2019 Media Arts and Technology End of Year Show
Friday, June 7th, 2019
5pm – 9pm
California NanoSystems Institute (CNSI)
University of California, Santa Barbara, Elings Hall
MADE [at] UCSB
During the talk we would provide an overview of the research-creation activities of our collaboration, Performance, Art, and Cyber-Interoceptive Systems (PACIS). PACIS has been exploring how technology can help us create deeper connections with the world around us, each other, and ourselves by combining the latest advances in bioinformatic sensing technology with physiological awareness techniques found in The Batdorf Technique (TBT). Primary outputs of this research involve the development of new and novel interfaces that integrate complex physiological data in performance and computational art contexts. The talk will include a small demonstration consisting of an explanation and demonstration of TBT, a discussion of the implications of connecting somatically aware performers to biosensors, and a demonstration using interoception as a content driver for computational art via the PACIS Pak wearable biosensing system.
Erika Batdorf (www.batdorf.org), has written, created, performed, directed and choreographed original performance art, theatre and movement theatre since 1983. Her award winning productions have been shown in Canada, the United States, and all over Asia and Europe. She is a Professor in Theatre atYork University with over 25 years, having taught at institutions such as Boston Conservatory, Brandeis University, Emerson College and the University of Alaska Anchorage. Central to her research-creation activities is the Batdorf Technique, a Somatic education technique that systematizes the full scope of a performer’s work from the early stages of interoceptive awareness to the complicated juggling of this somatic work with layers of external structure. The technique organizes the practitioner’s access to specifically located awarenesses that can be consciously modulated to vary the kinaesthetic state being communicated to an audience. Through he work in the Batdorf Technique she has has been a guest artist in universities and theatres internationally.
Kate Digby (digbydance.org) is a performer, choreographer, and movement teacher. In addition to creating over 30 original dance works which have been presented across the U.S., Digby has worked with Batdorf for nearly 20 years collaborating on both artistic projects and focused research into the methods and effects of the Batdorf Technique. Digby is also a Registered Yoga Teacher and anticipates certification in two Somatic Movement Education programs developed by Dr. Martha Eddy: BodyMind Dancing® and Moving for Life DanceExercise for Recovery® by June 2016.
Mark-David Hosale (www.mdhosale.com) is a computational media artist and composer and Professor in Digital Media at York University. His solo and collaborative work has been exhibited internationally at festivals, conferences, museums, galleries and universities. Mark-David’s research and work explores the boundaries between the virtual and the physical world. His work as an artist and composer is an interdisciplinary practice that is often built on collaborations with architects, scientists, and other artists in the field of computational arts. The output of his work results primarily in the creation of interactive and immersive installation artworks and performances. His research activities support his work and are concerned with the development of custom solutions (electronics hardware and software), primarily for the development of technology-based interactive art works, using open source and open platform resources in their development. He is also invested in a parallel theoretical practice that has been focused on a concept called worldmaking. Works that focus on worldmaking attempt to construct immersive realties that express an essence of experience that reveal the ontology of philosophical propositions. Concepts in the worldmaking discourse are primarily drawn from cybernetics, phenomenology, and Deleuzian philosophy.
Alan Macy (alanmacy.com) is the Research and Development Director, past President and a founder of BIOPAC Systems, Inc. He designs data collection and analysis systems, used by researchers in the life sciences, that help identify meaningful interpretations from signals produced by life processes. Trained in electrical engineering and physiology, with over 30 years of product development experience, he is currently focusing on psychophysiology, emotional and motivational state measurements, magnetic resonance imaging and augmented/virtual reality implementations. He presents in the areas of human-computer interfaces, electrophysiology, and telecommunications. His recent research and artistic efforts explore ideas of human nervous system extension and the associated impacts upon perception. As an applied science artist, he specializes in the creation of cybernated art, interactive sculpture and environments.
For more information about the MAT Seminar Series, go to: seminar.mat.ucsb.edu.
Dr. Moorer will present an informal sneak preview of his latest musical work-in-progress. This new work-in-progress, based on spoken voice, will have its official première in Fall 2019 at CCRMA, Stanford.
James "Andy" Moorer is one of the pioneers of computer music. With bachelors degrees in applied mathematics and in computer science from MIT, he received his PhD in computer science from Stanford University in 1975. Together with John Chowning, Andy Moorer was codirector and cofounder of Stanford's Center for Computer Research in Music and Acoustics (CCRMA) in the 1970s.
Between 1977 and 1979, he was a scientific advisor to IRCAM in Paris. Between 1980 and 1987, while vice-president of research and development at Lucasfilm's The Droid Works, he designed the Audio Signal Processor (ASP) which was used in the production of sound tracks for Return of the Jedi, Indiana Jones and the Temple of Doom, and others, including the well-known company THX, and its Deep Note audio logo.
In 1991, he won the Audio Engineering Society Silver award for lifetime achievement. In 1996, he won an Emmy Award for Technical Achievement with his partners, Robert J. Doris and Mary C. Sauer for Sonic Solutions "NoNOISE" for Noise Reduction on Television Broadcast Sound Tracks. In 1999, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award for his pioneering work in the design of digital signal processing and its application to audio editing for film. He recently retired from management of audio R&D at Adobe.
Audio-visual performances and installations by the MAT community in downtown Santa Barbara, on the first Thursday of every month.
"Come Hither to Me!" is an interactive robotic performance piece, which examines the emotive social interaction between an audience and a robot. Our interactive robot attempts to communicate and flirt with audience members in the gallery. The robot uses feedback from sensors, auditory data, and computer vision techniques to learn about the participants and inform its conversation. The female robot approaches the audience, picks her favorites, and starts charming them with seductive comments, funny remarks, backhanded compliments, and personal questions. We are interested in evoking emotions in the participating audience through their interactions with the robot. This artwork strives to invert gender roles and stereotypical expectations in flirtatious interactions. The performative piece explores the dynamics of social communication, objectification of women, and the gamification of seduction. The robot reduces flirtation to an algorithm, codifying pick-up lines and sexting paradigms.
The X-43A Hypersonic Experimental (Hyper-X) Vehicle in Benefield Aenechoic Facility at Edwards Air Force Base radio January 2000. Photo: Tom Tschida. Image is free of Copyright / courtesy of NASA.
Marko Peljhan’s work revolves around two fundamental aspects of the world today: the technological developments in communication, transport, and surveillance; and the highly complex systems of political, economic, and military power driving such developments and employing them in administration, control, production or military applications. The potentials of technology are introduced into art as a way of confronting the systems of governance and their strategies. Peljhan’s art has thus evolved into a process involving a cartography of "signal territories," an analysis of the role of technology in society, particularly as it relates to power structures, a reflection on the possibilities of a different, creative and resistant use of technological means, and, ultimately, the creation of socially useful models of resistant behaviors in the contemporary social system. The theatrical dimension of Peljhan’s art plays a crucial role in this; his best-known project Makrolab can in this sense be interpreted as a technological laboratory and a social stage based on the concept of micro-performance.
At the Venice Biennale, Peljhan will present a work from his Resolution series. This series, which has evolved over some 20 years, proposes some specific material and applicable solutions to certain problems in society. It is the artist’s response to the state in which the world finds itself today, calling for a rediscovery of space and a utopian response to the rapid changes in the environment. In this sense, the autonomous vessel produced as part of the "Here we go again… SYSTEM 317" project is a colonizing, apocalyptic and pirating tool of sorts. In it, Peljhan brings together his vision, the potential for and the impossibility of a final exit from our rapidly deteriorating planetary conditions in a process he calls “reverse conversion.” He first employed this methodology in his "TRUST-SYSTEM" series, which focused on the conversion of cruise missile technology and later, unmanned systems for civil counter-reconnaissance. The artist proposes the construction of a counter-privateering machine intended for the days when the world’s great empires find themselves, once again, in confrontation—and one characterized by a grave lack of responsibility together with great destructive potential.
Reincarnation is a virtual reality art experience, based on French surrealist painter Yves Tanguy's paintings in combination with my creation of pseudo-natural beings. Reincarnation intends to amplify the experience of original artworks by creating an agent-based spatial narrative and a surreal aesthetic for visual, audio, motion, and interaction. Reincarnation is also an artistic search of animism in various matters, and it challenges the anthropocentric worldview in an artificial intelligence era. By providing a multi-perspective experience, it calls for people's empathy for human beings as well as other organic creations, artifacts, places, and abstract entities.
"Touching Affectivity" is an interactive sculpture whose vocalizations are sonifications of the way it is touched. The creature experiences its world through pressure sensors and handmade conductive fur, which can detect different types of touch. Exhibit guests can interact with the creature while listening to the creature’s response. Aspects of the conductive fur signal affect the speed, volume, filters, and the timbre of the synthesized sound. The parameters chosen for the sound generation algorithm are grounded in prior research in emotive vocal communication and emotive music. This work explores how gesture can be used to produce sound and communicate emotion.
"BeHave" by Sihwa Park
This paper presents BeHAVE, a web-based audiovisual piece that explores a way to reveal the author’s mobile phone use behavior through multimodal data representation, considering the concept of indexicality in data visualization and sonification. It visualizes the spatiality and overall trend of mobile phone use data as a geographical heatmap visualization and a heatmap chart. On top of that, BeHAVE presents a mode for temporal data exploration to make a year of data perceivable in a short period and represent the temporality of data. Based on a microsound synthesis technique, it also sonifies data to simultaneously evoke visual and auditory perception in this mode. As a way of indexical visualization, BeHAVE also suggests an approach that represents data through mobile phones simultaneously by using WebSocket. Ultimately, BeHAVE attempts to not only improve the perception of self-tracking data but also arouse aesthetic enjoyment through a multimodal data portrait as a means of self-representation.
This VR project is a conceptual response to "Ground Truth" in the modern AI age. From a neural network (NN) that is trained to recognize thousands of objects, to a NN that can only generate binary outputs, each NN, like human beings, has its own understanding of the real world, even when the inputs are the same. LAVIN provides an immersive responsive experience, that allows you to visually explore one understanding of a NN in which the real world is mapping to less than a hundred daily objects. LAVIN constantly analyzes the real world via a camera, and outputs semantic interpretations in which the audience navigates, in a virtual world that consists of all of the fluid abstract structures that are designed and animated based on the photogrammetry of daily objects that the NN can recognize.
In the Digital Age - Experiencing Architecture and Music Through STEM - Course Description
In this course, we will challenge what you think architecture and music are by examining how the intersection of these topics evolved over time through the lens of human experience and the digital age. For example, the way in which theme parks are intentionally designed or the role that a musical score plays in movies to enhance or manipulate the audience's experience. You will learn the basic concepts of digital architecture and computer music through exercises using physical and digital modeling, 3D fabrication, haptics (touch sound), and interactive design highlighting how new media technologies and fabrication tools have allowed for the integration of STEM and the fine arts. Students will attend a field recording workshop and develop a hands-on studio project to learn creative techniques in music composition and sound making. In addition, students will develop oral communication and formal presentation skills through a series of workshop project presentations. By the end of the course, you will develop the methodologies for an interdisciplinary research project. This is an excellent opportunity for participants interested in both science and art, to increase their skills and knowledge towards their college education.
Media Arts and Technology (MAT) at UCSB is a transdisciplinary graduate program that fuses emergent media, computer science, engineering, electronic music and digital art research, practice, production, and theory. Created by faculty in both the College of Engineering and the College of Letters and Science, MAT offers an unparalleled opportunity for working at the frontiers of art, science, and technology, where new art forms are born and new expressive media are invented.
In MAT, we seek to define and to create the future of media art and media technology. Our research explores the limits of what is possible in technologically sophisticated art and media, both from an artistic and an engineering viewpoint. Combining art, science, engineering, and theory, MAT graduate studies provide students with a combination of critical and technical tools that prepare them for leadership roles in artistic, engineering, production/direction, educational, and research contexts.
The program offers Master of Science and Ph.D. degrees in Media Arts and Technology. MAT students may focus on an area of emphasis (multimedia engineering, electronic music and sound design, or visual and spatial arts), but all students should strive to transcend traditional disciplinary boundaries and work with other students and faculty in collaborative, multidisciplinary research projects and courses.