THU September 4, SAT September 6, SUN September 7, MON September 8, 2014, 10 AM-9 PM, FRI September 5, 2014, 10 AM-11 PM
Ars Electronica Center
The Ars Electronica Center screens pictures, films, animated features and 3D applications in mind-blowing size and sharpness in Deep Space. This facility is equipped with eight projectors that produce 16×9-meter, ultra-high-definition images on the space’s walls and floor.
In addition to their larger-than-life size and 3-D imagery, the five Prix Ars Electronica prizewinners in this program display superb quality.
A slot all its own is set aside for the surreal 3-D animated film The Chimera of M. by Sebastian Buerkner (DE) that garnered an Honorary Mention in the Computer Animation / Film / VFX category.
Kazuhiro Goshima präsentiert persönlich zwei seiner Arbeiten: Shadowland, beim Prix Ars Electronica 2014 in der Sparte Computer Animation / Film / VFX ausgezeichnet, sowie die Tokyo Three Dimensional Suite.
Story Weaver is a piano piece coupled with animated images. The pianist is Maki Namekawa, a native of Japan who lives in Linz. It’s based on the Japanese fable “The Crane Returns a Favor.” Deep Space’s technical infrastructure makes this performance a holistic experience.
In addition to two other works, filmmaker/media designer Robert Seidel will present in Deep Space a 3-D version of his 2004 experimental film “_grau,” Seidel’s very personal reflections of his impressions and thoughts during a car accident.
During his stint as artist in residence at the Ars Electronica Futurelab from October to December 2013, Chilean electronic musician Ignacio Cuevas Puyol alias White Sample worked together with the lab’s staff to develop open-source hardware for musicians.
In Deep Space, Daniel Crooks will personally present the works he created as artist in residence at the Ars Electronica Futurelab. The video artist endeavors to employ time as a physical material in his artistic practice, and to transcend the monitor screen to enter the domain of three-dimensional physical sculpture.
Do the projections programmed by Victor Delev determine the movements of dancer Joanna Gruberska in Deep Space, or does her sequence of steps choreograph the visuals? Laser tracking is the medium that interlinks dancing body and software.
So-called serious games and other game-based solutions to problems have achieved notable successes in recent years when called upon to tackle a wide variety of problems—for instance, analyzing huge data sets or motivating XXL couch potatoes to get more exercise.
Jeffrey Martin specializes in creating photos of cities, usually shot from the top of a tower or skyscraper. His gigapixel photos are usually 360º panorama pictures, created from thousands of individual photos that have been carefully stitched together.
Swiss advertising & press photographer Daniel Boschung maps faces. But instead of snapping the images himself, he delegates the job to an industrial robot controlled by custom-programmed software.
Painter/actionist Hermann Nitsch, one of the most important contemporary artists, is making a guest appearance in Deep Space. All the highpoints of Nitsch’s oeuvre - Viennese actionism, his famous splatter paintings, the Orgiastic Mystery Theater—have triggered heated discussions.
The grand finale of this year’s u19 – CREATE YOUR WORLD will be a review of all the cool stuff that went on over the past four days on Spittelwiese and a presentation of what was developed at Youtube:Lab and Film:Lab, by and with Kino5 and under the motto of Animate Your City.
Ravel Landscapes blends imagery by visual artists Quayola und Sinigaglia with the music of Maurice Ravel as performed by French piano virtuosa Vanessa Wagner.
Touching seeks to propagate sound in space and to carry on a dialog - of the two performers with one another as well as with the space and the sound. They animate, spatialize and modify concrete tonal material and interlink it with visuals designed especially for this performance.
The very best of the regular Deep Space program at the Ars Electronica Center.
Kristefan Minski (AU/AT) and Roland Krenn (AT) present a first raw cut of the big “Take a Chance, Take a Change” LipDub, screen backstage photos and elaborate on the making of the video composed of sequences shot by hundreds of individuals.