EASTN

EASTN-DC

European Art-Science-Technology Network for Digital Creativity


EASTN-DC CONCEPT

EASTN-DC

 

Origin

The European Art - Science - Technology Network (AST) emerged from several European institutions involved in research, technology development, creation and education in the field of technologies applied to artistic creation. This network is coordinated by ACROE and supported by the Culture Program of the European Union. Since its launch in January 2014, this network has allowed the reception in residence of 40 European artists or collectives, and the creation of many unique pieces.

Concept and objectives

The European Digital Science and Technology Network for Digital Creativity (EASTN-DC) is a follow-up to EASTN and is a forerunner of the next digital revolution.
After the first phase, known as the "calculating machine", with the intensive development of computing power and its democratization, after the second phase, known as the "communicating machine", with the development of the Internet and large-scale uses, the third phase is in gestation and will be just as revolutionary as the two previous ones.
In this phase, "machines will address all the sensory and active means of humans", a phase forecast by interactive and multimodal technologies. This phase, in turn, will allow for sensitive creation and communication.
The EASTN-DC project puts forward the idea that it will be possible for the citizen not only to follow this evolution but to anticipate, guide and concentrate it. The main objective is the active acculturation of society, reaching out to a wider public. The second objective, closely linked to the first, is to build capacity - training and education.

Methodology

The EASTN-DC project aims to stimulate and support the new and profound emerging paradigm shifts. In order to do so, the project proposes to experiment a new methodology in the field of art and culture that closely and agilely links five essential yet separate clusters of the transformations inherent to the digital revolution : Research | Creation | Educational | Diffusion | Valorisation.
To counterweight the great disciplinary forces, they must be cross-fertilized, in the very act of creating, whether it be technological creation or artistic creation, or pedagogical creation, or innovations in dissemination or industrial transfer. Transversality is put forward as an object of experimentation, even as a cultural object.

Research | Creation | Educational | Diffusion | Valorisation which will cooperate in the EASTN-DC project

Graphic : Research | Creation | Educational | Diffusion | Valorisation, which will cooperate in the EASTN-DC project.


Domain and actors

EASTN-DC's field of intervention is confined to the digital arts in which the temporal dimension is sought, in musical arts, inteactive visual arts or all performing or interactive arts of any nature.
Experimenting an agile loop between Research | Creation | Educational | Diffusion | Valorisation involves associating the players in each of these divisions closely and innovatively: researchers and engineers, artists, teachers and educators, cultural broadcasters and the digital industries. The relationship between each of these players is of course cross-examining.

Three central questions :

  • The question of rematerialization or "re-tangibility":
    Digital has pushed the dematerialization of the processes of creation to the extreme. Today, more and more experiments try to counter this dematerialization by emphasizing processes of re-materialization, or re-tangibility, in order to restore the body its full place in the act of creation.
  • The question of creation and/or distribution formats :
    The formats of work and its presentation to the public pose challenges to the structures, which are not flexible enough to accommodate variable sound spatialization devices, interactive installations, often multi-sensory works, and in relation to an individual or collective work, for a fixed or mobile audience. Constraints generate very partial and often very expensive fallback solutions, and towards the digital whole, thus excluding at the outset certain bodily and/or collective practices.
  • The question of the relationship to technology :
    Technology, Technophilia, Technophobia ? The current electrical and information technologies are causing highly contradictory postures of technophilia, or of technophobia. These controversies are particularly vivid in the field of artistic creation. Can technology be a positive factor for creativity, either individual and/or collective ? How ? Why ?



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EASTN-DC : concept

Origine
Le réseau européen Art–Science–Technologie (AST) nait sous l’impulsion de plusieurs institutions européennes impliquées dans la recherche, le développement de technologies, la création, et l’éducation dans le domaine des technologies appliquées à la création artistique.
Ce réseau est coordonné par l'ACROE et soutenu par le programme Culture de l’Union Européenne. Depuis son lancement en janvier 2014, ce réseau a permis l’accueil en résidence de 40 artistes ou collectifs européens et la création d’autant de pièces inédites.

Concept et objectifs
Le projet EASTN-DC s’inscrit dans le prolongement de EASTN, dans la perspective de la prochaine révolution numérique.
Après la première phase, dite de la « machine calculante », avec le développement intensif de la puissance des ordinateurs puis de leur démocratisation, après la seconde phase, dite de la « machine communicante », avec le développement de l’Internet et des usages de grande ampleur qui en ont découlé, la troisième phase est en gestation et sera tout autant révolutionnaire que les deux précédentes. Ce sera la phase de la « machine s’adressant à tous les moyens sensoriels et actifs des humains », dont on voit déjà les prémices dans les technologies de l’interaction et de la multimodalité. Cette phase, à son tour, permettra de créer et de communiquer de manière sensible.
Le projet EASTN-DC formule l’idée qu’il sera possible pour le citoyen non pas uniquement de suivre cette évolution, mais de l’anticiper, de la guider et de l’orienter.
L’objectif principal est l’acculturation active de la société, donc le développement des publics. Le deuxième objectif, intimement lié au premier, est de renforcer les capacités - formation et éducation

Méthodologie
Le projet EASTN-DC se propose de stimuler et d’accompagner les nouveaux et profonds déplacements de paradigme que l’on voit poindre. Et pour cela, il se propose d’expérimenter dans le domaine artistique et culturel une nouvelle méthodologie qui associe étroitement et de manière agile cinq pôles essentiels, mais jusqu’à présent séparés, des transformations inhérentes à la révolution numérique : Recherche | Création | Pédagogie | Diffusion | Valorisation.
En contrepoids des grandes forces disciplinaires, il s’agit d’opérer une fertilisation croisée significative entre elles, dans l’acte même de créer, qu’il s’agisse de la création technologique ou la création artistique, ou de la création pédagogique, ou des innovations en matière de diffusion ou de transfert industriel. C’est la transversalité qui est alors mise en avant comme objet d’expérimentation, voire même comme objet culturel.

Domaine et acteurs
Le domaine d’intervention de EASTN-DC est circonscrit aux arts numériques dans lequel la dimension temporelle est sollicitée, qu’il s’agisse des arts musicaux, des arts visuels interactifs ou de tous les arts performatifs ou interactifs de quelque nature qu’ils soient.
L’expérimentation d’une boucle agile entre Recherche | Création | Pédagogie | Diffusion | Valorisation suppose d’associer étroitement et de manière nouvelle des acteurs de chacun de ces pôles : chercheurs et ingénieurs, artistes, enseignants et pédagogues, diffuseurs culturel, industries du numérique. Les rapports entre chacun de ces acteurs sont bien sûr à interroger.

Trois questionnements centraux :

  • la question de la rematérialisation ou « re-tangibilisation » : Le numérique a poussé jusqu’à l’extrême la dématérialisation des procédés de création. Aujourd’hui, de plus en plus d’expériences tentent de contrer cette dématérialisation par une mise en avant de processus de re-matérialisation ou de re-tangibilisation, afin de redonner au corps toute sa place dans l’acte de création.
  • la question des formats de création et/ou de diffusion : Les formats des œuvres et de leur présentation au public posent des défis aux structures, peu flexibles pour accueillir des dispositifs variables de spatialisation sonore, des installations interactives, des œuvres souvent multisensorielles et dans un rapport à l’œuvre individualisé ou collectif, pour un public fixé ou mobile. Les contraintes génèrent des solutions de repli, très partielles et souvent très coûteuses, et vers le tout numérique excluant alors d’emblée certaines pratiques corporelles et/ou collectives.
  • La question du rapport à la technologie. Technologie, Technophilie, Technophobie ? Les technologies actuelles de l’électricité et de l’information suscitent des postures fortement contradictoires de technophilie, ou de technophobie. Ces controverses sont particulièrement vives dans le champ de la création artistique. La technologie peut-elle être un facteur positif de créativité, individuelle et/ou collective ? Comment ? Pourquoi ?

EASTN-DC Countries


The EASTN-DC project builds on the strength of a long-standing European partnership.
The aim is to extend it considerably in terms of consortium, objectives, means of action and impact, in order to establish a European network on a sustainable basis on the theme of digital creativity by combining artistic dimensions, scientific and technological, pedagogical, dissemination and valorisation.
The construction of the EASTN-DC consortium and actions focuses on :

  1. Agile collaboration between the 5 clusters : Research - Creation - Pedagogy - Diffusion - Valorisation ;
  2. The three burning issues of re-tangibility, formats, and technology-philia-phobia.


EASTN-DC Partners

EASTN-DC brings together 17 partners, including 14 from 10 European countries and 3 from countries outside Europe.
The partners were chosen by the EASTN-DC consortium for their complementarity in relation to :

EASTN-DC Activities

Graphic : The 4 activities of EASTN-DC. The spiral arrowhead carries the 16 "Tour" festivals (Act.1), highlights of the project, nourishing a series of "Residences" (Act.2) which intercalate among themselves. The "Communication" (Act.3) and the "Coordination" are the permanent activities that support them.


The EASTN-DC project proposes to work in the study and experimentation, in full size, of the processes at the borders of the 5 Research - Creation - Pedagogy - Diffusion - Valorisation clusters.
Thus, it is not a question of developing research activities per se, or of creating activities for itself. For example, a creative activity will question or test its link with research, and/or its link with pedagogy, etc. EASTN-DC will work towards the development of these cross-border approaches, with a view to their formalization as a model until they become a culture.
The idea is to experience the means of a rapid, agile, constant collaboration between the five clusters according to the concrete actions in which they will be systematically combined.

Data Sonification of Large Hadron Collider

Conseil Européen pour la Recherche Nucléaire (CERN)

Energy for Life Travels

Ataraxia and Power of People (PoP), two interactive works presented under the Energy for Life project run by the Agoni Grammi Gonimi non-profit organisation. It is an environmental awareness program that calls on fifteen remote destinations, spreading ideas, thoughts and insights of ecological interest to students as well as to the inhabitants of the places it visits.

 During this project I have demonstrated the aforementioned interactive systems in various primary and high-schools in rural locations across Greece. The workshops mainly elaborate in concepts of new digital instruments, and interactive music compositions, such as Ataraxia, as well as in sound art installations using environmental information for sonification systems like PoP, which were developed as research projects.

 Students have the opportunity to experiment with the systems and take a look into aesthetical and technical concerns of the projects and get concise knowledge in this particular field of research of interactive music composition. Photo material and further information of the visits can be found here.

The Kaval - HMI for AV Performances

  

The Kaval is a Human Machine Interface for use in Live AudioVisual Performances. Is collaborating with GEA an Heterogenous System for Live Visuals with the use of Live Coding.

Cardiff Festival


During this 3 day festival, the  European Art Science and Technology Network, comprised of 40+ artists, 5 institutions and creative organisations, will be showcasing artistic work around the theme “Tangibility”. 
Interactive installations, artworks, performances and talks will be taking place in Roath, in Cardiff M.A.D.E. and CF24 Project over the weekend (17-18 Oct) 
 
 
The private view includes an interactive music performance, a live coding performance, a music composition made by physical models, as well as artworks and interactive installations. 

Askos: The wind repository. »Tangible Sound« / ZKM, Karlsruhe, September 2015

An interactive sound installation that employs the concept of wind as a metaphor to explore the notions of tangibility and its opposite: intangibility. 

La Tabula Rasa - methodology in composing

The work La Tabula Rasa is a commission for the Tangible Sound conference run by the center for art and media ZKM in Karlsruhe, Germany, and fits into the topic of the tangibility of sounds and music. The work was premiered in the Klangdom Sound Theatre of the same institution, provided of 47 (43 + 4) loudspeakers in hemispherical disposition.

Given the context, numerous strategies have been chosen to address the notion of tangibility, theme of the conference.

 

What is tangibility? And how can it be interpreted?

In the modern musical debate tangibility is often approached as a perceptual than physical quality, with works aimed to the understanding of the musical qualities that allow a possible retrieval of the object's size, shape or volume producing the sound in origin, and goes under the name of sonification.

A more complex approach called data sonification is the study of possible interrelations between sound and meaning, in order to provide information through the auditory system about the surrounding environment in support to or in place of visual interaction.

A different approach in matter of tangibility is the application DSP technologies to non-musical instruments. Aim of this approach is the improvement of physical interaction with objects and tools, and, often in art, the provoking of new situations in experiencing everyday objects.

La Tabula Rasa

I am right now working on the electroacoustic piece premiered in Karlsruhe at ZKM.

The name of the piece is La Tabula Rasa. Here there is the program note:

La tabula rasa is a musical piece inspired by the work of the Venetian composer Luigi Nono.

The architectural space is based along the lines of Prometeo. The music that Nono had composed was intended to surround the audience, placing musicians and singers all around at different heights. In La tabula rasa, the instrumentalists are, as in Prometeo, the loudspeakers located all over the hemispherical wall of the dome. An algorithm to simulate human-like imprecision is introduced, to transform the speakers in actual performers.

Photos and Vids

 

quick drawing exercises, trying to simulate the process of the project

A wind repository (Askos).

 

 

Work in progress: reading form the .csv file in processing / Visual presentation of the data

a visual presentation of speed, gust, direction