Expanded Animation 2019 Deep Space Expanded Animation Logo 2020 Appeal of the Analog 11th–13th September 2020

Join Us Online

This year’s Expanded Animation will be entirely virtual. Participate in the live event on YouTube.

Expanded Animation 2020

The eighth edition of the Expanded Animation symposium bears the title The Appeal of Analog and addresses the attraction of animation in the context of performance, interaction, computer games, and audio. The symposium takes place as part of the media art festival Ars Electronica 2020 (September 9th–13th) and carries on a process initiated in 2013 that regularly presents theoretical positions and perspectives from the art world, the field of R&D, and the industrial sector. Due to the Covid19 pandemic, the media festival and thus also this year’s symposium will mainly take place in virtual space.

The panel Artist Position kicks off the symposium with cutting-edge contributions from Réka Bucsi (HU), Max Hattler (DE/HK), and Erick Oh (KR/US). The second day is dedicated to the topics Real Time and Art & Industry, followed by a panel discussion regarding A New Media Manifesto from London. The event concludes with the Prix Forum, featuring the winners of the Prix Ars Electronica Computer Animation category, Miwa Matreyek (US), Maja Gehrig (CH), and Randa Maroufi (MA/FR), as well as the online screening of Electronic Theater, a current selection of computer-animated films.

In cooperation with the University for the Creative Arts, Farnham, the symposium will spend the third day examining the interactions between animation and audio from a scientific perspective. Researchers and artists were asked to submit contributions on the subject of Synaesthetic Syntax: Sounding Animation/Visualising Audio. This scientific/artistic survey features a keynote presentation from the media artist Rose Bond (CA/US), followed by three panel discussions on the topics of Hearing Colour Seeing Sound, In Front of Your Eyes and Ears, and The Kinaesthetics of Music and Vision.

Leading thinkers from industry, practice, and education will discuss the need and consensus for a A New Media Manifesto. Wide-ranging topics such as The Survival of Subculture in a Global Economy, Long-term Projected Trends in Education, and A New Plurality will be led by J. Harry Whalley (UK) and Laura Lee (UK/DE) from www.audio-research.com at UCA, followed by examples of performance and practice.

Two workshops, Unreal Game Engine and Procedural Concepts in Modeling and Animation will also take place at the Hagenberg campus of the Upper Austria University of Applied Sciences as part of the symposium. The courses are also accessible to virtual attendees and offer insight into procedural animation techniques and the production of filmmaking with game engines.

SPEAKERS

This year we are proud to feature amazing speakers from all around the world.

Prix Forum

Miwa Matreyek
plus

Miwa Matreyek

semihemisphere.com

Maja Gehrig
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Maja Gehrig

Gehrigtrick & Sohn

Randa Maroufi
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Randa Maroufi

randamaroufi.com

Artist Position

Réka Bucsi
plus

Réka Bucsi

Réka Bucsi

Erick Oh
plus

Erick Oh

ErikOh.com

Max Hattler
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Max Hattler

City University of Hong Kong

Real-Time: Appeal of the Analog

Leonhard Müllner & Michael Stumpf
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Leonhard Müllner & Michael Stumpf

Total Refusal

Leonhard Lass & Gregor Ladenhauf
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Leonhard Lass & Gregor Ladenhauf

DEPART

Friedrich Kirschner
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Friedrich Kirschner

University of Performing Arts Ernst Busch

Johannes Pfeifer
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Johannes Pfeifer

Lightword Productions

Art & Industry

Roman Rappak
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Roman Rappak

Miro Shot

Kate Edwards
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Kate Edwards

Geogrify

Synaesthetic Syntax: Sounding Animation / Visualising Audio

Rose Bond
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Rose Bond

rosebond.com

João Pedro Oliveira
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João Pedro Oliveira

UC Santa Barbara

Fred Collopy
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Fred Collopy

Case Western Reserve University

Vicky Smith
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Vicky Smith

University for the Creative Arts

Umut Eldem
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Umut Eldem

Royal Conservatoire Antwerp

Eric Dyer
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Eric Dyer

ericdyer.com

Sama Mara
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Sama Mara

musicalforms.com

Alexander Stublić
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Alexander Stublić

stublic.de

Giusy Caruso & Bavo Van Kerrebroeck
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Giusy Caruso & Bavo Van Kerrebroeck

Ghent University

A New Media Manifesto

Laura Lee
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Laura Lee

University for the Creative Arts

Dennis DeSantis
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Dennis DeSantis

Ableton

Harry Whalley
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Harry Whalley

University for the Creative Arts

Stuart Hilton
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Stuart Hilton

stuarthilton.com

Eduard Solaz
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Eduard Solaz

IKLECTIK

Jury – Prix Ars Electronica / Computer Animation

Peter Burr
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Peter Burr

PeterBurr.org

Birgitta Hosea
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Birgitta Hosea

University for the Creative Arts

Mathilde Lavenne
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Mathilde Lavenne

mathildelavenne.com

Mimi Son
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Mimi Son

Kimchi and Chips

Erick Oh
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Erick Oh

ErikOh.com

PROGRAM

This year’s symposium features five distinct tracks: the Prix Forum, the panel Artist Position, Real-Time: Appeal of the Analog, Art & Industry, and the Synaesthetic Syntax conference.

All scheduled times are local Austrian time (Europe/Vienna). Use the dropdown below to switch to a different timezone.

Workshop “Unreal Game Engine” Day 1, Part 1

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/R90pgTLWwug

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 1, Part 1

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/nOc176iJZ00

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 1, Part 2

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/mzVzTOsxoLs

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 1, Part 2

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/kgJHJbr9WNs

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 2, Part 1

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/qHOzecK1FwE

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 2, Part 1

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.ea

2 h 30 min

https://youtu.be/OLM0k72gBWA

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 2, Part 2

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/ULCLxrQTQG8

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 2, Part 2

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/7Wn-b5JBwts

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 3, Part 1

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/CN3ByfLTT50

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 3, Part 1

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/3Ia1wjBewXk

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 3, Part 2

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/qKfGOW3l5aU

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 3, Part 2

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/izsWPWQzTbE

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 4, Part 1

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/_4WjkMnlgRI

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 4, Part 1

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/_4WjkMnlgRI

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Workshop “Unreal Game Engine” Day 4, Part 2

The course offers an introduction to the Unreal game engine and consists of two parts: the first part explains Unreal's essential functions. The introduction covers the editor interface, material creation, lighting options, or visual scripting using the blueprint system. The second part refers to game development's conceptual and narrative perspective using the Unreal game engine (topics: storytelling in games, level design).

2 h 30 min

https://youtu.be/OkhG49A1A74

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/
Lukas Paul

Lukas Paul (AT) is a game developer based in Austria. He is currently doing his masters in Interactive Media at the University of Applied Sciences, Upper Austria. Lukas has created various games, including Deserving Life, an escape-room game available free on Steam.

http://lukaspaul.com/

Workshop “Procedural Concepts in Modeling and Animation” Day 4, Part 2

The course offers an introduction to design with procedural techniques for creating content for animation and games. Workflows for procedural design and the parameterization of objects are in focus at the beginning of the course and thus provide the basis for the interactive creation of content for games and animation. Furthermore, time-based procedural techniques such as solver and dynamics systems will be discussed, which can be used to create animations and visualize algorithms. The software SideFx Houdini serves as a basis for this, in which the areas SOPs, DOPs, VOPs, and VEX are covered.

2 h 30 min

https://youtu.be/RlkhhFFJSb8

Elmar Glaubauf

Elmar Glaubauf (AT/DE) is a 3D designer from Austria loving to explore new approaches in Animation and Design. After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, he worked at the University of Applied Sciences. During his studies, he also started freelancing as a designer and 3d artist, working for agencies […]

https://elmar-glaubauf.at/

Welcome

In collaboration with the Upper Austria University of Applied Sciences Hagenberg Campus, the 8th Expanded Animation symposium carries on a process launched in 2013: to map the wide-ranging domain of animated worlds of imagery beyond well-trodden paths. The symposium stays the course originally set at its inception and presents theoretical positions and perspectives from the art world, the R&D field, and the industrial sector. Its mission: To function as a driving force advancing interdisciplinary discourse. This year’s symposium, under the title Appeal of the Analog, offers several panel discussions on current trends in the extended field of computer animation.

15 min

https://youtu.be/vtQe5jxieSo

Gerfried Stocker

Gerfried Stocker (AT) is a media artist and an engineer for communication technology and has been artistic director and co-CEO of Ars Electronica since 1995. In 1995/96 he developed the groundbreaking exhibition strategies of the Ars Electronica Center with a small team of artists and technicians and was responsible for the setup and establishment of […]

https://ars.electronica.art/
Juergen Hagler

Juergen Hagler (AT) studied art education, experimental visual design, and cultural studies at the University for Art and Design in Linz, Austria. He currently works as a professor of Computer Animation and Animation Studies in the Digital Media department at the Hagenberg Campus of the University of Applied Sciences Upper Austria. Since 2014 he a […]

https://research.fh-ooe.at/de/staff/215
Alexander Wilhelm

Alexander Wilhelm (AT) studied Industrial and Interaction Design at the UFG Linz and the ZHDK, Zurich. With his company “The Visioneers,” he worked for clients like Audi and BMW for more than a decade in the field of interaction design and visualisation. 2011 he became a professor for design and animation at the University of […]

https://research.fh-ooe.at/de/staff/21048

Artist Position – Réka Bucsi Makes Movies

This talk gives an overview of how Réka started making animated films since she graduated from Moholy-Nagy University of Art and Design in Budapest in 2013. She will discuss each of her movies individually, including some process and production experiences. Réka is an independent animation filmmaker, trying to get her films to cinemas. She works with unconventional narratives, which presents its own set of challenges when it comes to a pitch, a distribution plan, or when dealing with an audience in general. Réka has been balancing commission and personal work for the past 7 years and will give the audience a brief insight into her experiences.

45 min

https://youtu.be/vtQe5jxieSo

Réka Bucsi

Réka Bucsi graduated from the MOME Budapest animation department in 2013. Her graduation film “Symphony no. 42” got shortlisted for the Oscars in 2014. Her films were screened in competitions at various festivals, including Berlinale, Annecy, SXSW, and Sundance. Réka’s debut film “LOVE” was nominated for Best Short Film at the European Film Awards. Her […]

Artist Position – Max Hattler: Appeal of the Analogue: Real-Word Abstractions

In stop motion and photography-based animation, meaning is anchored within the real world. In abstract animation, how do analog sources impact the viewer’s reading of moving image work, compared with digitally-derived materials set within a virtual space that is removed from the everyday? How does the function of representation and symbolism differ, depending on whether the work is set within an analog or a digital space? Through a discussion of some of his photography-based films, including Serial Parallels, Shift, and Concrete Abstraction: Road Triptych, Max Hattler proposes some answers to these questions and offers suggestions on how they can be leveraged as creative filmmaking techniques.

45 min

https://youtu.be/vtQe5jxieSo

Max Hattler

Max Hattler (DE/HK) is an artist and academic who works with abstract animation, video installation, and audiovisual performance. Max studied at Goldsmiths and the Royal College of Art and holds a Doctorate in Fine Art from the University of East London. His work has been shown at festivals and exhibitions worldwide. Awards include Annecy, Punto […]

http://www.maxhattler.com/

Break

1 h 15 min

Artist Position – Erick Oh: Making of OPERA

“OPERA” is an animation installation project designed by Erick Oh, an award-winning filmmaker, and a former Pixar animator. It is an 8K-size single-channel animation of 5 minutes that can be played infinitely in the gallery space. “OPERA” can be simply defined as a contemporary animated edition of the Renaissance fresco mural paintings. Driven by the spirits of Bosch, Michelangelo, Botticelli, and more, Erick portrays, in his own signature whimsical and surreal way, our human society and history, filled with beauty and absurdity. Viewers will experience the range of in-depth emotions through this epic reflection of human life: it is hopeful, funny, thoughtful, yet scary and sad. This piece is not only a living piece of art but an invitation to question the mechanisms of your society and behavior. The universality of its message will move everyone”s heart and thoughts. Erick has independently created this with a team of his fellow artists in his spare time within the 4 years of production time. He'll personally share this journey for the first time at Ars Electronica.

45 min

https://youtu.be/s_OS0yJPuZw

Erick Oh

Erick Oh (KR/US) is a Korean filmmaker/artist based in California, USA. His films have been introduced and awarded at numerous film festivals, including Academy Awards, Annie Awards, Annecy Animation Festival, Zagreb Film Festival, SIGGRAPH, Anima Mundi, and more. With his fine arts background in Seoul National University, Korea, and film at UCLA, USA, Erick became […]

http://erickoh.com/

Real Time – DEPART: Virtual Gardening in “The Entropy Gardens”

What is the “nature” of the post-digital reality, and how can we construct a garden from it? Drawing on and investigating humanity’s maybe most archetypical art (garden-making), we challenge its myths, aesthetics and modes of perception by combining poetry and generative coding to construct a spellbinding and surreal utopian place. In the form of an open-ended simulation, we construct a hermetic, virtual garden as a poetic ecosystem—a psychic landscape that is foremost a complex audiovisual experience. It admits the visitor into a place that is equally challenging and contemplative (and at times a little weird). It sacrifices faithful realism in order to embrace the digital condition with its glitches, malleability, and potential uncanniness. The whole environment is in constant flux, ceaselessly negotiating its rules and generating narrative structures. There is also a strong poetic element in the form of haiku and other poetry, which is integrated both through voice and graphic elements.

45 min

https://youtu.be/gEK1j2lllcc

Leonhard Lass & Gregor Ladenhauf

Leonhard Lass (* 1978, visual artist, AT) and Gregor Ladenhauf (* 1978, sound artist, AT) both live and work in Vienna, where they steadily advance their shared vision of multimedia poetry. One of the main goals of DEPART is the conception and realization of predominantly surreal immersions. Over the course of their long-lasting collaboration, both […]

https://www.depart.at/

Real Time – All That Was Old Is New Again

As theater is developing its virtual stages, the relationship between artists, collectives, and audiences is set to be renegotiated yet again. The talk will discuss some of the systemic design questions in multiplayer environments if you do not design them for video games, but for participatory theatrical experiences, and what role physical space and bodily presence might play in them.

45 min

https://youtu.be/gEK1j2lllcc

Friedrich Kirschner

Friedrich Kirschner (DE) is a theater director and software developer. He uses game structures and technology for participatory performances and interactive installations. He is currently a professor for digital media at the University of Performing Arts Ernst Busch in Berlin, where he is heading the master’s program Spiel und Objekt.

Break

60 min

Real Time – THE HYPERREALISTIC MACHINIMA MACHINE. Challenging Commercial Video Game Aesthetics & Narratives

The majority of contemporary mainstream games employ repetitive and militaristic gameplay loops, telling the same reactionary tropes. Thus, all too often, the hyperrealistic and overwhelming digital worlds function as hegemonial reaffirmation machines and fail to fulfill this interactive medium’s potential to challenge the values of their players. One can determine that hyperrealism, which shapes the aesthetics of many mainstream contemporary video games, works a particular visual magic, the effect of which sometimes exceeds that of the real physical world. To an extent, the artistic and cinematic fascination with the medium can be explained as parasitic use of this “muscle power” of the video game industry. In parallel with the creation of a tension between content and medium, the way filmmakers exploit games’ narrative sand pits forms the central challenge of the artistic approach. To what degree can games’ visual magic be pierced or broken with the help of machinimas or art appropriations?

45 min

https://youtu.be/gSFKavojZQo

Leonhard Müllner & Michael Stumpf

The artist collective and pseudo-Marxist media guerrilla Total Refusal (Leonhard Müllner (AT), Michael Stumpf (AT), and Robin Klengel (AT)) intervenes in current video games and writes papers about games and politics. Since 2018 it has been awarded 15 prizes like the Loop Discovery Award, the Contemporary Visual Arts Award of Styria Province, and the Vimeo […]

http://www.leonhardmuellner.at/total-refusal/

Real Time – Narrative Design and Story Integration in Might & Magic: Heroes 7 and Tropico 6.

This talk will provide an overview of how we managed to bring the story to life in Might & Magic: Heroes 7 and Tropico 6, dealing with specific challenges, requirements, production limitations and expectations on an established franchise and its storytelling DNA. The story integration process will be broken down in the different stages of the production: working together with external partners, publishers, and writers as well as the development of our set of narration tools, which evolved from simple text boxes over scripted events to full fletched cinematics which we used for different storytelling purposes. I will show the departments, steps, and tools involved and share some insights on the various stages of internal and external collaboration as well as focus on some specific challenges, failures, and learnings.

45 min

https://youtu.be/gSFKavojZQo

Johannes Pfeifer

After finishing his Media Technology and Design and Digital Arts studies in Hagenberg, Johannes Pfeifer (DE) worked on several AA PC and console games, like Tropico 6 and Might & Magic: Heroes 7, at the German developer Limbic Entertainment. As part of the content design team, he primarily worked on Level Design, Lighting, Cut-Scenes, managing […]

https://lightword-productions.de/

Break

30 min

Art & Industry – Telling The Future Through Art and Technology

The role of technology has always shaped art and culture. In many ways, it is the window through which we can tell the future—with artists acting as the front line of change. Marshall McLuhan said “I think of art, at its most significant, as a DEW line, a Distant Early Warning system that can always be relied on to tell the old culture what is beginning to happen to it,” Digital art, game design, and CAD have moved into every aspect of our lives, from the buildings we live into the apps we use, creating a global, enveloping art piece, that is a hybrid of technology and aesthetics. How is this changing the way we look at the world, how is it changing the way we create, or what we create? This talk will look at the explosion of collaborative and open-source platforms and new tools that have already begun to shape our future. Everything from volumetric capture, 5G, VR, deep fakes, and real-time rendering is about to converge into a movement that will change what it means to be human and allow us to predict tomorrow’s world through today’s.

45 min

https://youtu.be/CyJetP68XdI

Roman Rappak

Roman Rappak (UK) is the frontman of the band Miro Shot, releasing their debut album CONTENT on Believe/All Points Records with Warp Publishing and East City Management. CONTENT explores the themes of data, technology, gaming, and online culture as a modern narrative of this digital era. The band started in 2017 as a collective of […]

https://miroshot.com/

Art & Industry – Forging A More Inclusive Game Industry

As the business of video games now surpasses the annual revenues of both film and music combined, public interest in pursuing a career in the game industry has staggeringly increased in recent years. This has spawned a wide variety of educational and vocational options for individuals to pursue game development, but sadly the global industry remains at around 20% women, with similar low segments from other underrepresented groups. How exactly does one get the knowledge they need and then find a job in this very competitive industry, and how can we do a better job of promoting a career in game creation to a wider, diverse audience? Come learn how to be a part of the change as Kate Edwards, a 27+ year veteran of the game industry and an outspoken advocate for its improvement, addresses the topic of building an inclusive game industry and what it takes to launch a career in the games and tech fields. This talk was made possible by SUBOTRON pro games, kindly supported by Austria Wirtschaftsservice GmbH.

45 min

https://youtu.be/CyJetP68XdI

Kate Edwards

Kate Edwards (US) is the Executive Director of the Global Game Jam, as well as the CEO and principal consultant of Geogrify, a consultancy which pioneered content culturalization. She is also a Board Member of Take This and is the former Executive Director of the International Game Developers Association (IGDA) from 2012 to 2017. In […]

http://www.geogrify.com/

Panel Discussion “A New Media Manifesto”

A New Media Manifesto Logo Leading thinkers from industry, practice, and education discuss the need and consensus for “A new media manifesto.” Wide-ranging topics such as “The survival of subculture in a global economy,” “Long-term projected trends in education,” and “A new plurality” will be led by J. Harry Whalley and Laura Lee from www.audioresearch.com at UCA, followed by examples of performance and practice.

60 min

https://youtu.be/CyJetP68XdI

Laura Lee

Laura (UK) is a creative practitioner, guitarist, composer & technologist. Currently, in the final stages of her practice-led Ph.D. ‘Post-Rock Performance Practice Post-Rock Composition and Performance Practice: Authenticity, Liveness, Creativity & Technology‘ at the University for the Creative Arts. Laura internationally lecturers on Music Composition and Technology BA Course in the Film, Media and Performing […]

Dennis DeSantis

Dennis DeSantis (US/DE) is a composer, sound designer, author, and percussionist. He received a Doctor of Musical Arts degree from the Eastman School of Music. His electronic music appears on labels such as Ghostly, Global Underground, Cocoon, and Kanzleramt, and he has performed throughout North America, Europe, and Japan. Recent highlights include commissions from the […]

https://dennisdesantis.com/
Harry Whalley

Harry Whalley (UK) is a reader in Sound and Music at the University for the Creative Arts and founder of Music Composition and Technology BA/BSc. His work spans across music and sound for media including film, games, and site-specific works. His research interests currently range from art/science collaborations and interdisciplinary practice. He is the director […]

https://www.harrywhalley.com/
Stuart Hilton

Stuart makes experimental films using animation and other related methods and lecturers in animation. He also composes music for films and is a drummer for power pop punk rock band Cult Figures.

http://stuarthilton.com/
Eduard Solaz

Eduard Solaz (CAT/UK), founder and director of IKLECTIK, London. IKLECTIK focuses on experimentation in arts, sound art, installation, and cross-disciplinary works. They expand their space as a research arts laboratory where inter-disciplinary lines can overlap to create projects that explore processes and techniques, address social, political, cultural, and critical issues.

https://iklectikartlab.com/

Break

30 min

Prix Forum – Golden Nica: Miwa Matreyek

The Prix Forum is a platform for sharing cutting-edge art forms and elucidating their role in society through talks and discussions by this year’s Prix Ars Electronica winners and jury. Golden Nica winner Miwa Matreyek (US) will discuss her work “Indefinitely Yours”.

15 min

https://youtu.be/rS3DXxcqyWI

Miwa Matreyek

Miwa Matreyek (US) is an animator, designer, and performer based in Los Angeles. Coming from a background in animation, Matreyek creates live, staged performances where she interacts with her kaleidoscopic moving images as a shadow silhouette, in a dreamlike visual space that makes invisible worlds visible. Her work often weaves surreal and poetic narratives of […]

http://www.semihemisphere.com/

Prix Forum – Award of Distinction: Maja Gehrig

The Prix Forum is a platform for sharing cutting-edge art forms and elucidating their role in society through talks and discussions by this year’s Prix Ars Electronica winners and jury. Award of Distinction winner Maja Gehrig (CH) will discuss her work “Average Happiness”.

15 min

https://youtu.be/rS3DXxcqyWI

Maja Gehrig

Maja Gehrig (CH), born in 1978 in Zurich. Following a preparatory course at Zürcher Hochschule der Künste (1999–2000), she spent two years at Fachhochschule Aarau, Media Arts department (2000–2002) before taking up an internship at Eesti Joonisfilm, Tallinn (2002–2003). From 2003–05 she attended HSLU (Hochschule Luzern, Design & Kunst) animation department. She worked as curator […]

http://www.gehrigtrick.ch/

Prix Forum – Award of Distinction: Randa Maroufi

The Prix Forum is a platform for sharing cutting-edge art forms and elucidating their role in society through talks and discussions by this year’s Prix Ars Electronica winners and jury. Award of Distinction winner Randa Maroufi (FR) will discuss her work “Bab Sebta”.

15 min

https://youtu.be/rS3DXxcqyWI

Randa Maroufi

Randa Maroufi (MA/FR). Born in 1987 in Casablanca. She currently lives and works in Paris. The experimental works of filmmaker and artist Randa Maroufi explore an elastic awareness of reality. Her films and moving images often employ special effects and other formal devices that alter perceptions of time, space, and movement. She has received many […]

https://www.randamaroufi.com/

Prix Forum – Award Ceremony

The Prix Forum is a platform for sharing cutting-edge art forms and elucidating their role in society through talks and discussions by this year’s Prix Ars Electronica winners and jury. The Award Ceremony honors the winners of the Golden Nica, Miwa Matreyek (US) as well as the Award of Distinction winners Maja Gehrig (CH) and Randa Maroufi (FR).

15 min

https://youtu.be/rS3DXxcqyWI

Miwa Matreyek

Miwa Matreyek (US) is an animator, designer, and performer based in Los Angeles. Coming from a background in animation, Matreyek creates live, staged performances where she interacts with her kaleidoscopic moving images as a shadow silhouette, in a dreamlike visual space that makes invisible worlds visible. Her work often weaves surreal and poetic narratives of […]

http://www.semihemisphere.com/
Maja Gehrig

Maja Gehrig (CH), born in 1978 in Zurich. Following a preparatory course at Zürcher Hochschule der Künste (1999–2000), she spent two years at Fachhochschule Aarau, Media Arts department (2000–2002) before taking up an internship at Eesti Joonisfilm, Tallinn (2002–2003). From 2003–05 she attended HSLU (Hochschule Luzern, Design & Kunst) animation department. She worked as curator […]

http://www.gehrigtrick.ch/
Randa Maroufi

Randa Maroufi (MA/FR). Born in 1987 in Casablanca. She currently lives and works in Paris. The experimental works of filmmaker and artist Randa Maroufi explore an elastic awareness of reality. Her films and moving images often employ special effects and other formal devices that alter perceptions of time, space, and movement. She has received many […]

https://www.randamaroufi.com/

Prix Forum – Discussion

The Prix Forum is a platform for sharing cutting-edge art forms and elucidating their role in society through talks and discussions by this year’s Prix Ars Electronica winners and jury. For this year’s Prix Forum, the following themes in each category will be discussed:

  • What is “+” of Interactive Art in the Age of Uncertainty? (Interactive Art + Category)
  • What does community mean to you, and how do you try to leverage communities to drive social change? (Digital Communities Category)
  • What is “Animation”? — How do you “Animate” the work? (Computer Animation Category)

30 min

https://youtu.be/rS3DXxcqyWI

Peter Burr

Peter Burr (US) is an artist from Brooklyn, NY. A master of computer animation with a gift for creating images and environments that hover on the boundary between abstraction and figuration, Burr has, in recent years, devoted himself to exploring the concept of an endlessly mutating labyrinth. His practice often engages with tools of the […]

http://www.peterburr.org/
Miwa Matreyek

Miwa Matreyek (US) is an animator, designer, and performer based in Los Angeles. Coming from a background in animation, Matreyek creates live, staged performances where she interacts with her kaleidoscopic moving images as a shadow silhouette, in a dreamlike visual space that makes invisible worlds visible. Her work often weaves surreal and poetic narratives of […]

http://www.semihemisphere.com/
Maja Gehrig

Maja Gehrig (CH), born in 1978 in Zurich. Following a preparatory course at Zürcher Hochschule der Künste (1999–2000), she spent two years at Fachhochschule Aarau, Media Arts department (2000–2002) before taking up an internship at Eesti Joonisfilm, Tallinn (2002–2003). From 2003–05 she attended HSLU (Hochschule Luzern, Design & Kunst) animation department. She worked as curator […]

http://www.gehrigtrick.ch/
Randa Maroufi

Randa Maroufi (MA/FR). Born in 1987 in Casablanca. She currently lives and works in Paris. The experimental works of filmmaker and artist Randa Maroufi explore an elastic awareness of reality. Her films and moving images often employ special effects and other formal devices that alter perceptions of time, space, and movement. She has received many […]

https://www.randamaroufi.com/
Paul Guilbert

Paul Guilbert (FR) was responsible for the special effects of Randa Maroufi’s “Bab Sebta”.

Electronic Theatre Online Screening

Since 1987, the Electronic Theatre has compiled a large number of submissions from all over the world, providing an up-to-the-minute survey of animation art in the context of technology and society. It impressively illustrates the dynamic development of artistic computer animation over the past three decades as well as the expansive growth of various fringe areas. A glance at the works selected this year shows a broad range, from animation in the context of performance and installations to real-time animation and multifaceted, subject-based discussions. The program offers humorous and ingenious commentaries on social media, online dating, data mining, and surveillance capitalism, as well as infographics and data visualizations. A film experiment breaks down a border town into its individual parts, a photographic exploration opens new perspectives on the city of Hong Kong, and another experimental film examines the collective memory of soccer fans. Two Honorary Mentions this year went to VR projects, including a surreal experience based on the childhood memory of the director in Taiwan from around 1970. In an installation with a collage of hundreds of video clips taken in subway stations, the visitor is placed in the role of a voyeur in order to reflect on the cycle of everyday life. This year’s Golden Nica winner combines live performance, sculpture, theater, and animation: the artist places her body at the center of the projection and invites us to reflect on the consequences of material affluence and climate change.

  1. Infinitely Yours, 2020 | Excerpted documentation of live performance | Creation, animation, and performance: Miwa Matreyek (US) | All Music: Morgan Sorne (US) | Prix Ars Electronica 2020 / Golden Nica
  2. Average Happiness | Maja Gehrig (CH) | Prix Ars Electronica 2020 / Award of Distinction
  3. Bab Sebta | Randa Maroufi (FR) | Prix Ars Electronica 2020 / Award of Distinction
  4. Pile | Toby Auberg (SE) | Prix Ars Electronica 2020 / Honorary Mention
  5. Recursive Truth | Rachel Rossin (US) | Prix Ars Electronica 2020 / Honorary Mention
  6. Serial Parallels | Max Hattler (DE/HK) | Prix Ars Electronica 2020 / Honorary Mention
  7. The Entropy Gardens (VR screen capture) | DEPART (AT) | Prix Ars Electronica 2020 / Honorary Mention
  8. This Means More | Nicolas Gourault (FR) | Prix Ars Electronica 2020 / Honorary Mention
  9. #21xoxo | Sine Özbilge (TR), Imge Özbilge (TR) | Prix Ars Electronica 2020 / Honorary Mention
  10. Underground Circuit | Yuge Zhou 周雨歌 (CN) | Prix Ars Electronica 2020 / Honorary Mention
  11. The Sky is on Fire | Emmanuel van der Auwera (BE) | Prix Ars Electronica 2020 / Honorary Mention
  12. Squarepusher / Terminal Slam | Daito Manabe (JP), Kenichiro Shimizu (JP) | Prix Ars Electronica 2020 / Honorary Mention
  13. Bodyless (excerpt of VR screen capture) | Hsin-Chien Huang (TW) | Sponsored by Taiwan Creative Content Agency |  Prix Ars Electronica 2020 / Honorary Mention
  14. Toomas Beneath the Valley of the Wild Wolves | Chintis Lundgren (EE) | Prix Ars Electronica 2020 / Honorary Mention

120 min

https://youtu.be/rS3DXxcqyWI

Synaesthetic Syntax – Keynote: Sounding Together – Choreographing the Unpredictable

Given the theme “Synaesthetic Syntax: Sounding Animation – Visualizing Sound,” this keynote will address the synesthetic pairing of animation and music. Rose Bond will take a cursory look at the experimental coupling of sonic vocabulary and abstract animation in work by Hans Richter and Viking Eggeling, jump ahead to Stan VanDerBeek’s expanded cinema era in the 60s and 70s and then fast track to three 21st century sound/sight collaborations with symphonies. Her goal is to raise questions and evolve some notions about the ‘experimental’ and the political nature of expanded cinema. The latter half of this talk will address ‘syntax’ as in structures and ordered arrangements in what she likes to call the visual choreography of multi-screen animated projection. Rose Bond will concentrate on a recent work for Luciano Berio’s Sinfonia that was set to premiere on the 14th of March 2020. Two days before the opening, gatherings of 250+ people were banned. During this keynote is the first time excerpts of her animation will be screened publicly.

30 min

https://youtu.be/ROBdJk1A8oI

Rose Bond

Rose Bond (CA/US) produces work at the juncture of expanded cinema, experimental animation, and experiential design. Her large-scale animated installations navigate the allegories of place and illuminate urban space. Recent work includes multi-screen projections for avant-garde composers Olivier Messiaen‘s Turangalîla-Symphonie and Luciano Berio’s Sinfonia. With roots in frame-by-frame, hand-drawn animation, she now focuses on public […]

http://rosebond.com/

Synaesthetic Syntax – Welcome

5 min

https://youtu.be/ROBdJk1A8oI

Birgitta Hosea

Birgitta Hosea (SW/UK) is an artist, filmmaker, and researcher in expanded animation. Exhibitions include Venice & Karachi Biennales; Oaxaca & Chengdu Museums of Contemporary Art; InspiralLondon; Hanmi Gallery, Seoul. She has a solo exhibition at ASIFAKeil, Vienna in April 2020. Included in the Tate Britain and Centre d’Arte Contemporain, Paris, archives, she has been awarded […]

http://www.birgittahosea.co.uk/
Juergen Hagler

Juergen Hagler (AT) studied art education, experimental visual design, and cultural studies at the University for Art and Design in Linz, Austria. He currently works as a professor of Computer Animation and Animation Studies in the Digital Media department at the Hagenberg Campus of the University of Applied Sciences Upper Austria. Since 2014 he a […]

https://research.fh-ooe.at/de/staff/215

Synaesthetic Syntax – Panel I Introduction: Hearing Colour Seeing Sound

5 min

https://youtu.be/ROBdJk1A8oI

Birgitta Hosea

Birgitta Hosea (SW/UK) is an artist, filmmaker, and researcher in expanded animation. Exhibitions include Venice & Karachi Biennales; Oaxaca & Chengdu Museums of Contemporary Art; InspiralLondon; Hanmi Gallery, Seoul. She has a solo exhibition at ASIFAKeil, Vienna in April 2020. Included in the Tate Britain and Centre d’Arte Contemporain, Paris, archives, she has been awarded […]

http://www.birgittahosea.co.uk/

Synaesthetic Syntax – Expanded Cinema and Para Animation: More than Audio and Visual

Cinema communicates through the audio and the visual and rarely exploits or examines the possibility of appearing beyond this twofold sensory relationship. This presentation proposes that in many works of expanded and experimental cinema, perceptual overspill exceeds the two more distance senses of seeing and hearing to encompass the proximity of touch, and this third sense is also central to synaesthesia in cinema. Sound is received through vibrations that come into contact with membranes in the ear, and in this regard, it is the sense of touch that enables us to hear. Certain works of expanded cinema deploy technologies of sound reproduction in ways that stimulate the whole body as a listening organ. In Bicycle Tyre Track (2012), Vicky Smith cycled along a 16mm strip of clear film with greased bicycle wheels, leaving black blocks and lines that both looked and sounded noisy. Performed at Tate Britain (2014), the bass was amplified to the degree that, upon projection, the tracks generated a pounding rumble that could be heard through the feet. If conventional cinema tends to disregard the potential of sound to touch our whole bodies, that which is visual is even less exploited for its capacity to contact us at a physical level. Nevertheless, some theories and practices do propose the visual in terms of its tactile qualities. Filmic imagery that is highly textural and emphasizes the material substrate of grain and exposure for example, is difficult to see and so promotes a tactile gaze. Such imagery encourages a multisensory bodily relationship between the viewer and the image (Marks 2000: 171-2). Annabel Nicolson’s Matches (1975), is an example of haptic looking that lies at the extremities of expanded cinema. This piece demands absolute darkness, broken only by the flicker from several matches lit by performers who read for the brief duration of the flame. In consideration of a nomadic relationship to space, Deleuze suggests that stretches of snow and sand are ‘smooth’ and navigated at close range, they become haptic. In contrast to these bright expanses where reflective light makes long-range sight difficult, Matches works with the material of darkness. When the light is extinguished, the visual space is re-framed to become smooth and tactile. Further, the role of flicker and intermittent seeing in Matches gives the work a quality of para-animation. The haptic qualities in Matches and other of Nicolson’s pieces will be discussed along with Smith’s works and in terms of how consideration of the role of touch in the audio/visual hierarchy of cinema produces novel forms of animation. The haptic will be proposed as a means to stimulate a rethinking of the relationships between the senses and as a way of opening up new readings of expanded cinema. Deleuze, G. and Guattari, F. (1987). ‘The Smooth and the Striated”, A Thousand Plateaus: Capitalism and Schizophrenia, trans Brian Massumi, Minneapolis: University of Minnesota Press, 474-500. Marks, L. (2000). The Skin of the Film: Intercultural Cinema. Durham. N.C: Duke University Press.

20 min

https://youtu.be/ROBdJk1A8oI

Vicky Smith

Dr. Vicky Smith (UK) is an experimental animator. Her practice-driven Ph.D. pursued an inquiry into relations between the body, technology, and materials with regard to experimental film and modernist theory.

Synaesthetic Syntax – Presence and Interaction in Synaesthetic Space

In this 20 minute lecture, Alexander will introduce the interactive VR project “Innerland,” which moves between synesthesia and a multi-perspective narration. The art project is based on the piano concerto Opus 25 by Viktor Ullmann (1898–1944). It consists of a technically complex new recording of the piano concerto in 3D sound and a virtual reality media art installation. In the interactive installation “Innerland,” genre-spanning film and sound recordings made during the 3D music production are combined to create dreamlike scenes. In the medium of the game engine, a visual language is created for the cinematic presentation of a concert, which enables multi-perspective views. Together with the free choice of the viewer's point of view in VR, an alternative spatial narrative is created. Documentary/biographical scenes form a separate walk-in background to a largely abstract image-art space experience, in which the work establishes a strong thematic reference to early abstract film works, in whose time of the 1920s and 1930s the piano concerto was also created. Objects, colours, movements, and sound are directly intertwined, as all instruments were recorded individually and can thus be freely grouped. The viewer decides for himself how he wants to attend the music performance. The topic of abstract experimental film and Alexander Stublić's involvement with it began about 20 years ago. The aspects mentioned will be shown in extracts from the installation.

20 min

https://youtu.be/ROBdJk1A8oI

Alexander Stublić

Alexander Stublic (DE) studied media theory, philosophy, and media art at the HfG Karlsruhe. With new techniques, 3D objects, and VR, he emphasizes the penetration of simulation into the real in his most recent work. In addition to exhibitions at the ZKM | Karlsruhe and the Kunsthalle Baden-Baden, he took part in international festivals such […]

https://www.stublic.de/

Synaesthetic Syntax – A Hidden Order – Revealing Connections Between Geometry and Music Through Harmony and Mathematics

A Hidden Order is an award-winning project that explores the relationship between music and visual arts. The project has been performed or exhibited across the globe, including the Saatchi Gallery London, Abu Dhabi Art Fair, Istanbul, Miami, Seoul South Korea, Athr Gallery in Jeddah Saudi Arabia, and the Aga Khan Museum in Toronto. At the core of this project is Sama Mara's groundbreaking method that translates directly between music and visual art. The system reveals a one-to-one correspondence between rhythm and pattern, and musical notes are translated into colour. This is made possible by drawing upon the mathematical foundations of both music and pattern and applying geometric principles found in traditional Islamic Arts and modern mathematical fields, including fractal geometry and aperiodic tiling. The method of translation was originally implemented in a computer program using Processing, making possible a real-time translation from music to visual arts for live performances, animations, an interactive platform, and high-quality digital prints. The reverse translation from visual art to music was implemented by hand and was a core part of the creative process that led to the original showing of A Hidden Order in 2014 made in collaboration with composer Lee Westwood. The programme is currently being recoded in C++ and TouchDesigner, enabling a far richer and more captivating visualisation. For Expanded Animation 2020 Sama Mara presents the core aspects of the method at the heart of the A Hidden Order project, sharing a selection of the works, and discussing aspects of the unique creative processes that were explored. For example, it is possible to design and create geometric patterns entirely through musical composition, or to create musical motifs from a geometric pattern, and to translate back and forth between these two during the creative mediums to arrive at a final work that is at once a musical piece and a visual artwork. We are also able to apply musical compositional devices directly into a visual counterpart, for example the development of themes, layering of motifs, and structuring of the final composition that are so common in musical composition all have an equivalent visual representation.

20 min

https://youtu.be/ROBdJk1A8oI

Sama Mara

Sama Mara (UK) is an award-winning Visual Artist and Geometer. Having completed his bachelor’s degree in Music and Visual Arts at Brighton University in 2004, he went on to study for his MA in Traditional Arts at the Prince’s School of Traditional Arts in London, 2010. His research has been guided by his two-decades-long inquiry […]

http://musicalforms.com/

Synaesthetic Syntax – Panel I Discussion

30 min

https://youtu.be/ROBdJk1A8oI

Birgitta Hosea

Birgitta Hosea (SW/UK) is an artist, filmmaker, and researcher in expanded animation. Exhibitions include Venice & Karachi Biennales; Oaxaca & Chengdu Museums of Contemporary Art; InspiralLondon; Hanmi Gallery, Seoul. She has a solo exhibition at ASIFAKeil, Vienna in April 2020. Included in the Tate Britain and Centre d’Arte Contemporain, Paris, archives, she has been awarded […]

http://www.birgittahosea.co.uk/

Break

80 min

Synaesthetic Syntax – Panel II Introduction: In Front of Your Eyes and Ears

5 min

https://youtu.be/DwoIOeYb-e0

Harry Whalley

Harry Whalley (UK) is a reader in Sound and Music at the University for the Creative Arts and founder of Music Composition and Technology BA/BSc. His work spans across music and sound for media including film, games, and site-specific works. His research interests currently range from art/science collaborations and interdisciplinary practice. He is the director […]

https://www.harrywhalley.com/

Synaesthetic Syntax – PIANO PHASE for Two Pianists in VR

The digital revolution across our contemporary culture is leading towards a new way of thinking and placing the artistic practice that contributes to removing the boundaries between art and science/technology (Tanaka, 2014). Consequently, the interaction with technology in performing arts is increasingly gaining prominence as a catalyst for the transformation of the traditional aesthetic definitions of musical experience and approaches (Paine, 2002; Frederickson, 1989). The application of cutting-edge technological tools is boosting an aesthetic renovation and, besides classical approaches, artists and researchers are all the more stimulated to achieve new performative actions and expressions (Vanoeveren, 2018; Leman 2016).

  • How does the impact of technology modify and renovate the aesthetic and the creative approach to music interpretation and practice?
  • To what extent does the interaction with cutting-edge technology affect and potentiate performers’ musical expression?
  • How can technological and immersive musical experiences enhance the communication of music and the engagement of the contemporary audience?
To explore ways to apply interactive and immersive technology in music performance, this project proposes a (re)interpretation of the contemporary pieces “Piano Phase” (1967), originally written for two pianos (or piano and tapes) by the American composer Steve Reich. This multimedia performance was conceived at the ASIL lab in Ghent, among the studies on musical expressivity and interaction with technology conducted at the Institute of Psychoacoustic and Electronic Music (IPEM) of Ghent University. The minimalist piece “Piano Phase” presents the challenge for two pianists asked to perform a repetitive twelve-note melodic figure in the attempt to apply Reich’s “phasing” technique. Starting in sync, the two pianists have to slightly shift with occasional re-alignments of the twelve successive notes against each other. Reich’s artistic challenge was to experience and show the process of phasing and dephasing in music performance. This perspective was the triggering idea that led to conceiving a multimedia and innovative immersive performance for piano and electronics in VR. A pianist was asked to perform the piece in real-time by interacting with the sound, previously recorded, and with her avatar projected in VR. This performance presents an immersive audio-visual experience for listeners performed by one live, ‘real’ pianist interacting with his/her virtual counterpart. Both pianists are placed inside a virtual environment, which can be accessed through a VR head-mounted display. The virtual counterpart is created using motion capture and audio recording transformed into a controlled animation during the performance. The live, ‘real’ pianist, was originally also motion tracked and animated in the VR environment, but for this performance, only the hands will be tracked and visualised using a Leapmotion controller. The live pianist plays on a digital keyboard generating MIDI output from which his/her tempo and relative phase in the piece are tracked. This tempo and phase information is then used to dynamically couple and control the virtual pianist using the Kuramoto model for non-linear coupled oscillators. The “mirroring process” of a pianist playing together with her avatar in virtual reality pursues both a scientific and artistic aim. This project has several scientific goals. First, we want to investigate the differences in subjective experience, kinematics, and musical output when playing with real or virtual musical partners. Second, we want to create controlled conditions allowing to investigate underlying principles in musical interaction from the viewpoint of coordination dynamics. The artistic goal is to experiment with the creative ways to integrate technology in music performance, in this case, by a re-interpretation of an existing repertory for piano and electronic, in augmented reality. The aim is to boost innovation in music performance practice and create new artistic and interactive performer-machine formats to enhance the communication of contemporary music to the audience by triggering immersive experience in VR. Documentation: a demo executed at ASIL LAB – De Krook, Ghent https://youtu.be/GlVaMPCotzM

20 min

https://youtu.be/DwoIOeYb-e0

Giusy Caruso & Bavo Van Kerrebroeck

Giusy Caruso (IT/BE) is an artist-researcher, musicologist, and professional concert pianist, oriented to a futuristic approach to music performance that connects art and science applications. Her research explores on one side the novel forms of human-machine interaction, in particular, the role of the cutting-edge technology for the analysis of gestures and sound in piano playing […]

Synaesthetic Syntax – Towards a “Live Synaesthetic Visualisation”? Considerations in Artistically Visualised Sound

The concept of live audio visualisation and related techniques are incredibly commonplace in today’s art and media world. Due to its technical accessibility, many art music and popular music performances use generated light, lasers, and projections that follow the rhythm or the other modalities of the performed music. However, there still exists a gap between the perceived aesthetic multi-sensory quality of live visualisations and that of pre-made animations created to visually reflect the qualities of music. This gap is mostly due to the fact that many live visualisation techniques rely on translating a single musical parameter (such as the rhythm, pitches, chord types, etc.) into a single visual parameter (brightness, colour, etc.), usually making use of mathematical correspondences. Furthermore, pre-made animations have the advantage of careful consideration during the creative process, making more integrated audiovisual approaches possible. While a performance with live visualisation can be prepared in a similar way, such an intricacy is usually not possible in improvised performances. In this lecture Umut Eldem will introduce the problem of “Live Synaesthetic Visualisation”—a possible live visualisation method that would take the synaesthetic syntax and cross-modal correspondences as a starting point of translating multiple modalities of musical information, as an alternative to mapping singular mathematical correspondences. Such a live visualisation is valuable both in prepared and improvised audiovisual performances, as the spontaneity of the musician is reflected in the visual response. This results in a more integrated experience between the senses, and in an audiovisual unity that is traditionally captured in pre-animated visual music. The experience of shapes of different sizes, textures, and visual movement among with the experience of colour is existent in certain of cases of sound-colour “strong synaesthesia.” [Martino, G., and Lawrence E Marks. 2001. “Synesthesia: Strong and Weak.” Current Directions in Psychological Science 10 (2): 61–65.] There also exists a correlation between synaesthesia and cross-modal associations to a certain degree, within the parameters of pitch height, timbre, brightness, and visual shape. [Ward, J., Huckstep, B., and Elias Tsakanikos. 2006. “Sound-Colour Synaesthesia: to What Extent Does It Use Cross-Modal Mechanisms Common to Us All?.” Cortex 42 (2). Elsevier: 264–80.] Taking these correspondences and the qualities of synaesthesia as a starting point, it can be possible to construct flexible live visualisation tools that are both multi-modal (having multiple musical elements correspond to multiple visual elements), perception-based (instead of mathematical correspondences), and intuitive. Such an approach creates new and interesting possibilities of audiovisual performance. The lecture will introduce examples of historical visualisation methods from the development of colour organs to current software. The possible tools for such a multi-modal visualisation will be discussed, and audiovisual examples derived from such methods will be presented. Such a discussion will hopefully create new perspectives for people from both aural and visual disciplines.

20 min

https://youtu.be/DwoIOeYb-e0

Umut Eldem

Umut Eldem (BE) took part in several interdisciplinary projects as part of his composition studies at the Royal Conservatoire of Antwerp. The most notable are the Word-Composition, Dance-Composition, and Sketch the Sound. For these projects, the Composition Department collaborated with the Word Department, Dance Department, and the Royal Academy of Fine Arts. Eldem participated in the Kolla Festival and […]

Synaesthetic Syntax – Panel II Discussion

25 min

https://youtu.be/DwoIOeYb-e0

Harry Whalley

Harry Whalley (UK) is a reader in Sound and Music at the University for the Creative Arts and founder of Music Composition and Technology BA/BSc. His work spans across music and sound for media including film, games, and site-specific works. His research interests currently range from art/science collaborations and interdisciplinary practice. He is the director […]

https://www.harrywhalley.com/

Break

30 min

Synaesthetic Syntax – Panel III Introduction: The Kinaesthetics of Music and Vision

5 min

https://youtu.be/SmdrpfNiEsw

Juergen Hagler

Juergen Hagler (AT) studied art education, experimental visual design, and cultural studies at the University for Art and Design in Linz, Austria. He currently works as a professor of Computer Animation and Animation Studies in the Digital Media department at the Hagenberg Campus of the University of Applied Sciences Upper Austria. Since 2014 he a […]

https://research.fh-ooe.at/de/staff/215

Synaesthetic Syntax – Gesture Interaction Between Sound and Image

This presentation analyzes several possibilities of interaction between image movement and sound, under the perspective of gestural and textural relations. Departing from theorists such as Hatten, Smalley, Wishart, and Chion, who analyzed the idea of gesture and texture in music, we present several examples from the cinema repertoire (Hitchcock, Lawrence, Kubrick, Reggio, Tarkovski), as well as some author's experimental videos, where specific gestures in the image interrelate with sound/music gestures, in ways that can have multiple meanings, or go beyond the direct translation of one into the other. Gesture will be analyzed structurally related to its energetic potential, emotion induction, movement, and meaning/metaphor. Other concepts such as causality, energy-motion-trajectory, articulation of a continuum, hierarchical levels, and disturbances, analyzed by the authors mentioned above, will also be applied to the sound-image relation.

20 min

https://youtu.be/SmdrpfNiEsw

João Pedro Oliveira

Portuguese-born composer Professor João Pedro Oliveira (PT/US) holds multiple degrees in various areas, in architecture (BS, Lisbon School of Fine Arts, 1981), organ performance (Superior Degree, Gregorian Institute, Lisbon, 1985), music theory (MA, SUNY/Stony Brook, 1988), and composition (MA, 1987 and Ph.D., 1990, SUNY/Stony Brook). From 1985 to 1990, he was a Fulbright Scholar in […]

http://www.jpoliveira.com/

Synaesthetic Syntax – Visual Synthesizer Design: Where Modern Art Was Headed

“With Romanticism and the rise of instrumental music, composers developed a language that allowed them to connect directly with human emotion, one in which an idea and its expression were one. Music’s content is perceived entirely through its tonally moving forms (Herzog). All of the other arts, painting most of all, shared in an envy of music so that in 1888 the critic Walter Pater famously wrote: “all art constantly aspires to the condition of music.” Modernist art arose in part from this search for principles to function something like the basso continuo in music (Herzog). For many artists, it was also driven by their search for a new visual aesthetic, something that had been in the air since Newton’s Optics was published in the 17th century. By 1912, the poet and art critic Guillaume Apollinaire was predicting that modern art was about to become “an art that would be to painting…what music is to literature (p. 197).” And in his 1923 essay The Future of Painting, Wright argued that modern art was less about painting than about light and movement and more a performance art, like music. Many modern artists wrote in specific terms about how painting and music inform and complement each other. In this paper, I describe how I use insights from painters such as Paul Klee, Leopold Survage, Georgia O’Keefe, and Karl Gerstner as hypotheses to guide the design of a visual synthesizer. Kandinsky, for example, proposed that amplitude in music relates to thickness of line in painting: “The pressure of the hand upon the bow corresponds perfectly to the pressure of the hand upon the pencil (Kandinsky, p. 618).” I apply such hypotheses to creating visual interpretations of musical passages. The resulting clips play a role much like that of the pencil tests produced by animators while conceiving and developing a film. Synthesizer inventor Robert Moog was clear about the challenges of instrument design. “Music-making requires both the musician and the listener to function at the very limits of their perceptive and cognitive capabilities. Therefore a musical instrument has to be as effective as possible in translating the musician’s gestures into the sonic contours that he is envisioning. When he performs, the musician feels his instrument respond as he hears the sounds that it produces. In terms of modern information theory, the musician-instrument system contains a multiplicity of complex feedback loops (Pinch and Trocco, p. vi).” This project engages a similar sensibility around the design of synthesizers for our eyes. Apollinaire, Guillaume, “On the Subject in Modern Painting,” 1912 in Apollinaire On Art, L. C. Breunig [ed.], 1960, p. 197. Kandinsky, Wassily, “Point and Line to Plane,” 1926 in Kandinsky: Complete Writings On Art, K. C. Lindsay and P. Vergo [eds.], 1994, p. 618. Trevor Pinch and Frank Trocco, Analog Days: The Invention and Impact of the Moog Synthesizer, 2002, p. vi. Pater, Walter, “The School of Giorgione, “ Fortnightly Review, 1888. Wright, Willard Huntington, The Future of Painting, 1923.

20 min

https://youtu.be/SmdrpfNiEsw

Fred Collopy

Fred Collopy (US) is a Professor Emeritus of Design and Innovation at Case Western Reserve University. He published in the areas of visual instrument design, managing as designing, forecasting methodology, and information technology.

http://rhythmiclight.com/

Synaesthetic Syntax – Physical Presence and Material Desire: Eric Dyer’s Sculptural and Performative Animation Art Practice

Animation is still a young art form with many underexplored avenues of expression. Although the lay-person’s view of animation is still predominantly as entertainment on screens, it can also be used for participatory sculpture, immersive kinetic environments, live performance, and other experiences of exploration and discovery. I draw on these expanded ideas of animation through works based on one of the keystones of animation—the zoetrope, or “wheel of life.” This paper focuses on two branches of my art practice—sculptural animation and performance animation. My initial forays into zoetrope-based art-making began as a rebellion against my then usual process of making work at a computer screen. I needed to touch and feel the animation again, so when I discovered around the recent turn of the century that digital video cameras could replace zoetrope slits, I began to make films from spinning paper sculptures. Moving beyond process alone, materiality also became critical to my art’s final manifestation. With the help of engineers, I developed systems that synthesized modern microcomputers, sensors, and LEDs with older optical toys and pre-cinematic technologies—for new animated sculptures and installations that demand very specific types of attention on the part of their “audience,” requiring direct participation in order to make the works “come to life.” The public’s wonder-filled reaction to the work and their participation with it seems related to my deep need to create it—I believe this is because the developed world has very recently experienced a dramatic shift. Work, play, and socializing had formerly involved our bodies in motion, our collected senses, and our physical presence. Today these activities can be and often are accomplished remotely, virtually, and with our nearly static selves, seated and/or staring at screens. Perhaps we are collectively feeling the loss of physicality and tactility, leaving us with a craving for human connections to our world. And with fabricated realities so common in traditional media, witnessing material objects coming to life in a fantastic way reawakens our sense of wonder. I’ve also been experimenting with live performance, spinning zoetrope-discs live, like a DJ spins records, with a camera fed to a projection instead of a needle and amp. The collective experience of performer and audience is another facet of human connection, another way to answer the cravings. This burgeoning practice mashes-up elements of magic lantern storytelling, DJing, animation, and improvisation. I am currently collaborating with composer-musician Rudresh Mahanthappa, Director of Princeton University” s Jazz Program. Contemporary jazz performance weaves together intuitive interpersonal communication, artistic individuality, and creating in-the-moment—applying such parameters to my method of visual performance has been an exciting challenge and a welcome counterpoint to the often precise and calculated processes of making animated art. My work in the above areas helps reveal the numerous artistic paths zoetrope art could take—an expansive territory of expressive potential stretches out in front of this tactile, participatory, mandala-like form of motion-art. For this paper, I will present my processes, reflections, and completed sculptural and performative animated artworks.

20 min

https://youtu.be/SmdrpfNiEsw

Eric Dyer

Artist and filmmaker Eric Dyer (US) brings animation into the physical world with his sequential sculptures and installations. His work has been widely exhibited at events and venues such as the Smithsonian National Gallery of Art, Ars Electronica, the London International Animation Festival, the screens of Times Square, and the Cairo and Venice Biennales. He […]

http://www.ericdyer.com/

Synaesthetic Syntax – Panel III Discussion

30 min

https://youtu.be/SmdrpfNiEsw

Juergen Hagler

Juergen Hagler (AT) studied art education, experimental visual design, and cultural studies at the University for Art and Design in Linz, Austria. He currently works as a professor of Computer Animation and Animation Studies in the Digital Media department at the Hagenberg Campus of the University of Applied Sciences Upper Austria. Since 2014 he a […]

https://research.fh-ooe.at/de/staff/215

Synaesthetic Syntax – Closing Note

30 min

https://youtu.be/SmdrpfNiEsw

Birgitta Hosea

Birgitta Hosea (SW/UK) is an artist, filmmaker, and researcher in expanded animation. Exhibitions include Venice & Karachi Biennales; Oaxaca & Chengdu Museums of Contemporary Art; InspiralLondon; Hanmi Gallery, Seoul. She has a solo exhibition at ASIFAKeil, Vienna in April 2020. Included in the Tate Britain and Centre d’Arte Contemporain, Paris, archives, she has been awarded […]

http://www.birgittahosea.co.uk/
Rose Bond

Rose Bond (CA/US) produces work at the juncture of expanded cinema, experimental animation, and experiential design. Her large-scale animated installations navigate the allegories of place and illuminate urban space. Recent work includes multi-screen projections for avant-garde composers Olivier Messiaen‘s Turangalîla-Symphonie and Luciano Berio’s Sinfonia. With roots in frame-by-frame, hand-drawn animation, she now focuses on public […]

http://rosebond.com/
Juergen Hagler

Juergen Hagler (AT) studied art education, experimental visual design, and cultural studies at the University for Art and Design in Linz, Austria. He currently works as a professor of Computer Animation and Animation Studies in the Digital Media department at the Hagenberg Campus of the University of Applied Sciences Upper Austria. Since 2014 he a […]

https://research.fh-ooe.at/de/staff/215

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Expanded Animation Publication

Expanded Animation – Mapping and Unlimited Landscape

The symposium Expanded Animation began in 2013 and offered a first approach to the expanding field of computer animation. It has since become an established part of the Ars Electronica Animation Festival and the international competition Prix Ars Electronica Computer Animation. Every year under an overarching theme, the symposium has researched the field of technology, art, animation, and aesthetics, investigated the collapsing boundaries in digital animation, and explored positions and future trends. As with the first conferences on computer animation at Ars Electronica in the 1980s, practice and theory are equally important. The richly illustrated publication Expanded Animation: Mapping an Unlimited Landscape features contributions from speakers and artists from the past six years and presents an overview of the prize winners in prix category Computer Animation from 2011 to 2018.

250 pages, 250 Illustrations

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LIVESTREAMS

SYNAESTHETIC SYNTAX

Image from Oregon Symphony Orchestra’s performance of Luciano Berio’s Sinfonia, courtesy of Rose Bond, 2020
Image from Oregon Symphony Orchestra’s performance of Luciano Berio’s Sinfonia, courtesy of Rose Bond, 2020

Synaesthetic Syntax: Sounding Animation / Visualising Audio

Submission deadline: 17th May 2020
Symposium details: Sunday 13th September 2020, Live Broadcasting Event during the Ars Electronica Festival
Submission link: https://easychair.org/conferences/?conf=ea2020

Faced with the infinite possibilities of faking through digital production, might there be a craving to return to that which is material and sensible: work that is improvised, spontaneous, and can be experienced fully with all the senses? A move away from simulated, synthetic perfection to the handcrafted and the imperfect, which evidences the trace of human touch and intimate presence?

This year the Expanded Animation events at Ars Electronica extend into a dialogue about relationships between the senses, in particular the auditory and the visual. What are the rules, principles, and processes that govern correlations between sound and animation? How might these be explored, unpacked and reassembled?

Keynote Speaker

Our Keynote Speaker is media artist, Rose Bond, who produces work at the juncture of cinema, animation and experiential design. She will be presenting her latest animated collaboration with the Oregon Symphony Orchestra on a live performance of Luciano Berio’s Sinfonia.

Submission Guidelines

In response to these themes, we call for academics and artists to propose 20-minute papers that bring the disciplines of music, audio art, and animation together from a variety of perspectives: from historical or theoretical analysis to new and surprising practice. The proposal should include an abstract of no more than 500 words (including references) and a short biography of no more than 200 words.
Submission is via Easy Chair at https://easychair.org/conferences/?conf=ea2020 where you will be prompted to set up a free Easy Chair account. All selected speakers will be given a free pass to the 2020 Ars Electronica Festival.

List of Topics

Suggested topics include

Hearing Colour Seeing Sound

Can music become visual? How did pioneers of visual music such as Oskar Fischinger and Mary Ellen Bute translate melody, harmony, and rhythm into the form of animation? And can moving drawings become music? Is Oramics, Daphne Oram’s drawn sound machine, a form of animation? How can historic and/or contemporary practice demonstrate synaesthetic syntax?

In Front of Your Eyes and Ears

With a perceived disparity between the slow time taken to create animation and the instant time taken to perform music, how can animation be performed live? Can the audio and the visual be combined in improvised performance? How can live, hand scribing or music notation or coding or drawing be used to conjure spontaneous audio-visual performance? What is gained from real-time, instant creation in the present moment

Rhythmanalysis

Repetition and difference is at the heart of rhythm, at the heart of the algorithm, at the heart of animation, at the heart of lived experience. Rhythm is everywhere. From the natural – visceral, internal rhythms of the body breathing and the heart pumping or the slow changing of the seasons; to the artificial – externally imposed rhythms ordering us through the ticktock of mechanical clock-time or the ebb and flow of economic cycles. How does rhythm connect audio and animation? What might animation learn from audio and music theory and vice versa?

A Return to the Material

In an age of digital synthesis is there a craving for a return to the material? Do we long for haptic feedback and analogue experience: the touch of guitar strings, the feel of charcoal smearing under the fingers, banging a drum, painting on film? Is this simply a form of nostalgia or might it be thought through in new ways? How can it be brought together in the audio-visual?

Movement and Gesture

Whether performing an instrument or making marks for drawing, the gestural is a core part of human expression. How can kinaesthetic gesture be explored to create new kinds of audio-visual
experiences?

Organising Committee

The organisation is a collaboration between:

  • Animation Research Centre, University for the Creative Arts, Farnham, UK;
  • Audio Research Cluster, University for the Creative Arts, Farnham, UK;
  • University of Applied Sciences Upper Austria, Hagenberg;
  • Ars Electronica.

Venue

The conference will be held as a live and prerecorded online broadcast as part of Ars Electronica Festival 2020.

Contact

All questions about submissions should be emailed to animationresearch@uca.ac.uk

PARTNERS & CREDITS

Partners

The symposium has been made possible by a collaboration between the Digital Arts program at the Hagenberg Campus of the University of Applied Sciences Upper Austria, the University for the Creative Arts and the Ars Electronica Festival.

Media Partners

Supported by

Organization

Expanded Animation is brought to you by a group of dedicated people from the University of Applied Sciences Upper Austria, Hagenberg Campus (FH OÖ), and the University for the Creative Arts, Farnham, UK (UCA).

Conference Organizers (FH OÖ)

Jeremiah Diephuis
Juergen Hagler
Wolfgang Hochleitner
Roland Keil
Michael Lankes
Patrick Proier
Christoph Schaufler
Alexander Wilhelm

Conference Organizers (UCA)

Birgitta Hosea
Laura Lee
Harry Whalley

Team (FH OÖ)

Daniela Braunsdorfer | Web
Simon Breithofer | Trailer
Christian Feichtinger | Web, Audio
Philipp Forstner | Tech Support
Thomas Fürst | Graphics
Nils Gallist | Social Media
Daniela Krückl | Audio
Julian Salhofer | Audio
Jessica Studwell | Teaser

Copyright 2020 Expanded Animation