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After a historical recognition of electronic music and sound’s exploration performed in art galleries – i.e. not in the spaces traditionally dedicated to music – the architect and art curator Jurij Krpan describes Batista’s projects collected in the exhibition Temporary Objects and Hybrid Ambients 2008–2010. Batista – who is a tech-mixed-media artist, sound researcher, video experimentalist and AV performer – creates hardware environments that establish connections between digital and analogic, electronic and mechanic, visual and sound, audience and machines. He manages to change the perception of electronic as the realm of precision and perfection, showing its characteristics of unintelligibility and imprecision. Through ..., https://www.librarystack.org/marko-batista-painting-with-sound/?ref=unknown

Marko Batista is an artist working at the intersection of science and art. By creating hybrid technological, electromagnetic or chemical systems, he confronts the mystification of technology while also opening up new ways of thinking about technology. With his experimental systems, which bring together the abovementioned fields, he expands the sphere of human perception and the phenomenology of unstable audio-visual systems in space and time. This book brings together four different perspectives on Marko Batista’s work. Jurij Krpan’s text analyses Marko Batista’s work chronologically and positions it in the Slovenian as well as the broader cultural space. Andreja Hribernik tackles the ..., https://www.librarystack.org/marko-batista-temporary-objects-and-hybrid-ambients/?ref=unknown

Marko Batista is an artist working at the intersection of science and art. By creating hybrid technological, electromagnetic or chemical systems, he confronts the mystification of technology while also opening up new ways of thinking about technology. With his experimental systems, which bring together the abovementioned fields, he expands the sphere of human perception and the phenomenology of unstable audio-visual systems in space and time. This book brings together four different perspectives on Marko Batista’s work. Jurij Krpan’s text analyses Marko Batista’s work chronologically and positions it in the Slovenian as well as the broader cultural space. Andreja Hribernik tackles the artist’s work from the perspective of theoretical starting-points. This is taken up by Ida Hiršenfelder, who analyses Batista’s work primarily in light of the development of contemporary technologies and DIY principles. Rounding out the book, Luka Zagoričnik’s text describes the artist’s works from the perspective of sound., https://www.librarystack.org/marko-batista-temporary-objects-and-hybrid-ambients/?ref=unknown

After a historical recognition of electronic music and sound’s exploration performed in art galleries – i.e. not in the spaces traditionally dedicated to music – the architect and art curator Jurij Krpan describes Batista’s projects collected in the exhibition Temporary Objects and Hybrid Ambients 2008–2010. Batista – who is a tech-mixed-media artist, sound researcher, video experimentalist and AV performer – creates hardware environments that establish connections between digital and analogic, electronic and mechanic, visual and sound, audience and machines. He manages to change the perception of electronic as the realm of precision and perfection, showing its characteristics of unintelligibility and imprecision. Through his live performances, moreover, he explores the phenomenology of audiovisual information by immersing the visitor in the “acoustically visual” ambient, which produces sensory, mental and aesthetic reactions., https://www.librarystack.org/marko-batista-painting-with-sound/?ref=unknown

After a historical recognition of electronic music and sound’s exploration performed in art galleries – i.e. not in the spaces traditionally dedicated to music – the architect and art curator Jurij Krpan describes Batista’s projects collected in the exhibition Temporary Objects and Hybrid Ambients 2008–2010. Batista – who is a tech-mixed-media artist, sound researcher, video experimentalist and AV performer – creates hardware environments that establish connections between digital and analogic, electronic and mechanic, visual and sound, audience and machines. He manages to change the perception of electronic as the realm of precision and perfection, showing its characteristics of unintelligibility and imprecision. Through his live performances, moreover, he explores the phenomenology of audiovisual information by immersing the visitor in the “acoustically visual” ambient, which produces sensory, mental and aesthetic reactions., https://www.librarystack.org/marko-batista-painting-with-sound/?ref=unknown

Marko Batista is an artist working at the intersection of science and art. By creating hybrid technological, electromagnetic or chemical systems, he confronts the mystification of technology while also opening up new ways of thinking about technology. With his experimental systems, which bring together the abovementioned fields, he expands the sphere of human perception and the phenomenology of unstable audio-visual systems in space and time. This book brings together four different perspectives on Marko Batista’s work. Jurij Krpan’s text analyses Marko Batista’s work chronologically and positions it in the Slovenian as well as the broader cultural space. Andreja Hribernik tackles the artist’s work from the perspective of theoretical starting-points. This is taken up by Ida Hiršenfelder, who analyses Batista’s work primarily in light of the development of contemporary technologies and DIY principles. Rounding out the book, Luka Zagoričnik’s text describes the artist’s works from the perspective of sound., https://www.librarystack.org/marko-batista-temporary-objects-and-hybrid-ambients/?ref=unknown

is a multi-strand research project incorporating expert meetings, interviews, artist commissions, and hands-on experimentation. This research project was triggered by the introduction of an innovation agenda for the arts as part of the Dutch government’s ambition to be “one of the world’s top five knowledge economies” by 2020. V2_, based in Rotterdam, NL, has a 30-year history of working at the intersection of art, design, culture, and technology, and last year became part of the “e-culture” grouping which is subject to this innovation agenda and its aims. We became curious about the use and abuse of this term, and began exploring the notion of innovation not as an imperative from politicians but as a result of real-life extreme scenarios which compel innovation. Our starting point was the incredible World War II story of Project Habbakuk, the invention of a new material, a kind of “super ice” which can withstand bullets and takes a very long time to melt. This material was proposed to Winston Churchill as a substance from which to create an aircraft carrier to combat the German U-boat problem. As a result of a dramatic meeting of the Allies wherein a bullet ricocheting off this new super ice nearly killed one of the Americans, Churchill authorized the construction of a prototype in a then-remote location of Canada: Jasper, Alberta. Ultimately the war ended before the boat could be fully developed, and this material was largely forgotten. When considering the conditions for innovation today, we asked ourselves: what is the U-boat problem of today, and how can art and science innovation address it? How do new materials figure into this mix, and what are the risks and benefits involved?…, https://www.librarystack.org/innovation-in-extreme-scenarios/?ref=unknown

Habbakuk is a multi-strand research project incorporating expert meetings, interviews, artist commissions, and hands-on experimentation. This research project was triggered by the introduction of an innovation agenda for the arts as part of the Dutch government’s ambition to be “one of the world’s top five knowledge economies” by 2020. V2_, based in Rotterdam, NL, has a 30-year history of working at the intersection of art, design, culture, and technology, and last year became part of the “e-culture” grouping which is subject to this innovation agenda and its aims. We became curious about the use and abuse of this term, and began exploring the notion of innovation not as an imperative from politicians but as a result of real-life extreme scenarios which compel innovation. Our starting point was the incredible World War II story of Project Habbakuk, the invention of a new material, a kind of “super ice” which can withstand bullets and takes a very long time to melt. This material was proposed to Winston Churchill as a substance from which to create an aircraft carrier to combat the German U-boat problem. As a result of a dramatic meeting of the Allies wherein a bullet ricocheting off this new super ice nearly killed one of the Americans, Churchill authorized the construction of a prototype in a then-remote location of Canada: Jasper, Alberta. Ultimately the war ended before the boat could be fully developed, and this material was largely forgotten. When considering the conditions for innovation today, we asked ourselves: what is the U-boat problem of today, and how can art and science innovation address it? How do new materials figure into this mix, and what are the risks and benefits involved?…, https://www.librarystack.org/innovation-in-extreme-scenarios/?ref=unknown