ADAF | FESTIVAL INTERNATION D'ART DIGITAL D'ATHÈNES
Saturday, March 17 | 2 PM
Espace municipal Georges-Conchon • Rue Léo-Lagrange
Athens Digital Arts Festival (ADAF) is an International Festival which celebrates digital culture through an annual gathering bringing together a global community of artists and audiences. ADAF aims to encourage, stimulate and promote all aspects of digital creativity by hosting local as well as international artists and communities. Moreover, its goal is to raise awareness on contemporary digital culture, familiarize the wider audience with new media and art, and provide education through innovative workshops focusing on technology and digital arts. In each edition, it always tackles contemporary social and cultural issues related to technological advancements and innovation. Thus, its multidimensional programme offers a wide range of exhibitions, screenings, live performances, workshops and international tributes showcasing artworks that display distinctive characteristics of the digital medium and reflects on its language and aesthetics.
Eirini Olympiou (b. 1987, Athens) has studied Fine Arts (BA, MA). As an individual artist, she has participated in solo and group exhibitions and in collaborative projects since 2008. Her artistic practice takes on many forms including painting, photography and mixed media. She has been a video art curator at the international festival of digital arts and new media Athens Digital Arts Festival since 2011, has done curatorial projects with international festivals, for individual exhibitions and also been a member of video art jury in festivals. She currently lives, works and studies architecture in Athens, Greece.
“The future as seen from the past and the past as seen from the future”
Can you imagine the Future?
The elusive transition of digital culture is shaping a future ‘beyond digital’, where the physical and the digital are merging. In the late 90’s Negroponte stated that “the digital revolution is over”. Almost two decades later and having accepted that the digital culture has been stabilized into our everydayness, we are moving forward to a most abstract creation. The necessity of innovation and excess of limits has been a primary goal imposed by the ever evolving technological fetish.
This futuristic lifestyle is reflected from the coherence of the ‘real - virtual’ boundaries. The humanization of technology along with the social and economic crisis lead to a replica of the physical world where everything is countable in digits, therefore simplified and transparent. Yet is post digital the real progress?
This compilation is exploring this blurry future, and the artists ‘transcend’ digital culture and exchange opinions and thoughts under the theme #PostFuture and the categories #PostDigital, #PostEconomies, #PostHumanities, #PostNature.
Compilation curated by: Eirini Olympiou
APOTROPIA (IT) The Kiss (2016) | 01:20 min, colour, sound
A contact between two bodies. An intense sharing of information. A chemical cocktail in the brain.
Max Hattler (DE), Shapeshifter (2015) | 00:30 min, colour, sound
“Shapeshifter” explores video glitches induced by digital signal processing compression artefacts, which have given rise to a whole genre of YouTube videos dedicated to expose shapeshifting reptilians, hiding behind the surface of the video screen.
Alex Karantanas / Αλέξης Καραντάνας (GR), Singularity (2016-2017) | 07:13 min, colour, sound
The video follows the hypothesis of an inevitable emergence of artificial superintelligence. A new species of digital entities is being born, letting us observe the way they experience their cyber bodies, the social construction of time and the concept of absolute void.
Nicole Rayburn / (CA), Ya - why so negative? (2017) | 02:29min
all AI dialogue is original excerpted from unscripted exchanges between AI robots and interviewers a glimpse into when robots talk amongst themselves…
‘Ya – why so negative?’ is the first video in the ‘FutureNow’ series in which excerpts from interviews of AI robots are edited together, to imagine a future, situated in the now, in which AI, born out of both the human and the other, converse among themselves.
There is an unsettling tension between an awareness that the robots have been programmed to respond in a particular manner, and knowing they have also been instilled with the ability to learn, mimic, and retain from each new experience – as they interact and speak, we are literally watching them evolve. Observing the types of questions the interviewers are asking them, that are often requesting insight into decidedly human behaviors, such as relationships, and hearing them respond with references to having a soul, preferences, or feeling a particular emotion, as well as expressing both anxiety around and awareness of their development, makes their rapid evolution towards both a mimicry of humanness and one decidedly ‘other’, wildly disconcerting. It is futurenow.
Masahiro Tsutani (JP), Movements Arising from Different Relationships (2015) | 12:48 min
This is the second movie in the series, following on from the previous work, 'Between Regularity and Irregularity'. As with the previous movie, this work continues to focus on fluctuation in the timing of sounds, change in tone quality, movement of particles, and form.
In addition, this movie uses the different movements caused by different relationships between minute units such as structures and cells in mouse brains, as well as particles and lines in non-living matter.
Isabella Gresser (DE), Re viewers (2016) | 05:00 min
Being today, means "being-digitized". Will we only begin to exist when we have been replaced by a simulacrum of ourselfs?
The experimental video interweaves real footage and virtual reality elements. Documentary footage of people sitting at a river in Seoul mingle with the images and edited comments of two YouTube reviewers of a VR relaxation game that simulates a flight over an animated virtual River. In this work I'm interested in the relationship between imagination and immersion and the proximity of the salvation formulas of a VR industry to Far Eastern philosophy of emptiness.
Boris Labbé & Daniele Ghisi (FR/IT), Any Road (2016) | 10:04 min
"So long as I get SOMEWHERE, Alice added as an explanation".
(Lewis Carroll, Alice's Adventures in Wonderland).
Any Road derives from an audiovisual concert created by video artist Boris Labbé and composer Daniele Ghisi. The concert combined video, electronic music and analogue music produced by an orchestra.
XCEED (HK), RadianceScape (2014)
Since 2011, the 311 Earthquake in Fukushima once again woke up the world attention on the nightmare of the nuclear disaster. Until now, there is no workable solution for Japan to fix the leaking problem. The highly radiating wastewater is released to the Pacific Ocean, keeps contaminating the marine life, and results in damaging the whole food chain. Meanwhile, the Japan government keeps hiding the news and real situation of the radiation problem. RadianceScape is a data-visualizing sonic composition, which aims at visualising the radioactivity and raising out the awareness of the issue to the public. It based on the live radiation data from the Safecast.org, a global sensor network for collecting and sharing radiation measurements, to generate an audio-visual cityscape. It appears in a point-cloud mapping outlook in which the density of the radiation level is representing the visibility of the cityscape. The sequence of the images is grabbed from the Google Streetview API’s hidden depth map data. The sonic composition is based on the locative data to generate different tonal of drone ambience and noise. The graphical score consists of 2 separated parts. First part is illustrating the route of Hong Kong, where visualising the radiation level from Mongkok to Tsim Sha Tsui area. The second part is illustrating the route of Fukushima, where visualizing the radiation level from the Fukushima Prefecture to the nuclear power plant.
Maria Tsiroukidou (GR), Minecrafted Waste Land (2017) | 05:34 min
Minecraft is a "first person" videogame in which the player roams freely in a vast three- dimensional environment. The player "mines" the landscape in search of materials to create structures. During this effort, the surroundings alter. For the most part the world of Minecraft is constructed from brick-units of different "materials" which can be used by the player. "Minecrafted Waste Land" is attempting a comparison and correlation of a game review, by youtuber "Tai", a radio speech of Michel Foucault on the concept of heterotopia and a typed page from Richard Wright's "Native Son" with handwritten corrections by the author.
Ben Skea (GB), Future Exit Strategy (2017) | 08:00min
Future Exit Strategy is an episodic video sequence that uses moving image, sound and software to speculate on the future of human intelligence - specifically how a Type III civilisation might create an algorithmic blueprint for the transference of intelligent life from one universe to another. A group of people walk along a forest path - the reality of their journey rapidly synthesises into a series of 'polymorphic glyphs'. Sensory information is converted via a series of phase transitions over the surface of a virtual sculpture – a futuristic device that eventually launches encapsulated data into a microscopic wormhole. Future Exit Strategy is an optimistic and speculative play with the real world – a world we currently cannot escape.