Gerfried Stocker Livres

In 2009 the Ars Electronica festival celebrated 30 years of bringing the latest developments in digital and electronic media to the public. The festival was held in Linz, Europe's Capital of Culture for that year, and was themed to address the dawn of an age called the Anthropocene-that is, an age in which humankind is capable, through science, of an unprecedented degree of self-manipulation and self-determination through genetic engineering and numerous developments in biotechnology. Contributors to this catalogue for Ars Electronica 2009 include Stephen Downes on "The Cloud and Collaboration," Xiao Qiang on "Constructing Self-Identity in the Connected Age," Juliana Rotich on "African and Environmentalism Online" and Alois Ferscha asking "How Much Technology Can Humankind Bear?" several special projects by the likes of Ryoji Ikeda, Alva Noto and Andres Bosshard, writings marking the festival's anniversary and much more.

In the companion volume to the 2007 Ars Electronica Festival, artists, theoreticians and experienced network-nomads elaborate on our culture of everyday life and the late-breaking phenomena that are being played out between angst-inducing scenarios of seamless surveillance and the zest we bring to staging our public personae with digital media.

Simplicity is the wishful pipe dream of a society overwhelmed by technological revolutions and endless streams of information. Simplicity is the ideology of both technophobic naysayers to progress and a new generation of information designers. Has there ever been a concept laid claim to by so many different quarters? And, as an expression of the central challenge of these times, what call could be more urgent? Which options and features could we possibly do without? And which would we dispense with gladly? In this volume artists, software designers and scientists conceive and construct new strategic and tactical approaches to managing complexity, streamlining information, creating simplicity--a spectrum of ideas bound by resistance and adaptation, and a spectrum of work featuring creatively designed alternatives, poetically useless machines and innovative new developments.

Is the language of computers going to become the lingua franca of the global information society? Under its heading Code - The Language of Our Time , this year's Ars Electronica, the annual festival for art, technology and society held in Linz, explores software and digital codes. This book is a documentation of the symposia, exhibitions, performances and interventions in public space with which artistic, scientific and socio-political contributions explore this topic at the Ars Electronica 2003.

Out of all of the media art competitions, the Prix Ars Electronica has the richest tradition in the world. Awarded every year since 1987, the competition is considered a barometer of trends in global media art, thanks to its consistency and the large number of high-quality submissions it receives. Containing many pictures and texts, as well as statements by the jury, the book assembles the artworks recognized in 2018 in the categories of Computer Animation, Digital Communities, Interactive Art+, and u19 – CREATE YOUR WORLD. In addition, the publication again features a “best-of” selection of works submitted to the European Commission’s STARTS Prize competition. This highly remunerated competition focuses on innovative projects that deal with a combination of science, technology, and art (= Science, Technology and ARTS). Festival dates: Ars Electronica Festival, Linz, September 6–10, 2018 Since 1979 ARS ELECTRONICA has tracked and analyzed the digital revolution and its multiple impacts. The focus has always been on processes and trends combining art, technology, and society. Results of this artistic and scientific research can be seen in the form of an annual festival in Linz, Austria, where a five-day-long program involves conferences, podium discussions, workshops, exhibitions, performances, interventions, and concerts. The festival is planned, organized, and executed in collaboration with artists and scientists from around the world. A variety of controversial futuristic themes are always the center of attention.

Die medizinisch, gentechnische Einflussnahme auf die menschliche Reproduktion wird in absehbarer Zeit die gewohnten Zusammenhänge von Sex, Liebe, Fortpflanzung und Familie aufheben. In der Zusammenschau von wissenschaftlichen und künstlerischen Positionen wird den Konturen einer Gesellschaft nachgespürt, in der Menschen genetisch konfiguriert, nicht einfach geboren, sondern gemacht werden, in der Sex seiner funktionalen Notwendigkeit für die Fortpflanzung entledigt ist und damit der Kampf der Geschlechter, aber auch die moralische Steuerung unserer Gesellschaft neu geordnet werden. Ein Ausflug in die Zukunft des Menschen, um aus der Diskussion des Möglichen Entwürfe für die Gestaltung unseres Weges dorthin zu entwickeln. Ein Unterfangen, in dem Kunst nicht auf das moralische Gewissen der Gesellschaft beschränkt bleiben darf. In dieser weit über die wissenschaftlichen Aspekte des Themenkomplexes Reproduktionsbiologie hinausgehenden Publikation stehen gesellschaftspolitisch brisante Fragen im Vordergrund. Der künstlerische Kontext bietet Platz für Visionen und eine ästhetische Annäherung an das Thema.

Since 1979 Ars Electronica has tracked and analyzed the digital revolution and its multiple impacts. The focus has always been on processes and trends combining art, technology, and society. Results of this artistic and scientific research can be seen in the form of an annual festival in Linz, Austria, where a five-day-long program involves conferences, podium discussions, workshops, exhibitions, performances, interventions, and concerts. The festival is planned, organized, and executed in collaboration with artists and scientists from around the world. A variety of controversial futuristic themes are always the center of attention. Richly illustrated and containing in-depth essays, this book is a companion to the 37th Ars Electronica Festival.00Exhibition: 37th Ars Electronica Festival, Linz, Austria (05.09.09.2019)

AROTIN & SERGHEI’s Infinite Screen reflects contemporary visuality. As an evolutive inter-medial installation, it investigates the idea of the infinite beyond the limits of our screens, the origins of light and the iconography of digital information. Like luminous and transcendent symphonies of light, their intermedial works of art describe both, the macrocosm and the microcosm of our world, using screens as symbols and portals to infinity within constantly evolving parameters of scientific, mythological, philosophical, and architectural frameworks. This book retraces the artist’s supraliminal work-in-progress, from the intermedial paintings of red, green, and blue Light Cells—the DNA of today’s visual language—to the monumental installations at Ars Electronica, the Venice Biennale, the Fondation Beyeler, the Kunsthistorisches Museum Vienna, and at Centre Pompidou Paris.