Glowing Globe, Science-Fiction-Art, Rijeka, 13. – 23. November 2019 by Ingeborg Fuelepp

Science-Fiction-Art Rijeka, 13. â&#x20AC;&#x201C; 23. November 2019

GLOWING GLOBE Science-Fiction-Art Rijeka, 13. – 23. November 2019 PUBLISHERS CIM APURI Slavka Krautzeka 83 51000 Rijeka Ingeborg Fulepp T: +385 99 397 4718 E: cim@apuri.hr www.cimapuri.hr KORTIL Gallery, HKD Rijeka Strossmayerova 1 51000 Rijeka Jolanda Todorović T: +385 99 2391 404 E: jolanda@hkd-rijeka.hr CATALOGUE EDITORS Ingeborg Fülepp, Dijana Protić LECTURING Petra Čargonja DESIGN AND LAYOUT Korina Hunjak PRINT Tiskara Sušak, Ul. Milutina Barača 54, Rijeka & University of Rijeka, Academy of Applied Arts

Science-Fiction-Art

Exhibition, Symposium, Screenings, Artists Talk, Workshop Rijeka 2019

CONCEPT Ingeborg Fülepp, Dijana Protić CURATORS Ingeborg Fülepp, Dijana Protić GUEST CURATORS Penesta Dika, Martin Kusch, Ryszard W. Kluszczynski ORGANIZERS Center for Innovative Media, Academy of Applied Arts, University of Rijeka (CIM APURI), Croatian Cultural Center (HKD) Rijeka – KORTIL Gallery VIDEO / PHOTO DOCUMENTATION Maša Drndić, Natalija Stefanović, Ingeborg Fülepp, participants FINANCIAL SUPPORT Ministry of Culture of the Republic of Croatia, City of Rijeka, Goethe-Institut Kroatien, Austrian Cultural Forum Zagreb, Adam Mickiewicz Institute Culture Poland PARTNERS Goethe-Institut Kroatien, Austrian Cultural Forum Zagreb, Adam Mickiewicz Institute - Culture Poland, Museum of Contemporary Art (MSU) Zagreb TECHNICAL SUPPORT American Corner - Rijeka City Library, Astronomy Centre Rijeka, HKD Rijeka, Museum of Modern and Contemporary Art (MMSU) Rijeka, Museum of Contemporary Art (MSU) Zagreb, Peek & Poke Rijeka, ProDesign Rijeka, Student Center Rijeka SPECIAL THANKS TO Andrea Cvitan, Astronomy Centre Rijeka Kristina Đoja, American Corner - Rijeka City Library Aleksandar Jovanović, HKD Rijeka Sveto Jovanović, Peek&Poke, Rijeka Alan Kukić, ProDesign d.o.o., Rijeka Marko Mrvoš, APU Rijeka Sabina Slamon, MMSU, Rijeka Darija Žmak Kunić, APURI

CONTENTS Welcome Address Doc. Mr. Art. Darija Žmak Kunić Vice Dean for Arts and Sciences The Academy of Applied Arts

Introduction 14 Ingeborg Fülepp, Dijana Protić

Fulldome film screenings 14. November 2019 Astronomy Centre Rijeka Fulldome Video Program at the Digital Planetarium Curator Martin Kutch

Artists Talk

Workshop 71 KORTIL Gallery, HKD Rijeka 5. – 11. October 2019 Mentor Ivana Franke and participants

Exhibition 17 13. - 23. November 2019 KORTIL Gallery, HKD Rijeka Giulia Bowinkel & Friedemann Banz 20 Ivana Franke 24 Vladislav Knežević 26 Litto (Daniela Weiss) 28 Patrick K.-H. (aka Anton Iakhontov) 30 MOON - Martina Zelenika 31 Michael Saup 33 Marta Stražičić 35 Roderick Coover / Krzysztof Wołek 38

Additional Program 18. November 2019 Museum of Contemporary Art Zagreb Lecture and Presentation Wolf Lieser

Symposium 43 14. November 2019 University of Rijeka, Congress Centre Akvarij Penesta Dika 46 Oliver Grau 48 Ryszard W. Kluszczynski 50 Martin Kusch 52 Wolf Lieser 54 Dijana Protić 56 Lea Vene 58

Glowing Globe

Science - Fiction - Art

WELCOME ADDRESS

The Glowing Globe manifestation took place in four attractive locations: Akvarij of the University of Rijeka, the Kortil Gallery, the Astronomy Center Rijeka, and the Academy of Applied Arts in Rijeka, which opened itself to the wider local community including students and teachers.

The Academy of Applied Arts in Rijeka works continuously and systematically to improve academic-educational processes, actively encouraging the development of new experiences, artistic-scientific methods and systems that encourage ethics, sustainability, progress and educational change in all segments of society. Among many cultural and artistic events that marked the academic year 2019/2020, an important place is preceded by the international manifestation Glowing Globe, Science-Fiction-Art, which gave the Academy of Applied Arts an important artistic contribution to the local community and positioned itself in international art and education, promoting innovative academic knowledge and skills.

Glowing Globe conferences, exhibitions, presentations, and workshops promote internationalism, innovation, and creativity in all its segments. By organizing Glowing Globe, the Center for Innovative Media has positioned the Academy as an attractive place to study and encourage international knowledge transfer. Ass. Prof. Art. Darija Žmak Kunić Vice Dean for Arts and Sciences University of Rijeka, Academy of Applied Arts

The project is founded by the Center for Innovative Media, which was established at the Academy of Applied Arts, University of Rijeka in 2017 with the aim of promoting new media art in relation to science and new technologies. The initiator and leader of the Center is Assoc. Prof. Art. Ingeborg Fülepp, who with her engagement, creativity, and tireless work on positioning the Academy on the international cultural scene, contributes to a high level of quality of institutional projects and sustainable academic programs.

Glowing Globe

Science - Fiction - Art

INTRODUCTION Manifestation Glowing Globe is based on the idea of MediaScape, an international exhibitions and symposia that was held in Zagreb, Novigrad and Rijeka between 1993 and 2014. The main curators and organizers were Ingeborg Fülepp and Heiko Daxl. http://www.mediascape.info/ Today, inventions of technology inspire many artists to generate their visions that reflect anxiety, pointing to critical thinking and a warning of the dangers of global changes. Through various collaborations with scientists and scientific institutions, artworks that have been created are gaining ever greater public interest. It is therefore necessary to redefine positions of the latest media art and to critically discuss the issues and impacts of new technologies for the future and the development of society in general. Program of the Glowing Globe, Science-Fiction-Art was devoted to new-media art with an emphasis on virtual and augmentative reality.

The symposium was at the University of Rijeka in the space called Akvarij, the day after the exhibition opening. The intention of the symposium was to encourage dialogue between theoretical discourse and artistic works shown in the exhibition. The presenters were coming from different academic and artistic backgrounds, from prominent professionals of the older generation to doctoral students and theorists of the younger generation. Film program shown at the digital planetarium was curated by Martin Kusch with the works by students at the University of Applied Arts in Vienna. Form interdisciplinary humanistic perspective Glowing Globe covers a wide scope of topics from image science, narratives in contemporary art of virtual and argumentative reality. Glowing Globe has succeeded to open up a dialogue and raise questions about the new styles and tendencies on the crossroads between art, technology and science. Ingeborg Fülepp, Dijana Protić

Exhibition in the Kortil Gallery has shown a wide range of works from different international artistic perspectives. Giulia Bowinkel & Friedermann Banz, as well as Moon Martina Zelenika are using in their installations technic of argumentative reality. Virtual reality artworks were presented by Roderic Coover and Krzysztof Wolek, Daniela Weiss aka. Litto and Patrick K.-H. aka. Anton Iakhontov, Marta Stražičić and Michael Saup. A stereoscopic 3D film was shown by Vladislav Knežević, while Ivana Franke presented a light installation in the dark space.

Glowing Globe

Science - Fiction - Art

EXHIBITION

Glowing Globe

Science - Fiction - Art

Glowing Globe

Science - Fiction - Art

20 Giulia Bowinkel & Friedemann Banz

Bodypaint V: digital print and Zylinder & Bots: Print and AR

into physical reality. With the help of computers, the vast majority of our environment is simulated before it is produced. With this work, Banz & Bowinkel scrutinize human perception of reality, which is informed by incessant contact with computers and social media and lets humans themselves seem like controlled bots in a semi-virtual world. At the same time, they draw focus on the programmers creating those algorithms and thereby significantly setting the movements in cyberspace and eventually in the real world, contrasting these works are the iconic primitives, whose components include the platonic solids, function as basic modules in every 3D-program. Within computer graphics, one can assemble complicated structures from those elementary one-, two- or three-dimensional geometrical shapes. At the same time the parametrical primitives, who have not yet been rendered into an output format, show their perfect, mathematically calculated shapes. Similar to Platonâ&#x20AC;&#x2122;s theory of forms, in which ideas exist as independent entities and are ontologically superior to objects perceptible by the senses, the shapes inside the computer seem to belong to a different dimension one can not fully grasp within reality. This shows that the computer follows a logic much different to the logic of our real surroundings but the latter is supposed to

In their work â&#x20AC;&#x17E;Bodypaintingâ&#x20AC;&#x153; Banz & Bowinkel simulate painting. Their process of painting no longer takes place in the real world but is generated on the computer. For this, they record the body movements in the studio with several cameras. From this footage an equivalent representation of the movements is calculated in the computer - an avatar is created. With this digital reproduction of movements, they control the liquid calculations and thus generate the virtual painting. The computer allows us to simulate reality. Although the simulation itself is not real it inherits a certain power to become real. Today, it is increasingly normal to transfer simulated reality

Glowing Globe

Science - Fiction - Art

be administered mainly by computers. Banz & Bowinkel draw focus on the iconic aspect of the Primitives and at the same time break with their mathematical perfection by making archetype the image. The question is unresolved as to what extend the computer can manifest itself creatively if it is actually trapped inside the realm of the ideal. Giulia Bowinkel and Friedemann Banz explore the human perception of the digitally augmented real world. Within their generated scenarios, the computer functions both as a tool and topic. They create a structure of meta-rules in which the avatars have to organize themselves, inevitably performing in an equally tragical and comical way since their actions are by no means a result of free will but a dictation of their creators, the artists. Giulia Bowinkel & Friedemann Banz’s work has been awarded multiple times and is being exhibited both nationally and internationally. Recent exhibitions include Museum Abteiberg Mönchengladbach, Zeppelin Museum Friedrichshafen, HeK (House of Electronic Arts Basel) and KM- Halle für Kunst und Medien Graz. https://www.banzbowinkel.de/

Glowing Globe

Science - Fiction - Art

24 Ivana Franke

These curious constitutions seem to extend deep into space, only to come back towards us in a rolling motion. The rectangular frame is suspended from the ceiling. It is hung in front of the gallery wall, at a one-meter distance. Two layers of monofilament net are stretched onto the frame. Two LED lights are installed on the wall, projecting the light onto the net. The net reflects the light, creating a three-dimensional “movie” of traveling circles and ellipses, navigated by the observer.

Galaxies in Mind — Knowledge of Fireflies

This installation is a result of the workshop produced by students and alumni from the Academy of Applied Arts, University Rijeka at the Gallery Kortil prior to the Glowing Globe exhibition opening, with help by Ass. Prof. Darija Žmak Kunić. Ivana Franke is a visual artist based in Berlin. Her investigations with the light approach the interface between consciousness and environment, focusing on perceptual thresholds. Recent solo exhibitions include Retreat into Darkness. Towards a Phenomenology of the Unknown in Schering Stiftung Project Space in Berlin (2017) and Perceptual Drift (Galaxies in Mind) in the Museum of Contemporary Art in Zagreb (2017). Her other projects include Disorientation Station (11th Shanghai Biennale, 2016) and Seeing with Eyes Closed (Peggy Guggenheim, Venice (2011), Deutsche Guggenheim, Berlin, (2012). She represented Croatia at the 52nd Venice Biennale with the solo exhibition Latency (2007), at the 9th Venice Biennale of Architecture with collaborative work Frameworks (2004). Other exhibitions include Manifesta 7 (2008), and MoMA P.S.1. (2001). http://www.ivanafranke.net/

Aluminium construction, monofilament, LED lights, electric transformers. 160 x 400 cm. Upon entering a dark room, only thin curved lines are visible as floating in the air, at the eye level. However, once the eyes adjust to the darkness, circular shapes start to emerge. They stand still, seemingly frozen as if waiting on the observer to make a move in order to reveal their hidden intentions. If one begins to walk around the space, the shapes start to overlap, merge, shrink, expand, appear and disappear, bustling in unexpected directions.

Glowing Globe

Science - Fiction - Art

26 Vladislav Knežević

activities in our visible neighbourhood ambience. Universal non-site architecture by its typology is optimized for documenting unrecognisable and determining unexpected topography. The film follows the intense activities of entities present in dimension N, which generate a kind of extraordinary experience.

Dokument Parakozmik / Document Paracosmic

Vladislav Knežević has studied directing at the Academy of Dramatic Art in Zagreb and De Vrije Academie (Audio-visual Dept.) in Den Haag. Since 1993 he has worked as a director for various television programs. He has been working in the field of experimental film, video, and sound since 1988. He was the initiator and organizer of Reference to Difference, a television program on experimental film and video at Videodrome, and the 25 FPS International Experimental Film and Video Festival. During his high school education at the Center for Culture and Art, he participated in the work of the Kinoklub Zagreb, where until 1989 he realized several experimental films. Since 1988 he has been a media artist primarily engaged in audio-visual research by trying to create new film forms using photography, micro-animation, stereoscopic view, generative sound, and recorded material. In the focus of his interest are concepts that relate to the marginal areas of real categories, the visibility of new media images, the phenomena of scientific research, as well as changes related to the material-non-material organization of things. Since 1989, films have been screened at many festivals, shows, and presentations. (Clermont-Farrand, Oberhausen, Kyoto, Berlin, Alberthurque, Melbourne, ...). Winner of awards at the Festivals in Split, MFNF (Grand Prix, 1997), New York, Be Film Underground Film Festival (2015 Best 3D) and Karlsruhe, Beyond 3D (2015 Best Short) (film critic for the best experimental film 2010 by Arhcheo 29 and 2015 ADAM on the Days of Croatian Film). Curator and media activist, he worked on television projects related to the presentation of contemporary art.

Gravity waves pass through all the existing dimensions and even those whose existence is extremely difficult to determine. The scientific experiment, which in its fundamental utility is aimed at understanding the multidimensional organization of things, has the potential for on-going experience. The device successfully detected an unknown dimension at an extremely low level and sets parameters to zoom in and track all the Glowing Globe

Science - Fiction - Art

28 Litto (Daniela Weiss)

Litto (Daniela Weiss) is a multimedia artist originally from Vienna, Austria. Having a background in business communication and visual arts, she is altering between both worlds, giving her a diverse neural network of knowledge and a greater understanding of various process perspectives.

Real Mirror 2.0

After graduating from business school she started studying communication design and subsequently moved to Amsterdam and Berlin, where she has been freelancing as UX-and Web designer, working on a wide range of interactive applications, content management systems, as well as installation concepts. Litto works exclusively with augmented reality paintings as a means to emphasize the importance of traditional analogue techniques, re-actualized and re-proposed by digital media tools. Most recently Litto has been exploring the involvement of technology and interactivity in art. This has driven her to take a diploma degree in digital art at the University of Applied Arts in Vienna. Her current focus is on AR and VR installations. https://litto.work/

In cooperation with composer Patrick K.-H. (Anton Iakhontov) and the University of Applied Arts in Vienna REAL MIRROR 2.0 is designed to alter the dominance of gravity. It literally offers spectator to take gravity in hand - as a sphere that one is welcome to turn. A sphere is an interactive object that enables beholders to experiment with new modalities of perceiving body and space. Installation is based upon the VR system accessed with a VR headset (Oculus Rift) accompanied by loudspeakers distributed in the room. The interface between body and virtual space - a navigation sphere - provides a virtual 360Â° view of the environs and reacts to the spectatorâ&#x20AC;&#x2122;s movements of the sphere. Furthermore, the 360Â° live video stream is mapped with a sound matrix that renders installation as an instrument, turns beholder to a performer, making interactive processes a driver for idiographic music and visual composition in real-time. Glowing Globe

Science - Fiction - Art

30 Patrick K.-H. (aka Anton Iakhontov) Composer, sound- / video- / visual artist, collages within the fields of sound installations, live and tape acousmatic and animation, exercising cross-fertilisation.

MOON (aka Martina Zelenika)

6th SENSE

Author of music/video for over 30 opera/drama/contemporary dance/ post-dramatic theatre plays and performances as well as his own works in Russia, Austria, Germany, and USA; one of the earliest artists (2004) to introduce video in modern Russian Theatre. He has had music, video, and performances presented in more than 200 festivals and series around the world including Ars Electronica (Linz), ASIFA (Vienna), Club Transmediale (Berlin), MIAF (Melbourne), Symposium iX (Montreal), FIVA (Buenos Aires), Art Moscow, in 2009 he composed sound-scape for Russian pavilion of 53rd Biennale di Venezia. Holding several international awards–LÚMEN_EX (Spain), Golden Mask (Ru), Broadway off (USA), etc. Beyond his artwork, he has developed an important activity regarding experimental media-art, particularly spatial sound-art education and gallerism: his SoundArt@GogolFest program (Kiev, 2010) has been pivotal in engendering sound-art as formal and informal practice in the post-soviet domain. Head of experimental and research programs of Media-Studio at the New Stage of Alexandrinsky Theatre, Ru (since 2013). Organizer/teacher of educational classes and programs, among them Media-performance Lab (MMOMA, Moscow, 2011-2013) and New Media Lab (St. Petersburg, since 2015). Curator and co-founder of the Floating Sound Gallery (since 2008) – the sole venue for spatial sound in Russia, presented over 120 international composers by now. Since 2018, he conducts the “ACOUSMONIUM inauguration” international festival for François Bayle’s loudspeakers orchestra (St. Petersburg) in partnership with GRM, “The Acousmatic Project” and other institutions. http://drawnsound.org/

6th SENSE is an audio-visual interactive collage combined with Augmented Reality mobile application and handmade analogue drawing-collages. The art project 6th SENSE gives a unique artistic experience where every user has the opportunity to experience not only mixed visuals in real-time, but also interact or manipulate with sounds in real-time. The whole project passes through many layers of creation and research, while still being involving. The project 6th SENSE consists of 10 artworks divided into three (3) series: gold silver and black-gold analogue drawing-collages. Every series has different animated visual patterns and different possibilities of audio transformation. An animated coded visual gives an impression of entity or energy from the real-world object – the analogue artwork. With this project, I test out modern communication space and in doing so provoke you to dive deeper into our own sense of togetherness and find a blissful serenity of universal unity. The Art project 6th SENSE, conceptually and technically is a first art project of that kind in Croatia (MOON © 2018) MOON - Martina Zelenika is an independent interdisciplinary artist with a unique artistic expression. She combines the most up-to-date digital technology along with an analogue one to embody the spiritual dimension

http://soundartgallery.ru/

Glowing Globe

Science - Fiction - Art

of cosmology, eco-philosophy, and geo-philosophy. By deconstructing sound and meta-language, the artist tests out modern communication space and in doing so provoke us to dive deeper into our own sense of togetherness and find a blissful serenity of universal unity. In her work we notice procedures of a new approach in the questioning of today’s contemporary society, resulting with art projects such as “Tab_Letter” (an innovative concept with minimalistic musical letters), “New Europe” (a scientific art project – the sounds of mineral stones, interactive audio-visual installation), “Meta-Signal Sonar System” (visualization of universal sound, sublimation of intuition, analogue drawing, and digital tools); “6th SENSE” audio-visual interactive collages (analogue -digital synergy, Augmented Reality application and analogue drawing collages), “Architecture of the Universe” (a complex photo collages made from many layers, processes and different mediums), etc. Artist MOON is a representative of a new movement of the contemporary and new media art scene in Croatia and abroad.

Michael Saup

In collaboration with Matevž Kolenc

DUST | VR Triptych | Environmental Open Data 2018/19

http://www.martinazelenika.com/

“For dust we are and to data we will return.” NucleoGenesis 3.19, Dust is Data - Data is Dust Particulate matter is universally familiar. Volcanic ashes, sandstorms, forest fires, construction residue, vehicle, and industrial emissions are among the largest contributors today, but the origins of the planet, all known species and the universe itself derive from dust borne by interstellar dust clouds. This singularity and omnipresence of dust is no longer unrivaled: in the new world, interstellar dust clouds will be overshadowed by virtual data clouds. Our work DUST uses virtual reality to represent and investigate the invisible sphere of microscopic matter suspended in the atmosphere. We give Glowing Globe

Science - Fiction - Art

representation to the recent developments of open data and citizen science and chip away at popular incognizance of just how much dust, and now data may impact our private lives. It is estimated that one human life is lost every 8 seconds due to exposure to dust. The adverse effects of exposure to ever-increasing amounts of data are still not known.

Marta Stražičić

EVGENIA308

Michael Saup is an artist, instrumentalist, coder, and filmmaker. He has acted as a professor of digital media art at HfG/ZKM University in Germany and as the founding director of the Oasis Archive of the European Union. He is the co-founder of the Open Home Project, a humanitarian initiative to help people being affected by a nuclear disaster. Amongst others, his work has been awarded by the Ars Electronica and the UNESCO Commission. Michael Saup’s work focuses on the underlying forces of nature and society; ongoing research into what he calls the “Infossil Archaeology of Future”. His work, often in cooperation with other artists, has been shown widely in exhibitions, festivals, and on stages around the world. He currently lives and works in Berlin. https://1001suns.com/dust/ Matevž Kolenc is a composer, arranger, producer, and instrumentalist. He started his career as a music composer for theatre performances but later became a driving force behind the band Melodrom with whom they released four full-length studio albums between 2004 and 2010 (Nika records). Since 2012 he is also an active member of Laibach, for whom he writes, arranges, and produces music. Most notably, he collaborated with Laibach on their albums “Spectre” and “Also sprach Zarathustra” (2017, Mute records), last being entirely his work, originally created for the purpose of a theatre performance by the same name (directed by Matjaž Berger), and later released as a full-length album and also performed in the rearranged version by Laibach with Lviv Philharmonic Orchestra (2018). https://matevzkolenc.com/

Glowing Globe

EVGENIA308 shows the world of insects that have force quit the mainland and the sea, transitioning to the digital realm to reapproach their extinction issues using technology. EVGENIA308 has two levels that can be explored using HTC VIVE virtual reality equipment. Large 3D insects are inspired by the characteristics of existing species and the speculation of their appearance through the process of digital evolution.

Science - Fiction - Art

Marta Stražičić aka ‘Pirate Sheep’ is a multimedia artist. She studied at the Academy of Fine Arts (ALU) University Zagreb (Mag. Art.) The biggest portion of her work features insects which she translates into the digital realm, simulating their mesmerizing ecosystems in VR. She has been active in the art scene since 2016. The most recent festivals she has participated in are Sonic Acts (Amsterdam, 2020.) and Extravagant Body, Extravagant Love festival (Zagreb, 2019).

I asked myself, how is technology affecting my relationship with nature? I enjoy exploring it, learning from it, and translating that knowledge to digital works. In the modern-day, digital textures are worthy of reflecting the actual textures of nature that can be dissected, approximated, enlarged and explored. Digital textures are present on a daily basis, unlike the real nature that has become a luxury for many. Spending time in it counts as so-called leisure, while 3D, although it is something I love, is actually a difficult learning process, i.e. work, a job that requires an enormous amount of time. The difference between everyday city life and life in nature is increasing in modern society. But people often make up for their interest in spending time in the wild by shooting other species, such as spiders, and then storing footage online, where that content is expanding at a rate that beats the ticket sales of any museum. Today, we can also look at nature through the disposition of an unplanned digital landscape on social sites that deals solely with reblogging or documenting insects / their relationships with them. This is nothing unknown, let us see where it goes.

https://www.instagram.com/pirate_sheep/

Wasp 2018 digital print on canvas was made as a part of the EVGENIA308 collection. I wanted to portrait the beautiful, deconstructed pieces needed to create the wasp model that was later placed in VR. Glowing Globe

Science - Fiction - Art

38 Roderick Coover / Krzysztof Wołek

The Key to Time

The work is written and directed by Roderick Coover and the soundtrack is created by Krzysztof Wolek. Filmed in 3D 360° cinema, The Shape Of Things To Come crosses past and future. It combines aspects of 1920s silent cinema and virtual reality to address how historic choices echo in troubled landscapes of the present and future. The master is 16k 360 3D cinema with ambisonic sound. It is formatted for a range of venues including 3D 360° and 180° cinemas, virtual reality (VR), immersive media venues like domes and cave automatic virtual environments (CAVES), projection mapping, and conventional cinema formats. The sound formats are ambisonic sound, 5.1, and stereo. The project is organized by the Adam Mickiewicz Institute as part of POLSKA 100, the international cultural program accompanying the centenary of Poland regaining independence. Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual program NIEPODLEGŁA 2017–2021.

Roderick Coover and Krzysztof Wołek create an operatic Avant-garde film for immersive environments and VR, integrating aspects of silent film, graphic novel, and immersive cinema to explore issues relating to time, ecology and technology. The Key to Time tells a story about time, love, and mutation in facing the challenges of scientific hubris, climate change, and mass extinction. Tanek is trapped in the future. He was sent into the future following an accident involving a time-travel prototype and his girlfriend’s strange, glass hand. Floods and contamination have led to wars, and new war technologies threaten to destroy the world. Tanek’s only hope may be to travel back in time. He tries to travel through dreams, but his travel plans go wrong, and he arrives in a parallel universe where his doppelgänger is trying to use Anna’s powers for his own gain. The work features the performances of vocal artists Joanna Freszel, Emily Albrink, Katherine Calcamuggio, Chad Sloan, and Jesse Donner and actors Natalia Kalita and Paweł Smagała. Glowing Globe

Roderick Coover is a documentary filmmaker and a pioneer of interactive documentary arts whose works include Cultures in Webs (Eastgate Systems), The Theory of Time Here (Video Data Bank), The Language of Wine: An Anthropology of Work, Wine and the Sense, Unknown Territories, Three Rails Live and others as well as print publications such as Switching Codes: Thinking Through Digital Technology In The Humanities and Arts(Chicago). His works have been exhibited internationally at locations such as SIGGRAPH, Philadelphia International Film Festival, and Documenta Madrid. Professor Coover has received awards from USIS-Fulbight, a LEF Foundation, the Chicago Group on Modern France, and the Mellon Foundation, among others. He lives in Philadelphia, where he is Director of the Graduate Program in Film and Media Arts at Temple University and a founding Director of the Graduate Certificate Program in Documentary Arts and Ethnographic Practice. https://tfma.temple.edu/staff-faculty/roderick-coover

Science - Fiction - Art

Krzysztof Wolek is a composer, improviser, and installation artist. He is currently working as an Associate Professor of Music Composition and a Director of Digital Composition Studies at the University of Louisville. He received commissions from the Warsaw Autumn Festival, the Siemens Foundation, SCI/ASCAP, among others, as well as awards, grants, and stipends from the University of Chicago, University of Louisville, Foundation for Contemporary Arts, Kentucky Arts Council and Polish Ministry of Culture and National Heritage. Krzysztof is a passionate advocate of contemporary acoustic and electronic music and multimedia compositions, serves on the jury of the Grawemeyer Award for Music Composition, and is a Programming Committee Member of the Warsaw Autumn Festival. His compositions received various awards such as the Prix for Mobile Variations at the Concours Internationaux de Musique et dâ&#x20AC;&#x2122;Art Sonore Electroacoustiques, Bourges, 2007. Krzysztof â&#x20AC;&#x2122;s works span a broad spectrum of works from purely acoustic, improvisational, and electronic to various forms of multidisciplinary collaborations. They have been presented at various festivals of contemporary music and art in Europe, North America, and Asia. http://www.krzysztofwolek.com/

Glowing Globe

Science - Fiction - Art

SYMPOSIUM

Glowing Globe

Science - Fiction - Art

Glowing Globe

Science - Fiction - Art

46 Penesta Dika

Iconography of Interactive Digital Artworks created using VR- and AR-Technology

of media art history. For this research concrete examples/artworks with a focus on the usage of VR and AR technique will be depicted closer. Penesta Dika studied Art History at the University of Vienna and obtained her Ph.D. in Interface Culture and History of Media Art at the Linz University of Art. Her master’s thesis on ’The Computer Art of Herbert W. Franke’ (Die Computerkunst Herbert W. Frankes) was published in book form in 2007, in honour of Herbert W. Franke’s 80th birthday. The results of her scientific research have been published in books (e.g. Transcript), magazines (e.g. Interscience, Springer), and conferences (e.g. MediArtHistories). Her practical experience with interactive digital art (‘Shape, Color & Sound’ – an interactive artwork) and her Ph.D. thesis were presented in 2006 and 2007 at the Ars Electronica Festival in Linz. Also, the artistic research “Food Cultures, Co-Design” developed in collaboration with Eveline Wandl-Vogt and Jose Luis Preza Diaz from the Academy of Sciences in Austria and with Katja Berger (freelance artist) is presented in Ars Electronica Festival “ERROR” of 2018 and in the “Europian Researchers’ Night” 2018 in Vienna. Penesta Dika works as a free-lance curator in Vienna and teaches at the University of Art in Linz (Austria) and at the University for Business and Technology in Prishtina (Kosovo). She is the founder of the Association SciTechArt in Vienna. The purpose of the association is education, promotion, and research in scientific and technological art. In addition to research, she also integrates through her innovative curatorial concepts, artistic research, and its background into the field of exhibitions. Penesta Dika is the author of the book ‘Interactive Digital Art. Visual Motifs and their Meaning’, published by Logos in Berlin in 2017. penesta.dika@ufg.at; mail@penestadika.at

Interactive digital art is a kind of art which, since it involves programmable artworks, depends on technology. It reflects the contemporary society, where the technological developments are an integral part. But, on the other hand, the motifs that artists use in this kind of art are also present in historical art. This paper discusses the issue how does the iconography of these motives change according to its usage in digital art? What is their significance and how are the motifs presented in this kind of art? This focal point will be addressed using traditional methods known from art history, and also using methods that are already established in the field Glowing Globe

Science - Fiction - Art

48 Oliver Grau

TRANSPARENCY AND PARTICIPATION: On Digital Arts Political Impact for our Democratic Societies

and visualization; and therefore it became, we might say, “the legitimate, the art of our time”, thematizing complex challenges for our lives and societies; like genetic engineering and post-human bodies, climate, migration, the image, and media revolution, the virtualization finance markets and new extremes of surveillance of human communication, just to name theme clusters. This talk offers a new approach to a concept for a concerted network of museums, libraries, and archives for collecting, preserving, and showing the art of our time in the future. Oliver Grau was appointed first Chair Professor for Image Science in the German-speaking countries at Danube University in 2005. More than 350 lectures and keynotes at conferences worldwide. Grau’s “Virtual Art”, MIT Press 2003 is with approx. 1500 citations internationally the most quoted art history monograph since 2000. His main research is in histories of media art, immersive images, emotion, the history of telepresence, artificial life, and digital humanities. Grau conceived new scientific tools for image science developing the first international archive for digital art (ADA, since 1999). Since 2005 Grau is also head of the database of Goettweig’s Graphic-Print Collection, Austria’s largest private collection with 30.000 works, from Duerer to Klimt. Grau developed new international curricula: MediaArtHistories MA, Image Science, Digital Collection Management, the EU supports the MediaArtsCultures Program with 5.5 Mio. Euro. Grau was the founding director and is chair of the MediaArtHistories Conference Series. 2005 he was elected member of the Young Academy of the BBAW & Leopoldina, 2014 he received a doctor h.c., 2015 he was elected into the Academia Europaea. https://en.wikipedia.org/wiki/Oliver_Grau

Over the last fifty years, Media Art has evolved into a vivid contemporary factor. Although there are well-attended festivals worldwide, collaborative projects, discussion forums and database documentation, Media Art is still too rarely collected by museums, barely supported within the mainframe of art history and with relatively low accessibility for public and scholars. Compared to traditional art forms - painting or sculpture – Digital Media Art has a multifarious and complex potential of expression Glowing Globe

Science - Fiction - Art

50 Ryszard W. Kluszczynski

Between the Senses. Virtual and Augmented Reality as a multimedia experience

Coover, Krzysztof Wołek), Folded Maps of Time (Marek Chołoniewski, Chris Cutler), Temporary Nation (Piotr Wyrzykowski, Echo Ho). Ryszard W. Kluszczyński, Ph.D., media art scholar, writer, and curator. Professor of media and cultural studies, Chair of Department of Electronic Media, University of Lodz, Poland. Professor at the Academy of Fine Arts in Lodz. He investigates the issues of new media arts and cyberculture, contemporary art theory and practices, avant-gardes and transdisciplinary cultural transformations, and recent interactions between art, science, technology, and politics. Artistic Director of Art & Science Meeting Program in the Centre for Contemporary Art in Gdansk (2011-). Curator of numerous exhibitions within the Program. Co-curator of traveling international exhibition United States of Europe (2011-2013). Curator of the Second International Biennale of Contemporary Art “Mediations”, Poznan 2010. Chief Curator of Film, Video, and Multimedia Arts in the Centre for Contemporary Art – Ujazdowski Castle in Warsaw (1990-2001). Some of his recent book publications: Augmenting the World. Masaki Fujihata and Hybrid Space-Time Art (2017); Human Traits. Patrick Tresset and the Art of Creative Machines (2016); Guy Ben-Ary: Nervoplastica. Biorobotic Art and its Cultural Contexts (2015); Ken Feingold: Figures of Speech (2014); Meat, Metal & Code / Contestable Chimeras: Stelarc (2014); Robotic Art and Culture. Bill Vorn and His Hysterical Machines (2014).

Discussing VR and AR as a multimedia artistic experience will focus on the forms of immersiveness in both kinds of experience: virtual and augmented. Within the scope of the investigation, the role of sound in the process of organizing multisensory experience is also examined. As a result of this exploration, proposing a typology of immersive experience in art. As the exemplary analyzed material, in particular a recent curatorial project +100: Three works that envision the emerging Avant-Garde. The project includes the following works: The Shape of Things to Come (Roderick

Glowing Globe

Science - Fiction - Art

52 Martin Kusch

Interrogating on the language of these new creative environments, this talk will present and examine artistic concepts and strategies for Digital Art production in the context of augmented and virtual realities.

Digital Art in the context of Augmented and Virtual Realities

Capturing the multiple, heterogeneous forms of presences generated by a digital culture but also critiquing the intrinsic homogeneity that emerges through processes of surveillance and control, the works discussed represent a broad spectrum of artistic research and production in the field of immersion: worlds of multi-user interactions, navigating through trans-scalar, recursive imaginary territories, harnessing both physical and synthetic worlds.

We have arrived at the threshold where Virtual Reality technologies have progressed so far that the application of immersive media technologies is already entering all spheres of public and private life, and ultimately also leading to decisive changes in artistic production.

Martin Kusch is an interdisciplinary artist, senior artist, artistic researcher, assistant professor, and director of the Fulldome/VR/AR research lab at the Department of Digital Arts, University for Applied Arts, Vienna. He is the founder and artistic co-director of the media performance group Kondition Pluriel. Martin is particularly interested in the transformation processes of electronic media within performative contexts and how digital technologies influence our perception of the body and space. He studied art history, philosophy and painting in Berlin; and media arts at the University for Applied Arts in Vienna. His artistic works have been presented and co-produced by festivals and institutions, such as Ars Electronica (Linz), CYNETart (Dresden), EMPAC (Troy), F.I.N.D (Montreal), ICA (London), ISEA (Nagoya, Helsinki, Hong Kong), Itau Cultural (Sao Paulo), Istanbul Biennale (Istanbul), La Menagerie de Verre (Paris), Lothringer Halle (Munich), MAK - Austrian Museum for Applied Arts (Vienna), Mois Multi (Quebec City), Museumsquartier Wien (Vienna), SAT (Montreal), Steirischer Herbst (Graz), RobotLove (Eindhoven), Transmediale (Berlin), ZKM (Karlsruhe), among others.

What conditions and prerequisites are required for artistic research and production, in order to produce works that augment perception into a multimodal and sensory-motoric experience, creating the possibility of rich experience of audience participation?

Glowing Globe

Science - Fiction - Art

54 Wolf Lieser

Gallery in Berlin in 2003 (dam-gallery.de). The artists he represents include BANZ & BOWINKEL, Arno BECK, Peter BEYLS, Boredomresearch, Eelco BRAND, DRIESSENS & VERSTAPPEN, Carla GANNIS, Eduardo KAC, Joan LEANDRE, Patrick LICHTY, Lorna MILLS, Manfred MOHR, Vera MOLNÁR,

Coding as Concept Art

Frieder NAKE, Casey REAS, Christa SOMMERER & Laurent MIGNONNEAU, Roman VEROSTKO, Peter VOGEL, and Mark WILSON. He was the initiator of the prestigious DAM DIGITAL ART AWARD |DDAA|, that honoured one awardee every second year for his or her life achievements. The award carried a substantial monetary prize and culminated in a solo show including a catalogue at Kunsthalle Bremen. https://dam-gallery.de/

The idea to condense an aesthetic concept with coding in an algorithm was revolutionary in the 1960s. The challenge was picked up by some visionary artists represented in the Avant-garde in Art. It took 50 years before the art world finally came to acknowledge the potential and the pioneering efforts of these artists. Digital Art in its core is a code-based art with the new developments of machine learning, artificial intelligence, augmented reality, and virtual reality. This art form will majorly affect the contemporary arts in the 21st century. Wolf Lieser runs a gallery in Berlin (Germany) under the name DAM, which is based on the online resource on the history of digital art, the Digital Art Museum at dam.org. In the gallery, he focusses on a selection of major artists of digital art (“algorithmic art”) of the last 50 years. Lieser has through a series of shows of pioneering works established himself as a leading figure in the scene of digital art. He has had galleries with a similar focus in London, Cologne, and Frankfurt. He opened DAM Glowing Globe

Science - Fiction - Art

56 Dijana Protić

Virtual reality in Croatian Contemporary Art

The presentation explores virtual reality as one of the latest trends in new media and digital art in Croatian contemporary art. Making virtual reality spaces was always challenging to artists from Gesamtkunstwek in 19. century, and Bahuahus in early 20. century till today. In Croatia, the beginning of the media art practice and visual research in the art connected with technology was the New Tendencies movement (1961-1978). In the late 1980s, the development of media art continued, but this time in a different context regarding the rapid development of digital technology and the new social and political circumstances. One of the first interactive environments generated by the computer and was Cathedral in 1988 by a group of authors. Experimenting an exploring with virtual reality is still at the beginning of the art practice and on the institutional level of the research. Centre for Innovative Media is one of the first who received support from Glowing Globe

the University of Rijeka for research and teaching students in this field. The main characteristic of today’s artistic research and presentation in virtual reality are that come from the independent scene and mostly done by a women artist and producers. In summer 2018, Schewsternsisters and Format C organized an international VR incubator where they coproduced 4 virtual reality artworks. The presentation explores production conditions, styles, and authors in virtual reality nowadays in Croatia. Dijana Protić has a Master of Fine Art (MFA) degree in dramaturgy from The Academy of Dramatic Art in Zagreb. In March 2014 enrolled Postgraduate doctoral study Publishing and Media on The Faculty of Humanities and Social Sciences in Rijeka. She received support from the University of Rijeka for the research project ‘Research on the use of digital technology in teaching among the student population’. Her research and artistic interests are related to media art, visual art, and moving images, reception of visual information, digital technology, and art. She is doing research for a Ph.D., which will examine the mapping, history, and practice of new media art in Croatia and Slovenia between 1988 and 2008. The first directed film was a short documentary film ‘Kampanja, oliva corcyrae nigra’ (Sintoment, 2009). Currently, she is working on the virtual reality project about women works in a shipyard on island Korčula (Siva zona, Sintoment), and as a collaborator in the Centre for Innovative Media at the Academy of Applied Arts - University Rijeka. https://cim.apuri.hr/en/authors/dijana-protic-2/

Science - Fiction - Art

58 Lea Vene

Envision yourself — filters, holograms, and avatars

through the extensions such as our Instagram or Facebook accounts. VR is also seen as a new model forecasting a sustainable world of immaterial garments that seemingly does not rely on the non-ethical fashion industry. VR in fashion gives the possibility for the user to constantly re-create and maintain the digital body whose existence then exceeds the boundaries of fashion and enters the realm of digital biopolitics. Our avatars are not only mannequins for the fashion garments but act as an entity captured between the customized and the supervised self. On many levels, VR is also instrumentalized as a powerful empathy machine that is consciously used to manipulate the audience by offering an authentic - IRL experience. This presentation intertwines different examples of the use of VR and augmented reality in the fashion industry and in contemporary art projects that appropriate and criticize the aesthetics of consumer capitalism.

Keywords: VR, augmented reality, fashion, digital body. This presentation is focused on the research on the role of virtual and augmented reality in the production and dissemination of fashion images. Use your smartphone as a monocle or immerse yourself in a try-on experience, is just some of the optimistic slogans we encounter daily.

Lea Vene is an art historian and cultural anthropologist. She is currently enrolled in a post-master course Critical Images at the Royal Institute of Art in Stockholm. She works as a curator in the gallery Miroslav Kraljević in Zagreb, Croatia. She’s one of the organizers of ETNOFILm (Ethnographic film festival) where she curates film, exhibition, and educational programs. Vene curates different exhibition and conference programs as part of the international photography festival Organ Vida. She is a member of association grey) (area, space for contemporary and media art, and a co-leader of projects exploring gender aspects of intangible industrial heritage. In her research in the field of visual art and anthropology, Vene constantly rethinks the role of visual media in translating elements of culture and everyday life by means of the formats of documentary film and photography (such as image/visual ethics, self-reflexive practices in film making, sensory ethnography, politics of representation, relationships between Us and Them, advocacy in visual research, participatory and community art practices).

VR and augmented reality offer new models that democratize fashion but at the same time, they heavily rely on fast fashion consumption. Virtual runways promise new access to the otherwise elitist fashion system. The front-row seat view enables us the direct participation in the fashion system

Glowing Globe

Science - Fiction - Art

FULLDOME FILM SCREENINGS

Glowing Globe

Science - Fiction - Art

Glowing Globe

Science - Fiction - Art

Astronomy Centre Rijeka Sv. Križ, 51000 Rijeka 21:00 – 21:40 Curator Martin Kusch The fulldome film program has been curated by Martin Kusch, director of the Fulldome and VR/AR Lab at the Dept. of Digital Arts, University of Applied Arts Vienna.

Laurus Edelbacher / Johannes Lampert ctrl2esc, 2015 computeranimation, 2:23 min. Marian Essl — MONOCOLOR Latent Space, 2018 audiovisual fulldome- composition, 5:05 min. Roman Hansi ODE 0.9.2.D, 2016 video, 3:33 min. Thomas Hochwallner periods of space, 2015 computeranimation, 2:14 min. Patrick K.-H. Phase-to-face, 2018 audiovisual fulldome-installation, 8:44 min. kondition pluriel Inner Voices, 2012 digital fulldome-film, 14:45 min. Stefan Krische Szenen am Strand, 2018 fulldome-animation, 4:33 min. Peter Várnai Technically Everything, 2018 fulldome-video, 3D-animation, 2:20 min.

Patrick K.-H. Phase-to-face, 2018

Glowing Globe

Science - Fiction - Art

ARTISTS TALK

Glowing Globe

Science - Fiction - Art

The University of Rijeka, Academy of Applied Arts

Slavka Krautzeka 83, 51000 Rijeka 15. November Penesta Dika, Ingeborg Fülepp, Oliver Grau, Patrick K.-H. (Anton Iakhontov), Wolf Lieser, Martin Kusch, Litto (Daniela Weiss), Dijana Protić, Michael Saup, Lea Vene, MOON - Martina Zelenika

Glowing Globe

Science - Fiction - Art

WORKSHOP

Glowing Globe

Science - Fiction - Art

KORTIL Gallery, HKD

Strossmayerova 1, Rijeka 05. – 18. October 2019 Media artist Ivana Franke has established a workshop for young artists, who are studying or have finished studies at the Academy of Applied Arts in Rijeka. In more than two weeks of hard work, participants have produced this extremely complicated and precision demanding light object – installation “Knowledge of Fireflies”, which was than exhibited in the frame of the Glowing Globe exhibition in the KORTIL gallery. Participants were Gloria Arapović, Ivana Barić, Ivan Botički, Luce Lukačić, Nives Žarković, and Mira Žeželić.

Glowing Globe

Science - Fiction - Art

ADDITIONAL PROGRAM

Glowing Globe

Science - Fiction - Art

Museum of Contemporary Art (MSU) Zagreb

Avenija Dubrovnik 17, 10010 Zagreb Theatre space Gorgona 18. November 2019 Lecture and presentation Wolf Lieser Coding as Concept Art In a frame of the manifestation Glowing Globe, Science-Fiction-Art http://www.msu.hr/dogadanja/predavanje-wolf-lieser-kodiranje-kaokoncept-umjetnosti/283.html

Glowing Globe

Science - Fiction - Art

Center for Innovative Media, Academy of Applied Arts, University of Rijeka (CIM APURI), Croatian Cultural Center (HKD) Rijeka â&#x20AC;&#x201C; KORTIL Gallery, Ministry of Culture of the Republic of Croatia, City of Rijeka, GoetheInstitut Kroatien, Austrian Cultural Forum Zagreb, Adam Mickiewicz Institute - Culture Poland, Goethe-Institut Kroatien, Austrian Cultural Forum Zagreb, Adam Mickiewicz Institute - Culture Poland, Museum of Contemporary Art (MSU) Zagreb, American Corner - Rijeka City Library, Astronomy Centre Rijeka, HKD Rijeka, Museum of Modern and Contemporary Art (MMSU) Rijeka, Peek & Poke Rijeka, ProDesign Rijeka, Student Center Rijeka.

Science-Fiction-Art

CENTAR ZA INOVATIVNE MEDIJE CENTER FOR INNOVATIVE MEDIA

Glowing Globe

Science - Fiction - Art

https://cim.apuri.hr/glowing-globe/