We asked a few questions to Elwira Wojtunik and Popesz Csaba Láng, respectively director and program manager of the audiovisual event based in Krakow.

The organizers pulled off an interesting hybrid edition, fully leveraging the latest generation digital tools. And here goes our interview to Patchlab Festival!

1. PATCHLAB FESTIVAL HAS BEEN FOUNDED BACK IN 2012. IT IS NOW A REFERENCE IN THE INTERNATIONAL GENERATIVE ARTS PANORAMA. CAN YOU TELL US ABOUT THE CONCEPTS AND GOALS THAT DROVE YOU TO THE INCEPTION OF THE FESTIVAL?

E.W.: Indeed, Patchlab Festival has happened annually since 2012, after 2 years of organising Share:Krakow – a local unit of a global organisation dedicated to supporting collaboration and knowledge exchange in new media communities.

Those were crazy times full of passion! Organising space for experimenting with digital tools, gathering with people experimenting with digital instruments, plugging in and playing.

Then we organised the 1st and 2nd edition of the festival that happened under the name of Patch: audio_visual_lab with a great support of our partners from the AVnode network.

Back then, new technologies and digital art were quite underground issues in Poland, compared to now, so it wasn’t easy to convince institutions and partners to support such a unique, niche event.

But we made it happen! During these 9 years we managed to build an internationally recognised platform. We showcase and research on one of the most rapidly developing areas of contemporary art: digital art based on the latest technologies and creative coding.

Patchlab festival is a space for meetings and discussions with the creators, experts and public. We have focused on the roles and impact that digital technology has on our everyday lives.

We explored its future developments, its multi-dimensionality, its interrelations with the artistic processes. They change rapidly and bring new possibilities and challenges, as the technology evolves.

2. THIS YEAR YOU DECIDED TO PROPOSE A HYBRID EDITION AS A RESPONSE TO THE CURRENT PANDEMIC CRISIS. WHAT HAVE BEEN THE CHALLENGES AND THE OPPORTUNITIES OF UTILIZING DIGITAL TOOLS TO ALLOW THE AUDIENCE TO VIRTUALLY PARTICIPATE?

E.W.: Due to the pandemic we had to find an alternative format compared to the past festival years. Most of the cultural events moved to the internet. But after some time people got tired of the meetings and events provided online. Mostly via Zoom.

Moreover this form of social connection became so overwhelming in every aspect of our life. Therefore attracting the attention of the public online became quite a challenge.

We have decided to experiment and diversify the program to provide the festival content in hybrid form. The digital world of the internet is a natural environment for digital art. Hence it was obvious for us that it was an opportunity to use alternative ways to reach the public internationally.

We had the chance to bring art to the users at the time they chose. We incorporated the program in a different digital format. Anyone was able to participate live online simply by entering the webpage, but also in Augmented and Virtual Reality. Via mobile phones or VR goggles at any chosen time and space.

The festival webpage was specially designed for this purpose – the exhibition of over 28 artworks was (and still is until the end of 2020!) presented online in 5 virtual rooms.

Among them, the Salon AR hosted audiovisual artworks created by e.g. Ryoichi Kurokawa or Monocolor that could be experienced in Augmented Reality.

In the Salon Virtual Ambient you could experience interactive online installations, 360° animations and immerse in surreal VR video collages.

arc/sec Lab exhibition room, built in Mozilla Hub, allows you to choose your own avatar to explore four kinetic light installations in 1:1 scale created at the University of Auckland, New Zealand.

We allocated two studios for the multimedia artworks created by students from the Multimedia Studio of the Polish-Japanese Academy of Information Technology in Warsaw and the Intermedia Department of the Academy of Fine Arts in Krakow.

This edition aimed at connecting with artists in different places around the globe. That is why we presented a 2 hours live set from Berlin by German duo INSTANT, and a round-table discussion about the roles of the new technologies during the pandemic, and its impact on our everyday lives.

The audience participated also in a virtual narrative performance: Operation Jane Walk, a dystopian video game space, carried out live straight from Vienna.

Performers from the Total Refusal collective hijacked the digital wargame environment, exploring the possibilities (and impossibilities) of new media technologies, while walking around a digital representation of New York.

We also developed something out of the box to create art projects as mobile applications: the app SOL.AR.IS, inspired by the great sci-fi novel written by Stanislaw Lem and Krakow ARtour.

SOL.AR.IS is an extraordinary project that offers an interaction in real time through AR technology with ephemeral animated 3D objects. Those are inspired by the fantastic phenomena described in the book: creations of the cytoplasmic, intelligent ocean that covers the planet Solaris – mimoids, symmetries or asymmetries.

The project was created in cooperation with CGI artists from Japan, Hungary, New Zealand, Germany and Iran. It’s still accessible for everyone, despite the place and time – downloadable for free from the App Store and Google Play.

During the pandemic, walking has become the most popular physical activity. Thus we designed the mobile application Krakow ARtour for people in Krakow, using Augmented Reality technology.

The application turns a regular walk into a multi-layered journey following the trail of the 20th century architecture of the Krakow Old Town. It allows you to discover unknown stories set in the context of a sustainable future.

P.C.L. For these two applications we used the SDK – newest set of tools offered by Google and Apple – AR Core and AR Kit accordingly, which are compatible with the latest smartphones.

There are still more than 300 types of phones available, but hopefully sooner or later these technological gaps will disappear and these new solutions will be achievable for all spectators without limits.

AR is still a relatively new technology. Surprisingly, most of the artists we invited have never had any experience with it. Therefore they were all very satisfied to get acquainted with a new possibility of presenting their artworks.

In order to showcase AR artworks at the Salon AR we designed the third application – PatchlabAR, available for all phones and tablets. We wanted to create it as simple as possible, so everybody could present their artworks at the Salon AR and augment their reality.

E.W.: The pandemic showed the great potential of digital tools. The internet and technology pushed the digital revolution further.

The new situation also showed that Patchlab program might be available for a much wider audience around the world. And not only during the time of the festival, but for much longer.

That’s why we decided to give access to the online content until the end of 2020. This is one of the aspects that wouldn’t be possible to accomplish while organising it in a regular form, physically in Krakow.

3. NOWADAYS DATA HAS OVERWHELMINGLY PERMEATED EVERY ASPECTS OF OUR DAILY LIFE. IN YOUR OPINION, WHAT IS THE ROLE OF CREATIVE CODING AND GENERATIVE AUDIOVISUAL ARTS IN THIS HYPER-DIGITALIZED SOCIETY WE LIVE IN?

E.W.: Creative coding translates the world of computers and code into everyday experience. It is one of the most comprehensive and dynamically developing disciplines of contemporary art.

Thus it results in a wide spectrum of artistic activities. The community of artists using code as their medium is constantly growing, expanding our sense of what is possible with digital tools.

That’s why creative coding has an amazing role in creativity that cannot be underestimate. It opens extraordinary possibilities of artistic expression.

Open source philosophy plays a very important role. The open source platforms encourage growth and experimentation. They support a rich community of creators that share their strategies and work with unprecedented openness.

That demonstrates how artists use technology in new ways, originating innovations and new experiences that actually influence the future, changing many aspects of our world. That fosters a greater awareness of the fast changing world that we live in, also regarding the means and directions of these changes.

P.C.L.: Nowadays big corporations continuously push their products to the global market. These hardware quite often have pre-installed software and firmware but usually producers do not have time to create something ad-hoc for them.

And here come the digital artists. They hack and crack these tools using their own codes to achieve something meaningful and eye glowing, out of the mass production.

Comparing the early 2000s, today these products are accessible almost to everyone. The only limit is often just our imagination. Two perfect examples are Raspberry Pi and Arduino.

Hardware are getting stronger and faster, while the price is getting lower. Both use open source systems as codes are shared online. I dare to say that’s the best way to start your experience with expressing yourself by code.

4. THE 9TH EDITION FEATURES THE THEME “CONNECTED”. CONNECTED BY THE INTERNET AND BY THE PANDEMIC. CAN YOU GIVE US SOME INSIGHTS ON THE DECISIONAL PROCESS YOU UNDERTOOK TO SELECT THIS PARTICULAR THEME?

E.W.: The theme CONNECTED refers mainly to two global aspects. The replacement of social contacts through the internet and the impulse to think about the common public spaces, cultural events and everyday life with and after the virus.

Due to the pandemic the world is undergoing an accelerated digital revolution. it is happening in front of our eyes. The Internet has become our primary channels of communication as never before.

Imagine the pandemic hit us 20 years ago. There wouldn’t have been such global access to the Internet or even no Internet at all! That situation would have been much more difficult for everybody. The pandemic appeared as a an external impulse. It made us develop pre-existing solutions and raise the digital competences, within the contemporary society.

There is also another aspect of this topic. The reliable connection we have with our partners, who we share common values with.

We joined forces with Athens Digital Art Festival, arc/sec Lab of the Auckland University in New Zealand or Digital Cultures among others, to create an intensive program, supporting each other in these difficult times for art and culture.

P.C.L.: A nice and positive example of how pandemic connected people is the Folding movement, which resulted in the creation of the most powerful supercomputer on the planet.

After installing the software you can share the free capacity of your computer’s processors to speed up the mapping process of the new coronavirus SARS-CoV-2 DNA, causing COVID-19 illness.

Hundreds of thousands people around the world gave access to their computer processors. They connected and raised computing capacity, letting the researchers work faster towards the common goal, through this super globally connected power.

5. IN 2018 THE THEME WAS “ARTBOTS”, WHERE YOU REFLECTED ABOUT CREATIVITY AND ARTIFICIAL INTELLIGENCE. IN 2019 YOU CHOSE “REALITIES” AND YOU REFLECTED UPON THE DIGITAL WORLDS PARALLELY GROWING TO OUR ENDANGERED PLANET.


WHAT IS THE CONCEPTUAL LINK THAT CONNECTS THE LAST THREE YEARS EDITIONS? HOW DID THE SOCIETY AND ARTS SCENE EVOLVED ACCORDINGLY?

E.W.: Each edition focused on a certain topic of the wide spectrum of the artistic activities that explore the creative potential of machines, algorithms, programming. Therefore each edition of Patchlab festival incorporated key phenomena in contemporary culture and art, including VR, AR, AI, hacking and digital identities.

Artificial intelligence algorithms, reality and simulations, AR, VR, interaction and collaboration between human and machine, the technologies that have a strong impact on our lives and the world we live in now and in the near future. These have always been urging topics for us, since the beginning of the festival.

The world is changing very fast in front of our eyes. Every year there are new improvements, new fascinating technologies that are instantly taken over by creatives and artists.

New technologies play also important roles in enhancing productivity and raising sustainability, such as the efforts to use AI and carbon removal technologies to fight climate change.

Raising awareness of urgent climate issues and acting for significant prompt change should be highly important to every human being. Hence it’s natural for us to implement these topics into the program. We show that digital art as well can make us think about the complexity of the ecology and how to act in alternative ways.

6. THE AUDIOVISUAL EVENT REACHED ITS 9TH EDITION THIS YEAR. TO WRAP UP OUR INTERVIEW TO PATCHLAB FESTIVAL WE WOULD LIKE TO ASK:

WHAT CAN WE EXPECT FROM THE 10TH EDITION NEXT YEAR? AND WHAT DO YOU THINK ABOUT THE NEAREST TECHNOLOGICAL FUTURE?

P.C.L. So many aspects can change the future, that we can easily fantasize about the future of digital technologies. The forthcoming 5G and Elan Musk’s StarLink will change the internet in the next few years. In the same ways as it has evolved from the 70s until today.

The Internet of Things will create a better global network, expanding the playground for the digital artists. Big Data, Bioart, AI will become more common. Art as well will become more accessible to the audience.

We are going to leave our beloved friends, the smart phones, forever. We will be using HoloLens or similar Mixed Reality devices, where all the calculations will be made in cloud systems, on a supercomputer. The rest will be just displays and terminals to access the network.

E.W. The pandemic year showed enormous growth in the video games industry among others. In the previous editions we already considered some aspects of the valuable creations developed in this significant discipline of digital culture.

Next year we prepare for the 10th edition and we plan to dedicate part of the festival program to creative video games and the interventions in the virtual space. In 2021 Poland will celebrate the 100th birthday of the great sci-fi writer, Stanislaw Lem.

We would like to grace this year by continuing the development of the SOL.AR.IS art mobile app with new content inspired by the creatures of the intelligent ocean described in the Solaris novel. Additionally for this great occasion, we are preparing an interactive AR city game that will be designed together with invited artists.

In the hope that next year the restrictions will be lifted, we are also planning an on-line strategy. It worked great this year as it allowed us to reach a wide audience and to give access to the program for a much longer time.

I would like to emphasize that the Patchlab Festival remains CONNECTED until the end of the year. There is still time to dive into digital art programs online for those who missed it!

We hoped you enjoyed our interview to Patchlab Festival. We are definitely looking forward to the next year edition. As always, Stay Tuned!

Stay connected with Digital Arts Festival

Learn more about the 9th edition of the Patchlab Digital Art Festival

Read our interview to Athens Digital Arts Festival

The post Interview to Patchlab Festival appeared first on Audiovisualcity.

A special online edition offering an alternative way of enjoying the numerous audiovisual artists involved from all over the world.

The festival is organised by the same ensemble that has been delivering the massive audiovisual artists meeting LPM, since 2004. Flyer SRL, Linux Club and FLxER.net are also behind Live Cinema Festival, the boutique event we attended (physically!) back in September.

Fotonica features a wide focus on the audiovisual arts, embracing the many features and different expressions within the new media.

Not just performances and VJ sets but also installations, lectures and workshops. In each edition, Fotonica offers a space for both artistic networking and outreach of new audiences.

This year, the organizers have created a virtual environment and live streaming channel where it is possible to discover and to participate in a safe, interactive and innovative way.

The team behind Fotonica is very conscious of the importance of international partnerships. This year the festival is collaborating with Athens Digital Art Festival , Lunchmeat Festival, Cerrado Mapping Festival, Live Cinema Festival, Cairotronica, Bright Festival and System11.

Therefore the event does not offer simple entertainment. Fotonica is a valuable hub for all audiovisual artists to keep inspiring and being inspired. Even from their own studios.

Arte19VVR VR Rooms will host the digital exhibitions, VR Mapping, lecture and live AV performances through VJTelevision and Twitch. Workshops, lectures and talks will take place on Meet and Zoom.

A full array of digital and virtual platforms to maintain the audiovisual event alive, despite the second wave Covid restrictions.

Hence the organizers are sending an important message to the audience: arts have to adapt to any arising scenario leveraging the full creative potential of the latest technologies.

Read our report about Live Cinema Festival

Contact

Website

VJ Television | Twitch | Facebook | Instagram

The post FOTONICA Festival: Online, 11 – 20 December 2020 appeared first on Audiovisualcity.

LCF reaches its 7th edition this year and we are glad the organizers managed to go ahead despite the all the Covid restrictions.

Live Cinema Festival is part of an important network of international audiovisual projects including the LPM, The AV Node, The VJ Television and many more.

The main feature of this Italian AV get-together is the high focus on the concept of synaesthesia, the ability to merge senses that aren’t normally connected.

We consider this particular neural condition as the main artistic trait that distinguish the audiovisual art form from cinema or pure video art, both utilizing sound and images as main expressive vectors.

The Audiovisual artist designs the sound and the image-in-movement experience in sync, not just rhythmically but also emotionally. When the two senses are artistically connected an immersive experience is built for the audience.

More specifically the practice of Live Cinema seeks to break the linearity of the film narration through the artistic improvisation.

By connecting sounds and images over the live performance, the unpreventable storytelling opens up to chance, artist inspiration and feedback from the audience.

Live Cinema Festival 2020 features important audiovisual artists like Tarik Barri, Amelie Duchow and Maotik over 12 live performances.

Each evening performance is preceded by the Symposium on “What is synesthesia?”, a meeting in which authors, curators and artists of international standing are invited to discuss the topic of synaesthesia and the relationship between sound and image.

Before each performance, it is also possible to enjoy the video installation “Machine for Living” by the Canadian artist Sabrina Rattè, a series of videos that investigate the architecture of the new cities and the brutalist residential buildings around Paris.

Furthermore, the Sala Ellittica hosts a special section dedicated to Italian artists, Live Cinema Made in Italy , from Sunday the 11th to Wednesday the 14th of October.

The program is then enriched by the educational offer of Live Cinema Festival. On October 9, The workshop curated by Algo:Ritmi kicks off. It will cover the topic of Digital Storytelling and Virtual Reality over the span of 4 days.

Contact

Website

Tickets

Facebook | Instagram | YouTube

The post LIVE CINEMA FESTIVAL: Rome 9 – 16 October 2020 appeared first on Audiovisualcity.

At Audiovisual City, we are always interested to know more about audiovisual artists balancing their career, between sales-driven corporate events and artistic experimentation.

INTUS approach to audiovisual is wide open. They are constantly on the lookout for new tools and experiments. Nevertheless their forte is definitely the creation of immersive and interactive environments.

We asked a few questions to dig deeper into their background, techniques and what’s cooking up in the near future.

1. Can you tell us about the history and concept behind the foundation of the audiovisual studio INTUS?

INTUS means “intuition” in Latin, inner search and it is related to thought as self-knowledge. Since its inception INTUS has been interested in the positive development of intuition and self-knowledge through new technologies.

We need to seek in art and technology the way to bring ourselves back to our inner cosmos, utilizing technology for the positive development of human values. 

2. INTUS is internationally renowned for its immersive and interactive audiovisual experiences. Can you give us some insights about your creative process when approaching a client’s brief?

Hey thank you very much. Generally the first thing we do is ask a lot of questions, most of the time the client himself does not know what he wants as a final outcome and it is important to discover it through questions. 

We carry out a process similar to Socrates mayeutica, both towards ourselves and the client in order to arrive at an idea that we intuit will be successful.

For us, the creative process must be linked to intuition and feeling. Brainstorming should always take us to a pleasant place. 

When we find a place where the client and us feel good, that is where we carry out a process of architecture of the experience.

We tried from the beginning to incorporate real-time tools for prototypes and pre-visualization to have software architectures that will work for us in the final installation.

3. During the years, INTUS has built an impressive portfolio of both artistic and corporate projects. In your opinion, which are the main differences in the approach and realization between corporate and artistic projects? 

Thanks so much, we appreciate your feedback a lot.  Creatively there are many differences. Commercial projects will always be tied to the same discourse that is to sell, but in terms of selling the projects or executing them I think they are quite similar.

I think it helps a lot to have knowledge of commercial projects to be able to sell and better execute your artistic works.

4. In addition to the audiovisual installation work, you have developed innovative softwares for Natural User Interfaces. Can you tell us a bit more about this type of work and what you have achieved so far?

We develop our own systems for immersive or interactive installations. For example we have developed our own multi-gpu system for immersive projections, calibration systems for Lidars, laser mapping calibration systems and many other custom projects we have for private clients.

5. Your works feature a high complexity and impeccable technical development. What are your preferred tools to work with and why?

Thank you very much. Our main tools in the studio are TouchDesigner for systems development, Notch for real-time visuals development, Unreal for virtual and augmented reality application and Unity for game development. 

6. What do you consider is the biggest achievement in your career? What are you most proud of?

Good question, I had not thought of it.  Perhaps it is the experience we have acquired through the years. I think that our experience combined with our mistakes is what brought us where we are today, by teaching us to constantly improve ourselves. 

7. What shall we expect from your future projects? Are you currently working on something you would like to share?

We are adding a new service to our portfolio that we are calling InSpace. InSpace is a multidisciplinary space dedicated to audiovisual communication.

It specializes in multimedia installations and interactive spaces for hybrid encounters with comprehensive support in production, programming and design. Here more info.

Also we released a new platform for workshops where we are offering teaching activities related to the industry.

Despite the current situation, we consider ourselves lucky as we have more projects coming up on our radar, but we cannot talk much about them.

Contact

Website

Facebook |Instagram | Vimeo

The post Interview to INTUS appeared first on Audiovisualcity.

Out and about robots, hard-techno futuristic music, crazy bonkers live performances, audiovisual extravaganza with a general cyberpunk attitude to bond it all together.

All of this and much more is offered by Gogbot Festival, the techno-hardcore-sci-fi audiovisual event based in Netherlands.

Basically the kind of event we would go on a normal weekend if we were living in the Mad Max universe. The main aim of the event is showcasing the most avant-garde and cutting edge trends in the audiovisual and new media world. And then push a little further!

There is nothing quite like Gogbot on the audiovisual scene: AI meets AV, Science meets music, art meets activism during 4 intense days of multidisciplinary activities across Enschede.

Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.

Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.

This year theme is Quantum Supremacy, a mind-blowing, controversial, but extremely urgent theme.

Big companies such as Google, Microsoft, and IBM are competing to build the first quantum computer, a ‘supercomputer’ expected to be a staggering one billion times faster than today’s best computer. What will the quantum future hold?

In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.

Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?

Contact

Website

Facebook | Twitter| Instagram | YouTube

The post GOGBOT: Enschede, 10 – 13 September 2020 appeared first on Audiovisualcity.

The theme of the 2020 edition is CONNECTED. It explores the implications of the digital revolution we are undergoing in our lives due to the pandemic.

The head-spinning rise of the internet based communication during the last months is still quite hard to grasp. The internet was created originally as an effective and immediate form of communication.

With the evolution of social media platforms, the world wide web is now a primary channel to express our emotions.

Audiovisual artists can help us understand the fast-changing environment we live in by visualizing the Nietzsche’s unsaid. Anything that is too complex for a total comprehension can be grasped by living the artistic experience.

Immersive installations, interactive artwork and live performance communicate complex statements through sensorial experience, giving us the chance to digest information slowly, at our own pace.

Generative art as an antidote to the overwhelming data dump we experience everyday.

Due to the uncertainty of in-person attendance, the organizers are planning the audiovisual event through virtual platforms. It will be therefore accessible to a wider audience through the experimental use of new technologies.

Patchlab Festival will present art projects online and via AR (augmented reality).

There will be experimental computer animations presented in the virtual cinema, remotely accessible workshops and also a dystopian multi-person computer game allowing the exploration of a post-apocalyptic New York.

The 360° Gallery will also hold the premiere of audiovisual projects from the Artist in Residence #homeedition program.

Inspired by space and nature, the artists-residents from France, Canada and Spain will design artworks for a system of 10 projectors, which cannot only be seen on site, but also online in the 360° digital format.

Contact

Website

Facebook | Vimeo | Instagram

The post PATCHLAB FESTIVAL: Krakow, 23-25 October 2020 appeared first on Audiovisualcity.

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF) is evolving and launching an ONLINE version.

Since the new era is here the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will also be presented online.

ADAF ONLINE | Technotribalism will take place from the beginning of July till September and will be accessible to everyone through the internet.

Under this framework all audiovisual artists will be able to submit applications till the 1st of June, developing the Technotribalism idea to an online version.

The audiovisual event will host artworks from Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents and Festivals of the world that are eligible to be presented digitally.

READ MORE AND APPLY

The post ADAF 2020 – Call for Entries appeared first on Audiovisualcity.

Jena, May 13 – 16 2020 – EDITION IN STREAMING

The FullDome Festival is the oldest and only fulldome festival with an unbroken continuity. With about 800 contributions from 30 nations and more than 500 visitors per year, the audiovisual event is most probably the biggest international festival of its kind.

Visitors do not only see and evaluate a great variety of international fulldome films, they meet professional, student and independent producers and take part in paper sessions, workshops, diverse presentations and expert talks. Festival curators, an international jury and the festival directors evaluate the submitted works and select the most interesting and innovative productions for the festival from these submissions and determine the works for one of the festival’s awards.

A core mission of the FullDome Festival has always been to encourage students to stretch the envelope of what’s possible in the dome. It is amazing to see completely new approaches to the medium at each festival. Many are really creative, some even can compete with professional works. For most students, the FullDome Festival not only offers an introduction to the medium, it is often the only way to present, and is one of the few public venues.

Contact

Website

Facebook | Twitter | Instagram | YoutTube

The post FullDome Festival appeared first on Audiovisualcity.

A dialogue about the role of human beings in relation to all forms of life on earth and beyond is more relevant than ever because of what is happening in the world right now due to the COVID-19 pandemic. 

The festival will continue online while also working on rescheduling the rest of the STRP Festival 2020 program later this year.  

Livestream: STRP Scenario #6

Join the dialogue! With STRP Scenario #6 a possible future will be explored where humans are not superior to plants, animals, rivers, microbes and other intelligence. The live stream on 2 April starts at 20.00h.   

Live radio: STRP x JaJaJaNeeNeeNee   

In collaboration with JaJaJaNeeNeeNee, STRP is organizing an intense listening night with music and performances.

The Corona Essays

From 2 to 5 April we STRP will publish two essays every day, written by eight writers and philosophers who reflect on new scenarios for the Post-Anthropocene in relation to our current corona crisis.

The writers of the STRP Corona Essays are: philosopher and writer of Dark Ecology Timothy Morton, designer Pupul Bisht, philosopher Pius Mosima, curator of the Van Abbemuseum Yolande Zola Zoli van der Heide & ‘climate justice creative’ and media consultant Suzanne Dhaliwal, archaeologist and ‘Dr. Space Junk’ Alice Gorman, Marshmallow Laser Feast designer Ersin Han Ersin and writers of Radical Botany Antonia Szabrezi & Natania Meeker.

STRP book club: Donna Haraway’s ‘Staying with the Trouble’

The STRP reading group will come together online on April 23rd to discuss Donna Haraway’s ‘Staying with the Trouble, Making Kin in the Chthulucene’. Sign up before April 6 and read along with us.

 Assignment for pupils and students  

For all young people and students who were planning to visit STRP Festival in Eindhoven next week: STRP has not forgotten you!

The festival will be launching a hands-on assignment next week for secondary education pupils and MBO students. Pupils and students can independently complete these assignments at home. Teachers will be offered the tools to brief the assignment and to reflect on it afterwards. Make sure you are registered for the STRP Education Newsletter if you want to receive these assignments. 

STRP Festival

DOMUSDELA

Eindhoven, The Netherlands

info@strp.nl

LINK BOX

STRP

Facebook / Twitter / Instagram / Vimeo

The post STRP Festival: Online appeared first on Audiovisualcity.

Bogotrax 2020 is a matrix. It is the multiple matrix of a mycelium. A constantly expanding network. Its flowers emerge whenever an encounter (between hyphae) happens.

That is the experiment: to interweave a network of partnerships where organizers and public, actors and spectators jointly participate in the production of social space.

Bogotrax Festival has been taking place in Bogotá, Colombia, for 10 years. From 2003 onward, during the month of February. Ten days of parties and workshops; talks, conferences, performances, activities in different locations, street parades, activities in different local prisons, exhibitions, graffiti, “raves”. 

All this for free. Collectives and artists from different countries supported the festival with their participation. 

The festival was never meant to promote brands nor it was funded by any institutions. The festival rebellious self-managing spirit led it to program the end of its first life cycle. Bogotrax restarted itself with a relevant topic: “Only in case of emergency.”

Bogotrax

Bogotà, Colombia

bogotrax@hotmail.com

LINK BOX

Bogotrax

Facebook / Twitter

The post Bogotrax appeared first on Audiovisualcity.