations make them seem magical, but when the illusion dies, so does the gadget.

Addie Wagenknecht (US)

Internet of Things (2016)

Addie Wagenknecht’s robot vacuum cleaners function depending on their proximity to each other and other devices, such as mobile phones.

James Bridle (GB)

Autonomous Trap (2017) and Activations (2017)

James Bridle’s work maps the activation of layers in a neural network designed for self-driving vehicles. As the process develops, the data becomes more and more unintelligible.

Tabita Rezaire (FR/DK/GY)

Premium Connect (2017)

Tabita Rezaire shows us how technology acts as a mirror of the organic world, capable of healing or poisoning, depending on its usage and users.

Angela Washko (US)

The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft – Nature (2013) and The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft – Red Shirts & Blue Shirts (The Gay Agenda) (2014)

The World of Warcraft community is one of the most diverse in the world. Angela Washko discusses gender roles and feminism with the players of this game, which leads to surprising outcomes.

Zach Blas (GB)

Facial Weaponization Communiqué: Fag Face (2012)

Zach Blas confirms the prejudice of facial recognition software through monstrous masks.

Wesley Goatley (GB)

The Dark Age of Connectionism (2017)

The brand new iteration of this ongoing project explores the hidden capacities of always-listening devices such as the Amazon Echo. Are we capable of unravelling the hidden functions of the massive systems which underpin these devices?

Jenna Sutela

Extremophile (2017)

This installation considers the idea of embodied cognition on a planetary scale, presenting an audiovisual zoom from outer space to inside our gut. The realisation to be interconnected with wider environments marks a shift in perspective. A co-commission by the Serpentine Galleries and the Finnish Cultural Foundation.

 

 

Participating artists:

Monira Al Qadiri (SN), Sophia Al Maria (QA/US), Auger Loizeau-project (GB), Zach Blas (GB), James Bridle (GB), Ingrid Burrington (US), Wesley Goatley (GB), Navine G. Khan-Dossos (GB), Mimi Onuoha (US), Tabita Rezaire (FR/DK/GY), Jenna Sutela (FI), Suzanne Treister (GB), Coralie Vogelaar (NL), Addie Wagenknecht (US) and Angela Washko (US)

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Opening Recording Ghosts & Weaving Data

 

Opening by Frank Koolen, Course Director HKU Fine Art

In this exhibition eight students from HKU Fine Arts and HKU Media present their works, responding to this years theme of the Impakt Festival: Haunted Machines & Wicked Problems. Initiated by a seminar in June, the participants worked on their interpretations of what it means for young aspiring artists to deal with modern day rituals and magical approaches to technical processes. For most of them Recording Ghosts & Weaving Data is the first experience with contributing to an exhibition. The result is a number of very diverse pieces, ranging from installations and video to performances, showcasing their ideas about the intertwinement of technology, magic and mysticism.

PARTICIPATING ARTISTS:
Megan Auður (IS)
Erin Dekker (NL)
Reinier van Duijn (NL)
Evita Feltsadas (NL)
Zina Pusep (ME)
Jan Reuser (NL)
Sophie Charlotte Richardson (GB)
Thessa Torsing (NL)

Curated by Anika Schwarzlose

Location: Academiegalerie (HKU)

 

 
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Sunday Reflections

 

At this informal event with the festival’s curators Tobias Revell and Natalie Kane, the audience will be invited to eat, drink coffee and share their thoughts on the festival’s key issues together with artists and speakers from the programme.

 
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Anab Jain

 

Anab Jain (GB) is the co-founder of Superflux, a world-renowned future-facing design studio in London. As a design practitioner for over ten years, Jain has gained international recognition for her work and commentary on design, innovation, emerging technologies and complex futures.

 
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Adam Curtis: Strange Times

 

THIS EVENT IS SOLD OUT!
Serpentine Galleries’ (GB) Chief Technology Officer Ben Vickers (GB) joins esteemed filmmaker Adam Curtis (GB) to discuss HyperNormalisation (2016) and his other recent works in film and television as well as the problems and challenges that lie in the interaction between media, politics and society.

 
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Voodoo & Alchemy

 

In Twenty-One Percent, a science fictional performer manipulates a multitude of ingredients. The video is an empirical inquiry into the capacities of chemical elements.

Lettres du Voyant is a film about the roles that spiritism and technology play in Ghana. The film attempts to uncover some truths about a mysterious practice called ‘Sakawa’ in which internet scans are mixed with voodoo.

 

SCREENED WORKS
Twenty-One Percent (2016) 17 min, Ursula Biemann & Mo Diener (CH)
Lettres du Voyant (2013) 40 min, Louis Henderson (GB)

 
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Simone Niquille

 

Simone C. Niquille is a Swiss graphic designer and researcher. Her practice investigates the representation of identity without a body, the digitisation of biomass and the increasingly omnipresent optic gaze of everyday objects. She has written a column on technology, body modification and privacy for Sang Bleu, is part of design research collective Space Caviar in Genova Italy and is Tutor at the Architectural Association London.

 

Simone Niquille is also the artist of the opening screening Simone Niquille: The Fragility of Life, on Wednesday, the 25th, from 19:30 – 20:30

 
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Natalie Kane (Moderator)

 

Natalie Kane is a curator, writer and researcher based in Manchester, UK. She is curator of FutureEverything, an innovation lab for digital culture and annual festival, and holds a research position at futures lab Changeist.

 

Natalie also moderates Exorcising the Database on Saturday, the 28th, from 11:00 – 12:30.

 
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The Technological Body

 

What does contemporary digital culture do to our notions of identity, representation and selfhood? Where do our bodies exist on the network and where does their absence or misappropriation become a problem?

OPENING FILM: She Who Sees the Unknown: Ya’jooj Ma’jooj (2017) 10 min, Morehshin Allahyari (IR)
MODERATOR Natalie Kane (GB)
PANEL Legacy Russell (US), Simone Niquille (CH) and Sarah Kember (GB)

 
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Exorcising the Database

 

Data and data-driven services are often touted as the solution to many of our problems. But what are the darker sides of these magical solutions? How can we gain – or regain – autonomy and agency over our systems?

OPENING FILM: Kitty AI (2016) 12 min, Pinar Yoldas (TR)

MODERATOR: Natalie Kane (GB)

PANEL: Wesley Goatley (GB), Lydia Nicholas (GB) and Julian Oliver (NZ)

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Magic

 

Apps, experiences, and other products are being marketed as if they are magical solutions to problems we may have or seem to have in our lives. We often do not exactly know how technological innovations or devices work, which is precisely why they are being promoted as full of magic and meant to thrill us in their use. However, these magical technological innovations and devices are not as innocent as they may seem. The other side of magic is full of exclusivity, secretive knowledge and privileged power structures.

Curated by Hristiana Stamou, Suzanne Verras and Xiang Yu Yeung.
Stamou, Verras and Yeung are students at Leiden University and they curated this program as part of their internship at Impakt.

This programme has been developed in relation to the themes of Impakt Festival 2017: Haunted Machines & Wicked Problems

 
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Impakt Event: KUSO by Flying Lotus

 

On the 20th of October, in preparation for the Impakt Festival 2017: Haunted Machines & Wicked Problems, Impakt presents a screening of Flying Lotus’ new film Kuso. The film, with music by Aphex Twin, is acclaimed music producer Flying Lotus’ first feature film. It is not for the faint of heart! The film, which features extreme gore, premiered with great controversy at this year’s Sundance Film Festival.

About the film:

Broadcasting through a makeshift network of discarded televisions, this story is tangled up in the aftermath of Los Angeles’s worst earthquake nightmare. Travel between screens and aftershocks into the twisted lives of the survived.

About the filmmaker:

Steven Ellison (born October 7, 1983), known by his stage name Flying Lotus or sometimes FlyLo, is an experimental multi-genre music producer, electronic musician, DJ and rapper from Los Angeles, California.

 
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PechaKucha Night #28 with Wander Eikelboom

 

During PechaKucha Night #28 Wander Eikelboom will give a six-minute presentation on behalf of Impakt Festival, within the theme of haunted machines.

Wander Eikelboom

Wander Eikelboom is a writer, researcher and teachter involved with interdisciplinary design collective Polymorf. He will tell about the Entangled Body installation, in which you can explore an invisible expression of your being by means of ultrasonic sound. This installation was developed as a part of the Synaptic Theatre researchproject during which Polymorf and the Expertise Centrum voor Kunst en Vormgeving research the stimulation of the neurological and limbic system for the creation of immersive experiences. The presentation is given in collaboration with the Impakt Festival.

 

 
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Diederik Peeters: How To Invoke Apparitions

 

At Impakt Festival, Peeters (BE) will revisit the fantasies and superstitions that surround the invention of the phonograph. Navigating between history and science fiction, between scepticism and faith, Peeters leads an expedition through the grim tunnels that connect science with magic and technology with horror. If he succeeds in completing his training as a medium in time, he might be able to invite a historical character to assist him during the lecture. A co-production with De Brakke Grond (NL).

 
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Liam Young

 

Liam Young is an Australian born architect who operates in the spaces between design, fiction and futures. He is founder of the think tank Tomorrows Thoughts Today, a group whose work explores the possibilities of fantastic, speculative and imaginary urbanisms. Building his design fictions from the realities of present, Young also co-runs the Unknown Fields Division, a nomadic research studio that travels on location shoots and expeditions to the ends of the earth to document emerging trends and uncover the weak signals of possible futures. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time Magazine, and Dazed and Confused and his work has been collected by institutions such as the Metropolitan Museum of Art and the Victoria and Albert Museum. He has taught internationally including the Architectural Association and Princeton University and now runs an M.A. in Fiction and Entertainment at SCI-Arc.

 

Liam Young also presents a solo presentation on Friday, 27th, at 17:30 – 18:30.

 
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Added Values

 

A selection of short films on the magic of our technologically driven world, specifically, the spectacle and dubious ethics of augmented reality and the city.

SCREENED WORKS:
Hyperreality (2015) 6 min, Keiichi Matsuda (GB)
Renderlands (2017) 12 min, Liam Young (AU)
The Centrifuge Brain Project (2011) 7 min, Till Nowak (DE)
Teacher of Algorithms (2016), 5 min, Simone Rebaudengo (IT)
Our Friends Electric (2017), 6 min, Superflux (GB/IN)
Lessons on Leaving Your Body
(2014) 14 min, Nadav Assor (IL/US)
Food Only Exists on Pictures (2017) 9 min, Marlene Maier (AT)

 
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Liam Young

 

Architect Liam Young (AU) operates in the spaces between design, fiction and futures. He is the founder of Tomorrow’s Thoughts Today (GB), an urban futures think tank. His performance lecture takes us on a tour of obscure future cityscapes and magical lands where technology lives in different ways.

 
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Dreams Rewired

 

Dreams Rewired (2015) traces the desires and anxieties of today’s hyperconnected world back to a time in which telephone, cinema and television just started to appear. Using rare archival material from nearly 200 films, Dreams Rewired reveals a history of hopes to share and betrayals to avoid.

OPENING FILM: The Life of Death (2007) 6 min, Tasman Richardson (CA)
FEATURE FILM: Dreams Rewired (2015) 88 min, Manu Luksch, Martin Reinhart & Thomas Tode (DE)

 
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Alchemic Materials

 

What is contemporary alchemy? How can the narratives surrounding the history of alchemy be used to reassess our current relationship with materials, transformation and power? During this panel, bioscientists will discuss the magical properties of new materials.

OPENING FILM: Alchemic Dialogue. On The Most Powerful Catalyst On The Planet (2017) 10 min, Füsun Türetken (TR)
MODERATOR: Karen Verschooren (BE)
PANEL: Pieter van Boheemen (NL), Füsun Türetken (TR) and Crystal Bennes (GB/FI)

 
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Leiden University: Impakt Channel

 

In the run-up to the festival, Impakt Channel will release three video programmes around the theme Myth, Magic & Monsters. The programmes are curated by students of Film and Photographic Studies at Leiden University. They will show one video from each programme with a short introduction.

SCREENED WORKS:
Why (2013) 5 min, Borja Rodríguez Alonso (ES)
AVTOBUS (1993) 11 min, Zemira Alajbegovic & Neven Korda (SI)
The Ethical Governor (2010) 8 min, John Butler (GB)

 
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Smart Objects

 

When we talk about the ‘Internet of Things’, the strange animism of connected objects, we talk about magic. If we look at it as a case of ‘other people’s computers in our houses’, then what are we letting in and how do we see what goes out? And what do we lose being part of this network?

 

OPENING FILM: Teacher of Algorithms (2016) 5 min, Simone Rebaudengo (IT)
MODERATOR: Betti Marenko (GB)
PANEL Peter Moosgaard (AT), Joël Vacheron (CH) and Luis Fernando Medina Cardona (CO)

 
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ArtForEating: The Banquet

 

THIS EVENT IS SOLD OUT!
For this unique event, an experimental menu and narrative are conjured into life by artist Charlotte Jarvis and James Read (GB). Join curators Natalie Kane and Tobias Revell for an evening of stories, magic and cautionary tales… Visitors will be making an excursion into the dark web whilst enjoying 4 courses themed around Ghost in the Machine. Courses include edible androids, technological graveyards and replicant roast meat.

 
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Mythscapes

 

These four short films show us stories about our dreams and interactions with machines today. They explore the mythological value of history with questions such as: do the things we learned when we were young still ring true today? And to which extent does the spectre of capitalism loom over our culture?

SCREENED WORKS:
Gradient Ascent (2017) 12 min, James Bridle (GB)
Unreal Estate (2015) 18 min, Lawrence Lek (DE)
Conversation Piece (2013) 17 min, Gabriela Golder (AR)
The Inner Sanctum (2017) 13 min, Matthew C. Wilson (US)

 
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Royce Ng: Kishi the Vampire

 

Artist Royce Ng’s (AU/HK) audiovisual performance Kishi the Vampire (2016) recounts the myth of Kishi, a Japanese civil servant who managed Manchuria during the Japanese occupation. Ng visualises the fantasy and mythology of the war criminal who struck fear into the local people and whose demonic presence still resonates today.

 
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Report Impakt Event: Uitfeest 2017

 

 
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Impakt Event: Betweter Festival

 

Betweter Festival

The Betweter festival is for the know it alls. Here artists and scientists head out to explore. They unveil persistent myths and point out fundamental questions and uncertainties. Does the filter bubble exist? Are black holes black? And is it always quiet if you’re deaf?

Be Boy Be Girl

Impakt presents Be boy Be girl at the Betweter festival, an immersive VR-installation by Frederik Duerinck and Marleine van der Werf. In this installation your body is extended in unexpected ways. The moment of disbelief that results from this experience is delayed for as long as possible. Be boy Be girl in an installation at the crossroads of spectacle and introspection, innovation and depth. It gives a glimpse of what the future holds in terms of sensual, technical and cinematic design.

Tickets

Day passes to the festival are available for 12,50 euro

 
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Impakt Event: NFF Storyspace

 

NFF Interactive: Storyspace

New technologies change the way we live, work, love, but also the way we tell and experience stories. The new programme of the Dutch Film Festival NFF Interactive: Storyspace, shows these new stories and explains how they are made, by whom and why they are so fascinating, inspiring and exciting. And of course Impakt joins this journey! 

The Sensual, the Supernatural and the Spiritual

During this specific event at NFF Interactive: Storyspace curators and programmers of the most prominent media- and tech-festivals of the Netherlands – STRP, Impakt and Fiber – join in a conversation. They discuss technology and the future, approaching it from the perspective of art, music and film. Impakt curator Tobias Revell will take part in this conversation.

Tickets

Day passes for the Dutch Film Festival are 25 euro, or 20 euro for students.

Location

Stadsschouwburg Utrecht, Blauwe zaal

 
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The Future of the Past

 

We live in a world in which more information has been recorded over the past decade than in all the centuries that came before. Seas of data are ever-expanding. How will this affect our memory and the perception of time?

The Future of the Past is an interactive web project for which we have invited 27 key thinkers and artists to respond to a set of questions dealing with the way technological advancements change our perception of the past, present and future.

You can browse through the video recorded answers, inspiring art works and other references recommended by the speakers, and a lot of other information.

Future of the Past <click the link for the website>

 
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Jenna Sutela

 

Jenna Sutela’s installations, text and sound performances seek to identify and react to precarious social and material moments, often in relation to technology. Most recently, she has been researching and working with Physarum polycephalum, the single-celled yet “many-headed” slime mold. Sutela’s project called Orgs juxtaposes the organism with organizational and spiritual charts.

 
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Charlotte Jarvis

 

Charlotte Jarvis is artist and film maker who collaborates with scientists. For the past four years Charlotte has also been collaborating with photographer and writer James Read on a series of pop-up restaurants.

 
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Gabriela Golder

 

Visual artist, curator and professor of Experimental Video and New Media in Argentina and abroad. She is the co-director of the Bienal de la Imagen en Movimiento (BIM) and CONTINENTE, Research Center in Audiovisual Arts, Universidad Nacional de Tres de Febrero, in Argentina. Since the beginning of 2013, she is the Guest curator of the Experimental Video and Film Program of the Modern Art Museum, in Buenos Aires. She works on film, video and installations. Her works mainly raise issues of memory, identity and the world of labour.

 

 
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Lawrence Lek

 

Lawrence Lek creates speculative worlds and site-specific simulations using gaming software, video, installation and performance. Often based on real places, his digital environments reflect the impact of the virtual on our perception of reality. Contrasts between utopia and ruins, desire and loss, and fantasy and history appear throughout his work to symbolise this exchange. Lek is a graduate of the Cooper Union, the Architectural Association, and Trinity College, Cambridge. His work has been featured in recent exhibitions at Tramway, as part of Glasgow International 2016; Seoul Museum of Art, as part of Seoul Mediacity Biennial 2016, KW Institut, Berlin, Germany; Cubitt Gallery, London; Wysing Arts Centre, Cambridge and the Delfina Foundation, London.  He is recipient of the Jerwood/FVU Awards 2016, the Tenderflix/Tenderpixel Artist Video Award and the 2015 Dazed Emerging Artist Award.

 
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Guy Maddin, Evan Johnson & Galen Johnson

 
Guy Maddin is an installation and internet artist, Harvard lecturer, writer, journalist and the author of three books. He is also a prolific filmmaker who has directed innumerable shorts and 11 feature-length movies, including the Emmy-award-winning Dracula – Pages from a Virgin’s Diary and more recently, the internationally acclaimed The Forbidden Room, starring Roy Dupuis. For his latest project, Seances, produced by the National Film Board of Canada, Maddin joins forces with frequent collaborator Evan Johnson. This major interactive work enables online users to “hold séances with” randomly generated fragments of canonical lost films remade by Maddin on sets installed in public spaces during three weeks of shooting at the Centre Georges Pompidou in Paris and the Phi Centre in Montreal.
evan_headshot
Evan Johnson is an award-winning writer and filmmaker who was working at the Rug Doctor chemical bottling plant in Winnipeg when he was discovered by Guy Maddin. Since then, the duo have collaborated on a number of films, including the subversively irreverent Bring Me the Head of Tim Horton (2015)—a behind-the-scenes look at the feature Hyena Road by Paul Gross, the internationally acclaimed phantasmagoric opus The Forbidden Room (2015), and a series of four short visual essays: Cold, Puberty, Elms, and Colours. Johnson studied film and philosophy at the University of Manitoba. He lives in Winnipeg with his girlfriend and son.
GalenJohnson_02-copy

Galen Johnson is a Winnipeg-based composer and designer whose award-winning work has been exhibited around the globe. Over the years, he has collaborated with filmmaking duo Guy Maddin and Evan Johnson on a number of projects, including the documentary short Bring Me the Head of Tim Horton, which he co-directed and composed, and The Forbidden Room (2015), a romantic mystery comedy-drama for which his production design work earned a Canadian Screen Award nomination. Galen’s opening title sequence for the film also won best title sequence of 2015 by the title design website artofthetitle.com. For his most recent project, Seances, Galen reunites with Maddin and Johnson as production designer, lending his unique visual touch to this eerie and dreamy online interactive project.

 
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Seances by Guy Maddin, Evan Johnson and Galen Johnson

 

An indefatigable machine that makes never before see films… never to be seen again!

  • Seances <click on the link to enter>

For the occasion of Impakt Festival 2017: Haunted Machines & Wicked Problems Impakt would like to present the unique online experience Seances.

Seances presents a wholly new way of experiencing film narrative. By dynamically generating a series of film sequences in unique configurations, potentially hundreds of thousands of new stories will be conjured by code. Each will exist only in the moment – no pausing, scrubbing or sharing – offering the audience one chance to see this film.

Co-Created by Guy Maddin, Evan Johnson and the NFB. Produced by the National Film Board of Canada

 
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Recording Ghosts & Weaving Data

 

In this exhibition eight students from HKU Fine Arts and HKU Media present their works, responding to this years theme of the Impakt Festival: Haunted Machines & Wicked Problems. Initiated by a seminar in June, the participants worked on their interpretations of what it means for young aspiring artists to deal with modern day rituals and magical approaches to technical processes. For most of them Recording Ghosts & Weaving Data is the first experience with contributing to an exhibition. The result is a number of very diverse pieces, ranging from installations and video to performances, showcasing their ideas about the intertwinement of technology, magic and mysticism.

Megan Auður (IS)
Erin Dekker (NL)
Reinier van Duijn (NL)
Evita Feltsadas (NL)
Zina Pusep (ME)
Jan Reuser  (NL) & Thessa Torsing (NL)
Sophie Charlotte Richardson (UK)

Curated by Anika Schwarzlose

Opening
Wednesday 25 October from 18.00 – 19.30h
by Frank Koolen, Course Director HKU Fine Art

Exhibition
Thu 26 – Sun 29 October from 10.00 – 18.00h
1 – 11 November, Wed – Sat 13.00 – 18.00h

Location
Academiegalerie
Minrebroederstraat 16
3512 GT Utrecht

 
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François Alaux, Hervé de Crécy, Ludovic Houplain – LOGORAMA (France 2009, 16:04 Mins)

 

Unfortunately this video is no longer available on the Impakt Channel.

Police chase an armed criminal in a version of Los Angeles comprised entirely of corporate logos.

Bio:

François Alaux, Hervé de Crécy, Ludovic Houplain form French animation collective H5

 
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Sharing a Beautiful Sunset – Jasper Elings (The Netherlands 2009, 01:11 Mins)

 

A video composed of images of sunsets, found by Google image search.

Bio:

Elings is a Dutch animator and Internet artist. He is considered one of the new, highly inventive generation of young animators who explore new techniques and platforms for their work. Elings’ work often consists of light-hearted animations dealing with contemporary internet culture. Using the everyday and pop-culture as reference, Elings pushes the aesthetics of online space, an arena characterized by a dizzying array of content, influences, and interconnectivity. He studied animation and film at the Art Academy AKV St. Joost in Breda, the Netherlands where he graduated in 2005. He lives and works in the Netherlands and his artwork has been shown on many different platforms like Tumblr, international film festivals, the New Museum, and is constantly featured prominently in Speed Shows around the world.

https://www.jasperelings.info/

 
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Zemira Alajbegovic & Neven Korda – Avtobus (Slovenia 1993, 11:07 Mins)

 

Written by Zemira Alajbegovic and directed by Neven Korda, Avtobus discloses two images of the electronic picture: the one that creates reality, and the one that creates artifact. The video starts with a graphic sign from which images emerge, and this procedure aims to discuss the fact that any documentary is but an artifact. The narrator searches through documents and reconstructs the life of Lela: in the Middle Age she was accused of witchcraft, in the 20th century she finds herself in the midst of war, in the future she will leave the planet. Lela’s individual destiny is being inscribed into the fate of humanity by means of layering the image, only television shots of the war in former Yugoslavia are presented in one layer: the television image has become the only document, the war – the only certainty.

BIO: Zemira Alajbegovic and Neven Korda both graduated from the Faculty of Social Sciences in Ljubljana, Slovenia. In the 1980s they were part of the independent theater group FV 112/115, from which the subcultural FV Disco club emerged. This was where and when they started to work in video, while later on they got involved also in music and established the independent music and video production FV Label. In 1998 they set up the institute for artistic and cultural production ZANK. Their works have been screened at national and international film/video festivals and TV channels and received numerous awards.

 
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Donna Verheijden – All the World’s a Stage: Ways of Seeing (The Netherlands 2013, 18:25 mins)

 

Unfortunately this video is no longer available on the Impakt Channel.

All the World’s a Stage shows how everything around us -from movies to ads, from literature to politics- is immersed in staged reality, everything being designed and presented to seduce. It draws parallels and comparisons between John Berger’s Ways of Seeing and the visual overload of today’s mass media, showing how actual and accurate the 1972 documentary series still is.

Bio:

Donna Verheijden (Arnhem, 1989) is a graphic designer and videographer. Verheijden graduated from the Sandberg Institute. As a contemporary image maker, Donna sees it as her responsibility to analyse and criticise today’s apparent or staged realities. Her main research focuses on mass and social media, its seductions and underlying power structures.

 
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Myth

 

We create and tell stories to get a better understanding of the world around us. This is why the world is full of myths ranging from success stories to stories about heroes and villains in culture, history and technology. We took this sub-theme as a departure point to curate a selection of video works exploring dominant narratives and preconceptions that shape our relationship with the world and technology.

Curated by Hristiana Stamou, Suzanne Verras and Xiang Yu Yeung.
Stamou, Verras and Yeung are students at Leiden University and they curated this program as part of their internship at Impakt.

This programme has been developed in relation to the themes of Impakt Festival 2017: Haunted Machines & Wicked Problems

 
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Voices From the Dark

 

Erik Bünger (SE) follows a researcher who rediscovers footage of the first-ever recorded voice: a little girl singing a song, whose voice was later found to belong to an adult male.

Melvin Moti (NL) proposes a system which, under an apparently simple exterior, is in fact one of his most complex works: a giddy descent into time, dreams and imagination.

SCREENED WORKS:
The girl who never was (2014) 59 min, Erik Bünger (SE)
The Black Room (2005) 25 min, Melvin Moti (NL)

 
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Post-Truth & Soft Power

 

What does it mean to tell the truth? Who writes the myths and legends that have an impact on the construction of truth and how do these influence policy, technology and the media?

OPENING FILM: Psychometrics (2014) 3 min, Alan Warburton (GB)
MODERATOR: Edward Akintola Hubbard (GY/JM)
PANEL: Maranke Wieringa and Daniela van Geenen (Data School Utrecht) (NL), Georgina Voss (GB), Navine G. Khan-Dossos (GB) and Dries Verhoeven (NL)

 
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Speculative Realities

 

This panel reopens the debate around the question: who owns the future? The representation of the future is challenged and approached from different angles.

OPENING FILM: The Future Was Desert (2016) 10 min, Sophia Al Maria (US/IR)
MODERATOR: Nicolas Nova (CH)
PANEL: Scott Smith (GB), Michelle Kasprzak (CA), Edwin Gardner (NL)

 
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Warren Ellis: Myth & The River of Time

 

Warren Ellis (GB) is a graphic novelist, public speaker and author of the New York Times best-selling novel Gun Machine (2013). Ellis has written four Marvel anime series and Iron Man 3 (2013) is based on his graphic novel Iron Man: Extremis (2006). He wrote the Netflix mini series Castlevania (2017), a revamp of the cult-classic video game of the same name. The series was received with great acclaim and renewed for an expanded 8-episode second season.

As well as an award winning science fiction and comic book author, Warren Ellis is a noted sociocultural critic and speaker at many international events. Myth & The River of Time will be a brand new lecture in which Warren Ellis shares his own, unique brand of critique on society and technology today. Science fiction expert Dan Hassler-Forest (US/NL) will join in later to lead a Q&A.

 
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Opening: Simone Niquille & Jenna Sutela

 

Simone Niquille: The Fragility of Life

With a special introduction by artist Simone Niquille (CHE), Impakt presents the Dutch premiere of The Fragility of Life, a short film following Teresa Barnwell, a Hillary Clinton impersonator, in the final days leading up to the 2016 US presidential election. Afterwards, the festival will be opened by Arjon Dunnewind (general director) and Natalie Kane and Tobias Revell (curators).

Performance Jenna Sutela

Jenna Sutela (FI) gives a performance to accompany her new work Extremophile (2017). This installation considers the idea of embodied cognition, presenting an audiovisual and narrative zoom from outer space to inside our gut. The realisation to be interconnected with wider environments marks a shift in perspective. This work is a co-commission with Serpentine Galleries (GB) and Goethe-Institut London for their Guest, Ghost, Host: Machine! Marathon in early October and will be on show in Fotodok/Casco.

 
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Opening Haunted Machines & Wicked Problems Exhibition

 

The exhibition Haunted Machines & Wicked Problems: Myth, Magic & Monsters opens on Wednesday 25th of October in Fotodok/Casco. Fourteen artists explore the myth, magic and monsters found in our technologically mediated world. What is the mythological value of oil in Middle Eastern mysticism? How do networks and machines create dynamic interactions between themselves? And how can we use the symbolism of magic to control self-driving cars?

Participating artists:
Monira Al Qadiri (SN), Sophia Al Maria (QA/US), Auger Loizeau-project (GB), Zach Blas (GB), James Bridle (GB), Ingrid Burrington (US), Wesley Goatley (GB), Navine G. Khan-Dossos (GB), Mimi Onuoha (US), Tabita Rezaire (FR/DK/GY), Jenna Sutela (FI), Suzanne Treister (GB), Coralie Vogelaar (NL), Addie Wagenknecht (US) and Angela Washko (US)

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Impakt to be part of biggest international residency platform for emerging media artists

 

European Media Artists in Residence Exchange (EMARE) to become the biggest international residency platform for emerging media artists

The European Media Art Network, delivering the yearly European Media Artists in Residence Exchange (EMARE) since 1995, expands and transforms into The European Media Art Platform (EMAP). With the support of the Creative Europe funds of the European Union, the European Media Art Network (EMARE) will expand its network from four to 11 countries, and transform into the European Media Art Platform (EMAP) by the end of this year. With this, the oldest media art residency program, the European Media Artists in Residence Exchange (EMARE), which will celebrate its 23rd anniversary in 2018, will be continued and become the biggest international residency platform for emerging media artists.

The members will include some of the leading media art institutions from across Europe:

Werkleitz Centre for Media Art, Halle (Saale), Germany  (lead organisation)

Onassis Cultural Centre, Athens, Greece

Ars Electronica Center, Linz, Austria

Bandits Mages, Bourges, France

Foundation for Art & Creative Technology (FACT), Liverpool, United Kingdom

IMPAKT, Utrecht, Netherlands

Kontejner, Zagreb, Croativa

LaBoral Centro de Arte y Creación Indstrial, Guijón, Spain

M-Cult, Helsinki, Finland

RIXC, Riga, Letland

WRO Center for Media Art Foundation, Wroclaw, Poland

EMAP offers residencies tor new media artists in the fields of digital media, computer-based art, filmmaking, media based performance, sound, and video across its 11 members countries. Alongside this, participating artists are supervised and mentored by art market and film industry experts, as well as becoming part of an extended touring programme through the different members’ festivals.

The first EMAP/ EMARE call for artist submissions will be published by mid October 2017.

Please find more information: www.emare.eu

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Matthew C. Wilson

 

Matthew C. Wilson works in a variety of media including installation, sculpture, video, and site specific action. His work draws out entanglements between natural, historical, cultural, and economic processes.

Wilson is currently an artist/researcher in residence at the Jan van Eyck Academie in Maastricht, NL.

 
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Tasman Richardson

 

Tasman Richardson is a video artist, electronic composer, and graphic designer. For over a decade he has exhibited or performed extensively throughout the Americas, Europe, North Africa and Asia. He lives in Toronto, Canada. His work focuses on tele-presence, memory, appropriation, synesthesia, and JAWA editing (of which he is the founder).

 
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Melvin Moti

 

Melvin Moti (born 1977, The Netherlands) produces works grounded in intensive research that explore neurological, scientific and historical processes in relation to visual culture.

 
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Ben Vickers (Moderator)

 

Ben Vickers is a curator, writer, explorer, technologist and luddite. He is CTO at the Serpentine Galleries in London and an initiator of the open-source monastic order unMonastery.

 
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Daniela van Geenen

 

Daniela van Geenen (1984) is a lecturer in data journalistic research and data visualization at the University of Applied Sciences Utrecht and a researcher at Utrecht Data School. Her work tackles the question of the scholarly conduct that the work with digital methods demands, challenged by the need to design accountable software tools. Daniela published on the role of social and technical actors on social media platforms, and their meaning for social and political practices such as public debate and cultural consumption.

 
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Maranke Wieringa

 

Maranke Wieringa (1992) is a researcher at Utrecht Data School. Trained as a cultural studies scholar, and a media scholar, Maranke specializes in software studies, and scholarly data analysis. Her publications focus on interface analyses, and software practices. Research projects Maranke was involved in focused – among others – on news ecosystems, and social media use by politicians running for the Dutch House of Representatives.

 
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Simone Niquille

 

Simone C. Niquille is a Swiss graphic designer and researcher. Her practice investigates the representation of identity without a body, the digitisation of biomass and the increasingly omnipresent optic gaze of everyday objects. She has written a column on technology, body modification and privacy for Sang Bleu, is part of design research collective Space Caviar in Genova Italy and is Tutor at the Architectural Association London.

 

 
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Karen Verschooren (Moderator)

 

Karen Verschooren is a contemporary art curator based in Belgium. As Head of Exhibitions for STUK Arts Centre, Leuven, she is responsible for the exhibitions programme including a series of solo exhibitions and ARTEFACT: a themed exhibition and festival on contemporary visual arts, current events and societal challenges. She previously curated for Z33, House for contemporary art, Hasselt (BE) (2008-2015). She is a board member of Overtoon, platform for sound art, and advisory board member of IMAL, Center for Digital Cultures & Technology.

 
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Natalie Kane

 

Natalie Kane is a curator, writer and researcher based in Manchester, UK. She is curator of FutureEverything, an innovation lab for digital culture and annual festival, and holds a research position at futures lab Changeist.

 
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Tobias Revell (Moderator)

 

Tobias Revell is an artist and designer. He is Senior Lecturer in Critical and Digital Design at the London College of Communication, UAL. He is a co-founder of research consultancy Strange Telemetry and one-half of research project Haunted Machines. He is a Ph.D. candidate in design at Goldsmiths.

 
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Diederik Peeters

 
Diederik Peeters has been reported to pop up in the work of colleague-artists, cunningly disguised as actor, performer or even advisor. But he especially keeps insisting on brewing his own artistic concoctions, sometimes in collaboration with carefully selected accomplices. He is an officially certified visual artist that accidentally got lost in the stables of stage-art, and usually makes performances, but has also been caught writing texts, inventing installations or video’s and crafting other amalgams that appear hard to categorise. Because Peeters is a patient of a pathological preference for confusion, in his work impossible contradictions and absurd consistencies are stubbornly piled up. With Hans Bryssinck and Kate McIntosh he founded SPIN, a Brussels based artist-run research and support platform.
 
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Warren Ellis

 

Warren Ellis is a graphic novelist, writer, public speaker and author of the NYT best-selling novel GUN MACHINE, and the award winning TRANSMETROPOLITAN, FELL, MINISTRY OF SPACE and PLANETARY. Alongside graphic novels, Ellis has written four of the latest Marvel anime seasons, and IRON MAN 3 is based on his Marvel Comics graphic novel IRON MAN: EXTREMIS.

Most recently, his writing for the revamp of cult-classic video game Castlevania, recently commissioned into a full series by Netflix (co-produced by Ellis), was received with high acclaim.

As well as an award winning science fiction and comic book writer, Warren Ellis is a noted sociocultural critic, invited to speak at events such as Thingscon (NL), FutureEverything festival (UK), and SXSW (US), and has written for VICE, Reuters and WIRED UK. A documentary about his work, CAPTURED GHOSTS, was released in 2012.

 
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Anab Jain

 

Anab Jain is co-founder of Superflux, a world-renowned future-facing design studio in London. As a practitioner for over ten years, Anab has gained international recognition for her work and commentary on design, innovation, emerging technologies and complex futures. Honoured as a TED Fellow, she is the recipient of several awards, including the Award of Excellence ICSID and Apply Computers, Innovation Award, Chicago International Film Festival and the UNESCO Digital Arts Award.

 
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Simone Rebaudengo

 

Simone Rebaudengo is an interaction and product designer based in Shanghai, where he consults for international clients and startups on present and future products and where he researches future relationships with technology as part of automato.farm. He’s been teaching and presenting at CIID, SUPSI, China Academy of Fine Arts, Tedx, IxDA, SolidCon, Thingscon and Dconstruct. His works have been published internationally in Wired, Fastcompany, The Atlantic and Designboom. He has won numerous industry awards including two 2014 IXDA Interaction Awards for “Addicted Products”, and a 2015-2016 Internet of Things Award for Best Design Fiction for his “Ethical Things” project.

 
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Pinar Yoldas

 

Pinar Yoldas is an infradisciplinary designer/artist/researcher currently based in Ann Arbor, Michigan. Her work develops within biological sciences and digital technologies through architectural installations, kinetic sculpture, sound, video and drawing with a focus on post-humanism, eco-nihilism, anthropocene and feminist technoscience. Her solo shows include The Warm, the Cool and the Cat at Roda Sten Konsthall (2016), Polyteknikum Museum Moscow (2015),An Ecosystem of Excess, Ernst Schering Project Space among many. Her group shows include ThingWorld, NAMOC National Art Museum of Beijing (2014); Transmediale Festival, Berlin (2014), ExoEvolution at ZKM (2015),14th Istanbul Biennial (2015) ,Taiwan National Museum of Fine Arts(2016).

 
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Erik Bünger

 

Erik Bünger is a Swedish artist, composer and writer living in Berlin. His work revolves around the human voice and its contradictory relationship to the body, to language, music and technology. The voice is not addressed as a phenomenon, which gives rise to personal, human presence and interpersonal communication but rather as the very thing that allows something other, radically inhuman, to enter and take control of the human body.

 
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Dries Verhoeven

 

Dries Verhoeven (1976 Oosterhout, the Netherlands) is a theatre maker and visual artist. Dries Verhoeven creates installations, performances and happenings in museums, on location and in the public spaces of cities. On the boundary between performance and installation art, he critically evaluates the relationships between the spectators, performers, everyday reality and art. The spectator is directly involved in the work or given the opportunity to steer his or her own experiences. The work by Dries Verhoeven was shown in international festivals, such as Wiener Festwochen, LIFT (London) and Festival Transamérique (Montreal). He has received various prizes including the Mont Blanc Young Directors Award at the Salzburger Festspiele. He has worked with HAU Hebbel am Ufer Berljn, Battersea Arts Centre London, and the Münchner Kammerspiele, among others. Many works were seen at SPRING, and the former Festival a/d Werf, Utrecht. The Municipality of Utrecht and the Dutch Performing Arts Fund provide continuous support for Verhoeven’s studio. Dries Verhoeven resides in Berlin and Amsterdam.

 
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Mimi Onuoha

 

Mimi Onuoha is a Brooklyn-based artist & researcher whose work explores missing data and the ways in which people are abstracted, represented, and classified. Currently she is a Research Resident at Eyebeam, Artist in Residence at StudioXX, data journalism contributor at Quartz. In the past she was a Data & Society Fellow, Visiting Researcher at the Royal College of Art,  Something-In-Resident at NYU ITP,  Columbia University Tow Research Fellow.

 
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Morehshin Allahyari

 

Morehshin Allahyari (b. 1985 in Tehran, Iran) is a media artist, activist, educator, and curator. Her work deals with political, social, and cultural contradictions, documenting personal and collective struggles humans face in this century. Allahyari’s Dark Matter is a series of 3D printed sculptures that form humorous, merged juxtapositions. Underlying the humor, however, is the reality of authoritarianism: the objects chosen (dog, dildo, gun, neck tie, satellite dish, etc.) are representations of things censured by the Iranian government – possession of which puts one at risk of harassment, incurring fines or incarceration. Her Material Speculation: ISIS series uses digital fabrication technology to reconstruct artifacts destroyed by ISIS in 2015. The project has achieved wide acclaim for proposing 3D printing technology as a tool both for resistance and documentation.

Allahyari’s work has been part of numerous exhibitions, festivals, and workshops including Centre Pompidou in Paris, Museum of Contemporary Art in Montreal, Pori Museum, Dallas Museum of Art, Museo Ex-Teresa Arte Actual, Museum für Angewandte Kunst, and Material Mexico City. She has been an artist in residence at CMU STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), and BANFF Centre (2013), among others. The many publications featuring her work include The New York TimesHuffington PostWired, NPR, Rhizome, Hyperallergic, Dazed Digital, VICENeural Magazine and Al Jazeera. Allahyari is the Co-Founder of the Experimental Research Lab at Pier9/Autodesk. She is currently a Research Resident at Eyebeam Art and Technology Center, New York.

 
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Keiichi Matsuda

 

Keiichi works as an independent design consultant, and runs a multidisciplinary design studio at the intersection of technology, media and architecture. The studio works on built installations, concept design, interaction and more, exploring how emerging technology will impact our future lives

 
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Alan Warburton

 

Award-winning queer British artist working with software, hardware and computer-generated images. Commissioned, screened, exhibited and broadcast internationally at Ars Electronica, Austrian Film Museum, Laboral, HeK Basel, Photographers Gallery, London Underground, Southbank Centre, Channel 4, IKON Birmingham, Cornerhouse Manchester, QUAD Derby, Mark Moore L.A, Denver Digerati and Adult Swim. Five-time recipient of Vimeo Staff Pick, one million online views. Born in Stirling, Scotland in 1980. Studied Critical Fine Art Practice (2001 to 2004) at Brighton University, then Digital Effects at Escape Studios in 2007 before working in London’s animation and post-production industry until 2012. Currentlypart of the CSNI research group at London South Bank University.

 
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Angela Washko

 

Angela Washko is an artist, writer and facilitator devoted to creating new forums for discussions of feminism in spaces frequently hostile toward it. Since 2012, Washko has operated The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, an ongoing intervention inside the most popular online role-playing game of all time. Her most recent project, The Game: The Game is a video game presenting the practices of several prominent seduction coaches (aka pick-up artists) through the format of a dating simulator. She is currently an Assistant Professor of Art at Carnegie Mellon University. Washko has exhibited nationally and internationally at venues including but not limited to Los Angeles Museum of Contemporary Art, Kiasma Museum of Contemporary Art in Helsinki, Shenzhen Independent Animation Biennial, Whitney Museum of American Art, The Andy Warhol Museum, and the Rotterdam International Film Festival.

The visit of Angela Washko is made possible with the help of Het Nieuwe Instituut with support by the Ministry of Foreign Affairs. 

 
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Royce Ng

 

Royce Ng is an artist currently based in Hong Kong working in digital media and performance who deals with the intersections of modern Asian history, trans-national trade, political economy and aesthetics. In 2015, working with Bisenieks in the collective Zheng Mahler, they were selected to represent Australia at the Pavillion Without Borders for PERFORMA biennale in New York City. In 2012, he was selected to participate in the 9th Gwangju Biennale and the Busan Biennale’s in South Korea. His performance Kishi the Vampire had its European premiere at the Zurcher Theatre Spektakel in 2016 where he was nominated for the ZKB acknowledgement prize.

 

 
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Addie Wagenknecht

 

Addie Wagenknecht investigates the cultural connection between technology and social interaction. Constructing installations, interventions, paintings and sculpture, she engineers reality into condensed bits, building a space in between sculpture and lived experience. In her work, complexity and hacked systems without rules emerge, as a sharp wit collapses the conceptual distance between ones and zeros. Wagenknecht has exhibited at Museums; Quartier Vienna; La Gaîté Lyrique, Paris; Istanbul Modern; and Whitechapel Gallery, among others. Wagenknecht is the founder of Deep Lab and Chair of the Open Hardware Summit. She co-produced the open source laser cutter Lasersaur.

 

 
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Ingrid Burrington

 

Ingrid Burrington writes, makes maps, and tells jokes about power, politics, and the weird feelings people have about both. She’s the author of “Networks of New York: An Illustrated Field Guide to Internet Infrastructure” and organized the Magick Codes conference, which served as inspiration for this year’s Haunted Machines mini-conference. Her work has been supported by Eyebeam Art and Technology Center, The Frank-Ratchye Studio for Creative Inquiry, and the Center for Land Use Interpretation. She lives on a small island off the coast of America.

 

 
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Monira Al Qadiri

 

Monira Al Qadiri is a Kuwaiti visual artist born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC, who held a solo exhibition at MoMA PS1 in New York (2014). Monira is currently based in Amsterdam, undergoing a two year artist residency at the Rijksakademie until 2018.


 
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Sophia Al-Maria

 

Sophia Al Maria is an artist, writer and filmmaker. She studied comparative literature at the American University in Cairo, and aural and visual cultures at Goldsmiths, University of London. For the past few years, she has been carrying out research around the concept of Gulf Futurism. Her primary interests are around the isolation of individuals via technology and reactionary Islam, the corrosive elements of consumerism and industry, and the erasure of history and the blinding approach of a future no one is ready for. She explores these ideas with certain guidebooks and ideas including, but not limited to, Zizek’s The Desert of the Unreal, As-Sufi’s Islamic Book of the Dead, as well as imagery from Islamic eschatology, post humanism and the global mythos of Science Fiction.

 

 
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Zach Blas

 

Zach Blas is an artist and writer whose practice engages technics and minoritarian politics. Currently, he is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. Blas has exhibited and lectured internationally, recently at Whitechapel Gallery, London; ZKM Center for Art and Media, Karlsruhe; Institute of Contemporary Arts, London; e-flux, New York; Institute of Modern Art, Brisbane; New Museum, New York; Museo Universitario Arte Contemporáneo, Mexico City; and transmediale, Berlin. Residencies include Eyebeam in New York, The Moving Museum Istanbul, The Banff Centre, and the Delfina Foundation in London.

 

 
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Tabita Rezaire

 

Tabita Rezaire is a French born Guyanese/Danish new media artist, intersectional preacher, health practitioner, tech-politics researcher and Kemetic/Kundalini Yoga teacher based in Johannesburg. Tabita is a founding member of tech health agency NTU, half of the duo Malaxa, and mother of the energy center SENEB. Artnet declared her among the 10 International Black artists to watch for in 2016, and True Africa nominated her as one of the continent’s top 100 innovators and opinion makers in 2015. Tabita has shown her work internationally – Berlin Biennale, Tate Modern, Museum of Modern Art Paris, Mocada NY, Anthology Film Archive NY, The Broad LA.

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Joël Vacheron

 

Joël Vacheron is a journalist and sociologist writing mainly about music, photography and design. He is interested in the impact of technological innovations on the creation of narratives and aesthetics. His work has appeared in various blogs, magazines, catalogues and monographs and he co-authored two publications, PostWestern (2013) and Dadabot (2015), which deals with the notion of creolization. Joël Vacheron is currently a lecturer in visual communication at ECAL / Lausanne, and was principal researcher for the projects Digital Strategies in Genre-Defining Magazines (2016) and Augmented-Photography.ch (2017).
joelvacheron.net

 
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Georgina Voss

 

Georgina Voss is an anthropologist of technology and innovation systems, an internationally exhibiting artist, and a writer. She is a founding director of research studio Strange Telemetry, and Senior Lecturer and Subject Lead in Critical Studies and Design at the London College of Communication. She holds a PhD in Science and Technology Studies from SPRU, University of Sussex, and has held artistic residencies with RAMLAB, Port of Rotterdam; Autodesk’s Pier 9; and Lighthouse Arts, Brighton. Her writing has been published in The Atlantic, The Guardian, and HOLO Magazine, and she is author of Stigma and the Shaping of the Pornography Industry (Routledge 2015).

 
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Nicholas Nova

 

Nicolas Nova is co-founder of the Near Future Laboratory, a research agency based in Europe and California, and Associate Professor at the Geneva School of Arts and Design  (HEAD – Genève). His work lies at the intersection of ethnography, interaction design and futures research, with a particular interest in ubiquitous and mobile technologies and the cultural practices surrounding new media.

 
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Sarah Kember

 

Sarah Kember is Professor of New Technologies of Communication at Goldsmiths, University of London. Recent publications include: a feminist critique of smart media iMedia. The gendering of objects, environments and smart materials (Palgrave Macmillan, 2016) and a co-authored monograph Life After New Media: Mediation as a Vital Process (The MIT Press, 2012). Previous publications include: Virtual Anxiety. Photography, New Technologies and Subjectivity (Manchester University Press, 1998); Cyberfeminism and Artificial Life (Routledge, 2003); the co-edited volume Inventive Life. Towards the New Vitalism (Sage, 2006); an edited open access ebook Astrobiology and the Search for Life on Mars (Open Humanities Press, 2011) and a novel The Optical Effects of Lightning (Wild Wolf Publishing, 2011). Sarah co-edits the journal Feminist Theory, is co-PI of an RCUK funded project on digital publishing (CREATe) and Director of Goldsmiths Press. Currently working on a book on future media, Sarah is also in the process of writing her second novel.

 
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Navine G. Khan-Dossos

 

Navine G. Khan-Dossos (b. 1982, London) is a visual artist, based in Athens. Her interests include Orientalism in the digital realm, geometry as information and decoration, image calibration, and Aniconism in contemporary culture. Her site-specific work ‘Echo Chamber’ is currently on show at the Van Abbemuseum, Eindhoven until November.

 

 
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Scott Smith

 

Scott Smith is the founder and vision behind futures group Changeist, where he leads strategy, research and design activities. His work combines grounded research with narrative design to illuminate the unanticipated. Scott leads partnerships with a range of institutions on public projects which explore facets of innovation, foresight, design and culture, including leading the new Future Design programme at the Dubai Future Academy. He is a contributor to Quartz, The Atlantic, How We Get to Next, WIRED UK and HOLO.

 
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Wesley Goatley

 

Wesley Goatley is a sound artist and PhD researcher in critical data aesthetics at University of Sussex. His artistic practice examines opaque power and hidden processes in technology and data through installations, software, and talks. Recent commissions include Ground Resistance with technology anthropologist Georgina Voss for the Milton Keynes International Festival, in partnership with the Open University. His solo and collaborative work has also been exhibited at Furtherfield Gallery (UK), ARTEFACT Festival (Leuven, BEL) and Brighton Digital Festival.

 

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Julian Oliver

 

Julian Oliver is a New Zealander, Critical Engineer and artist based in Berlin. His work and lectures have been presented at many museums, galleries, international electronic-art events and conferences, including the Tate Modern, Transmediale, the Chaos Computer Congress, Ars Electronica, FILE and the Japan Media Arts Festival. Julian has received several awards, most notably the distinguished Golden Nica at Prix Ars Electronica 2011 for the project Newstweek (with Daniil Vasiliev).

 
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Auger-Loizeau

 

James Auger is a speculative designer and academic whose work looks at the social and cultural value systems of machines. He is currently based in Madeira, Portugal.

Jimmy Loizeau studied Fine Art at Maidstone and Birmingham and Product Design at the Royal College of Art. He has worked at the MIT Media Lab Europe in Dublin in the Human Connectedness group and now teaches at Goldsmiths and the RCA. As a partner of Auger-Loizeau (with James Auger) Jimmy continues to exhibit and lecture internationally. His objective is to increase the dissemination of issues of technology and culture and take this debate beyond its present existence in academia and galleries to a wider public.

 
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Lydia Nicholas

 

Lydia Nicholas is an anthropologist who works in places where data, identities, bodies and biotechnologies meet, focusing on futures and networks, often using speculative fiction as a research and communication tool. In recent years she has used speculative fiction to explore information flow through interdisciplinary synthetic biology projects, researched antibiotic resistance for the Longitude Prize and edited a science fiction collection to spread awareness. Her research into lay understandings of big data took her to the UK Cabinet Office and the Science Museum. She currently works as a Senior Researcher in Collective Intelligence at Nesta, exploring how people use new digital platforms to collaborate and the ethics and regulation of using machine learning systems in government decisions.

 
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Betti Marenko (Moderator)

 

Dr. Betti Marenko is Contextual Studies Programme Leader for Product Design at Central Saint Martins, University of the Arts, London. Her work brings together design and philosophy to investigate design’s role in shaping futures. She is currently writing about the new contingent logic of planetary computation and its impact on behaviours, people and society, focusing on the increasing animation, power and uncertainty of digital objects.

 

 
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Pieter van Boheemen

 

At the Rathenau Instituut Pieter van Boheemen is specialized in co-creation methodologies addressing the societal impact of science, technology and innovation. Previously he was leading the Open Wetlab, Open Design Lab and FabLab Amsterdam team at Waag Society, focusing on grassroots initiatives in biotechnology and smart city issues. He combines creativity and design thinking with in-depth knowledge of scientific and technological advancements, and includes the public in the assessment thereof through online engagement such as vlogs and MOOCs and offline workshops. Often these activities take place within the context of European projects, such as Doing It Together Science, BrainHack and MakingSense. His work is shared open and freely, enabling communities around the world to replicate and build upon his designs.

 
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Füsun Türetken

 

Füsun Türetken is an architect and visual artist from Istanbul. She is head of Visual Culture, and lecturer at the Master Program of Piet Zwart Institute, University Rotterdam. In 2016 she has been a fellow with Het Nieuwe Instituut Rotterdam with her project titled “On The Most Powerful Catalyst On The Planet”.

 
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Michelle Kasprzak

 

Michelle Kasprzak is a curator, writer, and scholar. Currently she is a PhD candidate at the University of Porto (Faculty of Engineering) and Madeira Interactive Technologies Institute under the supervision of Chris Csikszentmihalyi. http://michelle.kasprzak.ca

 
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Manu Luksch, Martin Reinhart & Thomas Tode

 

Manu Luksch is filmmaker and artist who interrogates conceptions of progress and scrutinises the effects of network technologies on social relations, urban space, and political structures. Her widely acclaimed speculative fiction film FACELESS (2002-07), narrated by Tilda Swinton and part of the Collection Centre Pompidou, pioneered the notion of ‘legal readymades’ by appropriating data protection legislation into a process for filmmaking.

Martin Reinhart‘s innovative exploration of film as an artistic language is not limited to the making of films – he also develops hardware and processing solutions. His inventions are often made available to other artists, or find a commercial after-life. Reinhart’s short films have been shown widely at media arts festivals. In his position as Curator for Photography at the Museum of Technology in Vienna, Reinhart’s research led to the rediscovery of the soundtrack for Battleship Potemkin (1928, Eisenstein).

Thomas Tode lives and works in Hamburg as a filmmaker and freelance writer. His films include Natur Obskur (1988), Die Hafentreppe (1991), and Im Land der Kinoveteranen – Filmexpedition zu Dziga Vertov (1996). He is the author of articles that have appeared in magazines such as Cinémathèque (Paris) and Cinema (Zürich), and of several books, including Johan van der Keuken: Abenteuer eines Auges (1987), Chris Marker – Filmessayist (with Birgit Kamper, 1997) and Dziga Vertov – Tagebücher / Arbeitshefte (2000). He is teaching at the University of Hamburg and Bochum University and is a curator at the Hamburg Cinematheque.

 

 
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Till Nowak

 

Till Nowak is an award winning digital artist, designer and filmmaker, born July 28, 1980, working as a professional computer graphics artist since 1999 on his own independent projects and for high profile clients. He graduated 2005 in media design at the University of Applied Sciences in Mainz, Germany. Between 2008 and 2015 he was based in Hamburg. He now lives with his wife and daughter in Los Angeles. Till is the brother of Berlin based artist Nik Nowak.

Till’s work has been exhibited in hundreds of international film festivals, featured in books and at SIGGRAPH 2006, 2007, 2009 and 2011 and was awarded with more than 70 awards, for example in Annecy, at Anima Mundi or at the AFI Fest Hollywood. He also is responsible for several large scale public light art installations on historic buildings, such as the Rendsburg high bridge. Besides his studio work Till has given lectures about his workflows in international events, such as Gnomon Schoool of Visual Effects in Hollywood, universities in Korea, Germany and Australia, at the 361° conference in Mumbai and the NIFFF in Neuchatel and worked as jury member in a number of film festivals, such as Tampere International Shortfilm Festival or the SIGGRAPH Coputer Animation Festival 2016 and 2017. Till is a member of the European Film Academy, the German Film Academy, ASIFA Hollywood and the Art Directors Guild (Local 800). 

 
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Crystal Bennes

 

Crystal Bennes is an American artist and writer, currently based in Paris.

 
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Luis Fernando Medina Cardona

 

Luis Fernando Medina Cardona is an Associate Professor at the School of Arts (Universidad Nacional de Colombia) interested in art, the city and new technologies; Particularly in free software / culture, collaborative methodologies and alternative media. He combines teaching and researching with creative practices in fanzines, street art, hacktivism, radio among others. Currently he is a doctoral student at the Academy of Arts and Media of Cologne (Germany), while working in several collectives and individual projects, collaborating in other similar projects.

 
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Peter Moosgaard

 

Peter Moosgaard lives and works in Vienna. Graduated in Digital Arts (MA) in 2012, he first studied Philosophy and Linguistics, and later Visual Media at the University of Applied Arts Vienna, Class Prof. Peter Weibel. He is a member of the international activist group WochenKlausur since 2007 and co-founded the experimental publishing Traumawien in 2010. Moosgaard works as a journalist, janitor and art teacher. He has had exhibitions and performances in Istanbul, Stockholm, Athens, Amsterdam, Berlin, Munich, Brussels, Basel and in 2015 he participated at Ars Electronica. Currently he is a PhD Candidate at the Academy of Fine Arts in Austria and his research focuses on cargo cults and shanzahi as global, postdigital strategies.

 
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Thought Collider & Dave Young

 

Thought Collider is an art, design and research practice based in Amsterdam and London, exploring metabolic processes, bodies and spaces.

It comprises the work of Mike Thompson (UK) and Susana Cámara Leret (ES), experimenting with the meanings and values that can be derived from alternative ways of experiencing built and mediated environments, motivated by emergent nature cultures.

Dave Young is an artist and researcher based in Nottingham. His practice follows critical research into digital culture, manifested through workshops, website development, and talks on subjects varying from cybernetics and the Cold War history of network technologies, to issues around copyright and open source/free culture.

He is founder of Localhost, a forum for discussing, dismantling and disrupting network technologies, with past events focusing on Google’s entry into media art curation, and the role of analog radio as a potential commons in the digital age. He has presented workshops and given talks at institutions and festivals internationally, including at Edinburgh College of Art, V2 Rotterdam, Furtherfield, LiWoLi, and Transmediale.

 
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