RAIN PART I – THE OWL – KYBDslöjd
“We live in a time where hardware and software become obsolete even before we have learned how to use them. KYBDslöjd is a brutalist storytelling about technology and keystrokes using Commodore 64 computer, Teletext System, and typewriters. These technologies are not souvenirs from the past. They are hard-won knowledge.”more…

Life after bob
Ian Cheng’s Life After BOB is an episodic anime series built in the Unity game engine and presented live in real-time. Bridging the artist’s interest in simulation’s capacity to generate emergent surprising phenomena, with cinematic storytelling’s capacity to evoke deep psychological truths, Life After BOB imagines a future world in which our minds are co-inhabited by AI entities. Life After BOB asks: How will life lived with AI transform the archetypal scripts that guide our sense of a meaningful existence?

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

Teach Us To Outgrow Our Madness
Shalala Icelandic dance theatre
Erna Ómarsdóttir, a central figure of the Icelandic dance scene, presents Teach Us to Outgrow Our Madness that sets out to explore the
intense relationships that exist between women living closely together
– be it sisters, nuns, witches, best friends, members of a sect, or polygamist wives.
he rivalry, the secrecy, the gossip, the cruelty but also the kindness, the bonds, and the unconditional love. This piece combines
dance, live music and storytelling into a horrifying yet liberating experience.

Naked Ladies
NAKED LADIES is a layered history of naked female bodies in performance. A combination of storytelling, performance art and her own personal anecdotes, Thea asks tough questions around the ‘nature’ of the female body, trying to understand its contested position between stigma and celebration. Between the naked and the nude, between forgetting fathers and remembering mothers, past sexual stigma and personal secrets, NAKED LADIES ask why women get naked on stage. Why, where and for whom?

Kilian Eng is an illustrator/graphic designer based in Stockholm, Sweden. Born in 1982, he graduated from the Konstfack University of Arts Craft & Design in 2010 with a masters in storytelling, graphic design and illustration. A couple of years ago, he discovered the possibilities of working with computers, and digital illustration proved to give him the flow he was looking for. His works are rich in colours and most often depict alternative worlds in which imagination takes over and creates the unexpected.

Wear me and I am clothing
“Making certainties uncertain is the main driver in my work as an object designer. I observe the little things in human behaviour that might go unnoticed and place them out of their context. With the objects I make, I am not giving any concrete answers, but visualizing different possibilities. This is mainly made visual in three dimensional, storytelling objects in which functionality makes place for conceptuality.”

Cliff Hanger

Jeff Shore and Jon Fisher started their collaborative practice in 2002. Trained as a visual artist, Jeff Shore develops the visible sculptures and mechanisms, while Jon Fisher builds the electronics, writes the software, and creates the original soundtracks; for this he uses both digital and analog audio sources. The result of their collaboration is a series of kinetic devices and installations that generate live animated video and musical compositions. Similar to cinema storytelling, the movement in the pieces relate to the accompanying soundtrack or animation, and similar to a theater of automata, the pieces create precise and captivating sequential events. Bridging high and low-tech devices and instruments, the collaborative team creates mechanically activated moments of wonder, explores the relationship between automatism and chance, and comments on the impact of technology interfaces in our lives.

gloWArp
Tecnologie oggi offrono infinite possibilità di azione in ambito museale e spesso queste sono volte solamente alla spettacolarizzazione. Per questo motivo lo Studio Glowarp ha sviluppato un proprio protocollo di attuazione di una metodologia in ambito museale chiamato A.R.I.M. (Augmented Reality In the Museum) e si avvale della collaborazione di storici, archoelogi ed esperti di comunicazione per la creazione di narrazioni e storytelling digitali che puntino al senso dell’intervento lasciando alla spettacolarizzazione un ruolo importante ma non centrale nella progettazione multimediale.

פיונה טאן
フィオナ·タン
Фиона Тан
فيونا تان
Rise and Fall
Fiona Tan explores storytelling, memory, and the part they play in the formation of identity throughout this exhibition of five video installations, various associated sketches and one single-channel video. Rise and Fall (2009), elongated projections onto two large, side-by-side screens, is a wordless meditation, set to music, of a woman no longer young but still conscious of her looks; she was clearly a beauty in her youth. As the video proceeds we gather that the young woman pictured on the second screen is the memory of her younger self. They often move through domestic activities (sleeping, bathing, dressing) in parallel; this is inter-cut with scenes of violently rushing water (shot at Niagra Falls, it turns out). It’s a hackneyed metaphor – the water’s endless surging as an image of time’s relentless uni-directionality – but in Tan’s hands that doesn’t seem to matter; she creates extraordinarily emotional work out of simple stories and well-worn themes.

perpetual storytelling apparatus
The “Perpetual Storytelling Apparatus” is a drawing machine illustrating a never-ending story by the use of patent drawings.The machine translates words of a text into patent drawings. Seven million patents – linked by over 22 million references – form the vocabulary. By using references to earlier patents, it is possible to find paths between arbitrary patents. They form a kind of subtext.New visual connections and narrative layers emerge through the interweaving of the story with the depiction of technical developments.The “Perpetual Storytelling Apparatus” is a drawing machine illustrating a never-ending story by the use of patent drawings.The machine translates words of a text into patent drawings. Seven million patents – linked by over 22 million references – form the vocabulary. By using references to earlier patents, it is possible to find paths between arbitrary patents. They form a kind of subtext. New visual connections and narrative layers emerge through the interweaving of the story with the depiction of technical developments.

Augmented Shadow
File Festival

Augmented Shadow is a design experiment producing an artificial shadow effect through the use of tangible objects, blocks, on a displayable tabletop interface. Its goal is to offer a new type of user-experience. The project plays on the fact that shadows present distorted silhouettes depending on the light. Augmented Shadows take the distortion effect into the realm of fantasy. Shadows display below the objects according to the physics of the real world. However, the shadows themselves transform the objects into houses, occupied by shadow creatures. By moving the blocks around the table the user sets off series of reactions within this new fantasy ecosystem. In this installation, the shadows exist both in a real and a virtual environment simultaneously. It thus brings augmented reality to the tabletop by way of a tangible interface. The shadow is an interface metaphor connecting the virtual world and users. Second, the unexpected user experience results from manipulating the users’ visual perceptions, expectations, and imagination to inspire re-perception and new understanding. Therefore, users can play with the shadows lying on the boundary between the real, virtual, and fantasy. Augmented Shadow utilizes this unique interface metaphor for interactive storytelling. Maximizing the magical amusement of AR, it is embedding an ecosystem where imaginary objects and organic beings co-exist while each of them influences on each other’s life-cycle, even though it is not in use by users. Light and shadow play critical roles in this world’s functions causing chain reactions between virtual people, trees, birds, and houses. A set of tangible blocks allows users to participate in the ecosystem. Users can influence on the system by playing with the blocks or observe the changes of the shadows as if kids were playing with an ant farm.