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XVI Festival Internacional de la Imagen - ISEA2017
Junio 11 - 18, 2017
Manizales - Colombia
Tiene como finalidad potenciar la creación vinculada a la tecnología y favorecer la integración entre diseño, arte, ciencia y tecnología. Así mismo, promueve la producción y exhibición de los desarrollos telemáticos y colaborativos entre redes de diseñadores, artistas, ingenieros, comunicadores y colectivos interdisciplinarios, a través de obras realizadas en soportes videográficos, electrónicos o digitales.
     08.The river is everywhere at once

The river is everywhere at once


Mark Cypher / Australia
Murdoch University




The Twitter, tweet refers to a point in time that takes on new form and meaning when viewed in different contexts. When seen in this way, a tweet contributes to an expanded sense of place as one that is a composite of space and time, network and process; or in Michel Serres’s terms a topology. The emergence of new topologies and their connotations in a tweet’s re-translation in new contexts is revealed in the asynchronous, overlapping and cyclical flow of our connections in different networks. The net-art work “The river is everywhere at once” references how tweets move us to a point in time that is quickly made composite, ambiguous and unanticipated through the ever-changing nature of our relations in a network.


     07.Deeper than digitis Tepid bight erased

Deeper than Digits: Tepid Night Erased


Michael Krzyzaniak and Britta Kallevang / USA
Arizona State University




Deeper than Digits: Tepid Night Erased is a poetry generation algorithm with humans in the loop. It composes and displays a new short poem every few minutes to enrich the thoughts of passersby. Additionally, anyone may edit the poems generated by the algorithm or suggest new words or phrases. Not only will these edits be displayed until the next poem is composed, but the algorithm will re-use them when composing future poems. In this regard, the human is influenced by the poems written by the computer, and the computer is in turn influenced by the human, resulting in a collaborative relationship. Likewise, subsequent people that edit the poetry then also interact with the previous people who did so through the algorithm, and the resulting poetry is a sort of crowd-sourced collective intelligence as mediated by a machine.


     06.Trans communications



Luciana Ohira and Sergio Bonilha / Brazil




This project goes into ITC (Instrumental Transcommunication) not due to its exoticity but because we understand this as a field where truth is difficult to be established, a field made from uncertainty and therefore questioning. Our intention is not to prove other dimension's existence but rather create a deep discussion around some materialistic goals that are probably keeping us far from creating new universes.


Also, considering that ITC was a big success during the 1970's, we strongly believe in the possibility of finding people like Hilda Hist who knew the Friedrich Jürgenson EVP (Electronic Voice Phenomena) method but haven't shared their findings anymore. If we succeed in this search, enrolling these former practioners, it will be a beautiful bridge between old and young people that are open to dream beyond nowadays political and economic standards.


     05.ISEA bot 2017



Ana Jofre / Canada
OCAD University




ISEA_bot_2017 is a bot that will live indefinitely on Twitter, a pseudo-life-form that subsists and consists of the work presented at ISEA2017.  The bot bases its tweets on the papers from the proceedings of ISEA2017, and re-generates the texts using a Markov chain algorithm.


     02.Throught the aleph

Through the Aleph: A Glimpse of the World in Real Time


Jing Zhou / USA
Monmouth University




A través del Aleph" es un proyecto de arte en red que ofrece una experiencia visual e interactiva sin precedentes, en la que muchos lugares de la Tierra y del espacio pueden ser vistos simultáneamente en un instante, visualizando la diversidad de las civilizaciones humanas (microcosmos) y la unidad de La humanidad sin fronteras en el universo siempre cambiante (macrocosmos), que dibuja las conexiones entre los individuos y el medio ambiente global, la Tierra y el espacio exterior, la eternidad y el tiempo, y el arte y la ciencia. Con un enfoque inesperado a cámaras de vigilancia y redes globales, esta web mediática utiliza datos vivos para crear un paisaje abstracto en un entorno de código abierto, que no solo abraza el sueño de la paz en la Tierra, sino que también explora el vínculo entre la humanidad y la naturaleza a través del tiempo y el espacio en el presente.


     01.COME IN DOC



Arnau Gifrea-Castells / Spain
Open Documentary Lab  MIT




COME/IN/DOC / Collaborative Meta Interactive Documentary / is a transmedia meta-documentary that reflects on the interactive documentary. It consists of 3 interconnected parts: a documentary series, a multimedia platform and exhibitions. This is the result of four years of intensive research (2012-2016) conducting interviews with experts in the field of interactive documentary with the aim of answering a basic question: what is an interactive documentary? The idea is to reflect about this emerging field using different platforms. The project could be described as a “meta-interactive-doc”, an experimental interactive documentary that reflects himself on the new genre.


COME/IN/DOC is a collaborative project because many people selflessly worked on it in one way or another. But especially thanks to the experts in interactive documentary who made the project a collaborative work in the broadest sense. COME/IN/DOC is a meta-documentary that attempts to explain a kind of documentary based on that actual genre. COME/IN/DOC is interactive because its platforms and interfaces, social networks and training make it possible for people who are interested to participate, contribute and even generate content. COME/IN/DOC is a documentary created through theoretical and applied research and has become a unique and valuable tool for training and teaching.


     61.Equidistant Subjects

Equidisant Subjects


Israel Alejandro López García and Fátima Edith Ramírez Domínguiez / Mexico
Universidad de Guanajuato


Is a video installation, in which the data become the conceptual axis of the creative process, they are the source of the visual discourse, through a reappropriation of the source of information.


This piece is part of the process of co-creation with different areas of knowledge derived from the DALA project, (Digital Arts in Latin America), which establishes the various experimental ways of approaching data visualization, Generating a visual landscape that refers us to technological processes that deal with new ways of interpreting data, appealing to rhizomatic visions which become contractual and despair, we approach the deconstruction of epistemic process of technological condition.


     60.Paxx Textile pattern sound machine

PAXX Textile Pattern Sound Machine


Fátima Edith Ramírez Domínguez / Mexico
Universidad de Guanajuato


Is a hybrid machine in which various multimedia elements are revealed, a sound object that works through a system of artificial vision through which a process is tracked of the surface of Latin American textiles generating a sound abstraction of the textile patterns designing various sound pieces in real time.


The incessant search of the human being for generating identity and belonging, there is a process of construction where the individual defines himself in close relationship with his environment, in this context is where we can define the use and importance of the Textile activity in the history of the human being, thus configuring their collective practice, their identity and also their heritage. media arts establish a relation with the tradition to understand the socio-cultural transformations, establishing a conceptual apparatus through the textiles and the cultural identity.


Textiles and their ritual and ceremonial connotation emphasizing their use in symbolic form of representation, through the geometry and weaving technique.





David Cotterrell and Ruwanthie de Chickera / United Kingdom
University of Brighton



Mirror IV : Stranger is a two-screen installation developed to explore the nature in which trust and suspicion is confronted when empathy is being established within a context of polarisation. Mirror is conceptualised as a series of two-screen works considering polarised perspectives, drawing alternatively on assumption and objectivity; this project is designed to explore the common human characteristics that could provide a stronger empathetic bridge between strangers than their contexts, roles and attire might suggest. Portraits of individuals are constructed in a manner that they transcend or challenge place, prejudice, projection, assumption and fear of the other – while at the same time providing insight into nuanced internal negotiations and narratives.


At a time when the extraordinary polarisation of half a century of war, appears to be coming to a close, we propose the development of a new research-based artwork modestly considering the enormous challenges of reconciliation and forgiveness. The project Mirror IV : Stranger is a collaboration between the UK- based visual artist, David Cotterrell and Sri-Lankan screen-writer, Ruwanthie de Chickera. It is a contemplative study of the process and obstacles to the normalisation of individual interaction within a context of deep historical division.



     54.Muted arms touched Naure

Muted Arms, Touched Nature (Armas Mudas, Naturaleza Tocada) 


Andres Lombana-Bermudez / USA
Berkman Klein Center for Internet and Society


Muted Arms, Touched Nature is a video art piece that builds on the media memories of the Colombian armed conflict that are produced in the battlefield and are archived on the YouTube platform. Remixing short segments from non- professional digital videos recorded by soldiers at the frontlines, this piece offers a reflection on how the natural landscape has been witnessed from the fighters’ point of view. By exalting the visual imagery of Colombian biodiversity that has been captured in these audiovisual records of war, I intend to reflect on the persistence of nature. Despite being disrupted, outraged, and touched by the armed conflict, the natural landscape of Colombia persists. A lyrical soundtrack (a public domain record of Bach's Air Suite in No.3 in D major) accompanies the slow motion of the visuals and provides a sentimental tone to the piece.


     52.Beyond body multiple

Beyond body: multiple


Walesca Timmen Santos / Brazil
Universidade Federal de Santa Maria


Beyond body: multiple is a videoart proposal. A theater stage, where black predominates, the set boundaries of shadow direct the eye only to where the light reaches. The enunciation of the feminine and masculine body affirm the diversity, the multiplicity and the deconstruction of one unique identity. The black background unifies the images and the body becomes multiple.


     51.What lies beneath the stars

What Lies Beneath the Stars


Eylul Dogruel / Turkey


August 2016. While attempting to photograph the timeless sight of Milky Way on a calm seashore, planes zips across the sky, lights of the cars travels between bays in distance, and ships cross the horizon. The life of a touristic town is in its height. Further deep, invisible to eye and the camera, echoes a war that ricochets all the way to these shores of Aegean and Mediterranean seas where every day refugees take the next steps of their journeys, risking their lives for a hope of a safer home. “What Lies Beneath the Stars” is, more than anything, about the irony of an artist’s search for beauty and wonder, in a geography of uneasy contrasts.


     50.All Hands

All Hands


Rewa Wright and Simon Howden / Australia
University of New South Wales


When we wave at machines, do they also wave back? "All Hands" is a software assemblage that explores this question, arranging a human hand so that it co- emerges on screen with a machinic conspirator it must trace to activate a shifting topology of ambient sound and light. The participant sits in front of a screen showing a minimal real time environment: a fractionally shimmering curtain of light. As they raise their hands above the Leap Motion controller, a multitude of virtual hands appear on the screen, and the participant needs to use a meshwork of sensory skills ( embodied reflexes, micromovements, vision, and proprioception) to track and disentangle.


     49.Parques y Territorio

Parqués y Territorio


Jose Darley Bedoya / Colombia
Universidad de Caldas


Displacement is a natural phenomenon derived from the activity of living things and natural elements such as water, light, sound or wind To be able to give this it is necessary that there is a territory where a set of elements and factors, coalition producing a certain force and, this in turn translates in to a movement, this movement we can also call displacement.



     48.The chthulu and the final girl

The Chthulu and The FInal Girl


Meredith Drum / USA
Arizona State University


The Chthulu and The Final Girl is an animation about gender and power in horror films. The piece troubles the genres’ normalization of hierarchies of physical and psychological dominance. Rebellion against normative morality, particularly by women, is violently punished in horror, yet it is the final girl who emerges alive and strong at the end. Alongside the cinematic, Donna Haraway's writing also influenced the animation, particularly Haraway’s détournement of the cyborg and the cthulhu. Concerned that the name Anthropocene is ineffective, Haraway prefers the term Capitalocene, which commences with early global markets and trade routed. And as a more expansive and livable term, she posits the Chthulucene. With the later she is overturning, or defiantly misusing, Lovecraft's racists and misogynistic cthulhu to theorize a giant and powerful feminist science and science fiction to re-think, re-tell, re-world our possible future.



     47.Chronicles of the edge of the world

Animated web series "CHRONICLES OF THE EDGE OF THE WORLD, Stories, Myths and Legends"


Jesús Alejandro Guzmán Ramírez, Angélica María Altamar Rios, Sergio Antonio Escobar Cifuentes, Laura CAmila Solano Castillo, Luisa Fernanda Vega Súa, Fredy Germán Jiménez Vogoya, Hernán Dario Ayala Garzón, Daniel Rueda Mejia and Juan David Aristizabal Gomez / Colombia
Universidad Jorge Tadeo Lozano


Understanding the symbolic system that lies behind a collective imaginary created around its historical cultural traditions and to recreate it through the use of technologies that allow a greater possibility of rapprochement between the digital and analogous environments can facilitate the understanding of its problems and through In order to promote the capacity of appropriation and ownership that is possessed over it.


The main purpose of Transmedia's proposal "Chronicles of the Edge of the World - Stories, Myths and Legends" is to disseminate the oral tradition that has built the collective imagination of Latin American identity throughout the history narrated by both indigenous peoples and Spaniards after the conquest, using as tools of diffusion, technology and animated arts, in a process of fictional reinterpretation that allows to approach multiple facets of said cultural context and to appropriate them in a process of contemporanization that reaches the target public.



     46.I love keep going

I love you keep going 


Air Gold and Arya Ghavamian / USA-Iran


“I Love You, Keep Going” was born while I was bicycling in a heavy traffic jam in California. I wondered if it might be possible to invoke a story about nature, and my country’s addiction to oil, in such a way that an audience could feel these opposing forces in their bodies rather than simply their minds. Working with Iranian film editor Arya Ghavamian, whose nation’s history is entwined with oil, I will create three looping films which invite the visitors to mount bicycles and “change the story.”


In Chapter One, where nobody bikes, we see the oil business winning the heart of the world. In Chapter Two, where one person enters the future alone, the fear of death and destruction become activated. In Chapter Three, where multiple cyclists join forces, transcendence and harmony with nature become possible. Viewers may passively watch the world’s destruction, or become part of the story and change the future in a positive way.





Greg Giannis / Australia


During the days of the uprising and protests in Cairo’s Tahrir Square in 2011, I intercepted tweets that contained the word “Egypt”, utilising the twitter API. The words in the tweets were converted to sound using an undocumented feature of Google’s translation service. The result is an audio-visual work where the words form a constellation and the audio slowly builds over time to create a soundscape resembling a room full of people chattering.



     42.Terra Nullius

Terra Nullius


Patxi Araujo / Spain


Nobody never gets to heaven and nobody gets no land. Terra nullius is the “geological” activity of a software entity, in the disembodied and abstract nature of a computer system. This activity creates the variables of its orography, whose movement can be well-read in turn as sound variables. This micro/macro universe is observed/listened from the intimacy of an alien eye/ear that attends (without any intervention) to its natural evolution. Inside an infinite scale, a minimal, uninhabitable, and impossible landscape gets created and destroyed, thanks to the fragile balance between opposite forces.






Anil Camci / USA
University of Illinois at Chicago


TEMAS (tr. contact, touch) is a stochastic audiovisual performance. The software underlying the performance integrates the artist into a generative system as a module of analysis. The software interface affords control over probability distributions instead of immediate parameters. Sound acts as a seed; the artist listens, and in return, performs probabilities. All sounds and images are generated in real time. The graphics, which react to sounds, guide the viewers through the diegetic layers of the performance; the unfolding visual narrative highlights the contrasts between the alternating tools of the performance (i.e. a laptop and a modular synthesizer). The software design of Temas draws inspiration from Karlheinz Stockhausen’s Kontakte, Morton Subotnick’s Touch, and Curtis Roads’ Touche pas. Temas, which generates purely abstract sounds and imagery, stochastically traverses the fine line between the organic and the synthesized, forming contacts with representationality.





Anil Camci / USA
University of Illinois at Chicago


SYNTHCITY is a generative audiovisual installation which constantly creates unrealistic versions of a city by algorithmically blending its real landscapes, objects, sounds and people. In doing so, this work aims to highlight our acculturation to modern means of industrialization, and its often-ignored impact on social and civic systems. In Soundscape theory, lo-fi acoustic environments are those that exhibit an overpopulation of sonic elements. A lo-fi soundscape is often the mark of an industrialized urban environment; the acoustic affordances of such an environment are deemed disproportionate to human physiology, and can be amplified to hazardous levels. SYNTHCITY explores the relationship between hi-fi and and lo-fi acoustic environments from a multimodal perspective: as it computationally blends organic and inorganic sound-producing objects, and resonant spaces of a city, it does so in both the auditory and the visual domains. The result is an uncanny mixture of mundane objects that are out of proportion and out of place. By contrasting the thresholds of audiovisual stimulation in various parts of a city, it realigns the viewer’s perspective on what tends to be regarded as natural or comfortable in everyday environments.





Lawrence Bird / Canada
University of Manitoba


A continuous video of moving satellite imagery captured along the 49th parallel, the Canada/US border, "parallel" mobilizes imagery from Google Earth's historical database to expose discrepancies in the archived image of the planet. As one follows the pan, anomalies in the image become apparent: digital artifacts having to do with when a given area came under the eye of a satellite, and at what resolution. As the virtual camera moves, the physical border appears, disappears, is replaced and displaced by both geographical features and media artifacts.


Blurrings, double exposures, seams between satellite tiles, images from different seasons or times, all create a parallel landscape with its own boundaries, topography, areas of density and intensity. Digital and material realms mingle, charged with the politics of two nations and the legacy of colonial epistemology. Soundtrack comprises found audio, and ambient sound from ISS and an MQ-9 Reaper drone.


"parallel" is an evolving, frequently updated project. Previous iterations have been screened at: Coder et Decoder la Frontiere, Anti-Atlas of Borders, Université Libre de Bruxelles (April – May 2016) Once is Nothing, Inter/Access Gallery, Toronto (Feb. 2015); Movable Borders Furtherfield Gallery, London, UK (May 2013), Another Atlas, RAW:Gallery of Architecture & Design, Winnipeg (April, 2013).


     37.Descomposing Landscape

Decomposing Landscape


Budhaditya Chattopadhyay / India
Leiden University


We have arguably entered the Anthropocene epoch, a new geologic era defined by unprecedented manmade disturbances over earth’s ecologies and cultural heritages. In this era, the ecological integrity as well as traditional cultures and heritage of bucolic landscapes in the emerging economies like India are endangered due to governmental pressure for rapid growth in technological infrastructure and industrial development. In this context, multi-channel sound composition Decomposing Landscape as part of a sound and video installation is developed through extensive field recordings made at specific sites now considered Special Economic Zones, situated in the eastern part of India. The work creates a discursive auditory situation to facilitate a contemplative observation of such transitive landscapes. The work intends to delineate transition of India from a pastoral past gearing fast toward the contemporary urban, rendered within a mode of questioning. The large-scale media art project aims to practice digital technology to mediate engendered sites in contemporary art and helps disseminate cultural values to trigger public awareness. The project not only intends to foster the capacity to preserve heritage, but also records cultural transformation of conflict- ridden sites and landscapes for public intervention and artistic transformation to address the possibility of achieving reconciliation and peace.





Jesse Drew, Glenda Drew and Spencer Mathews / USA
University of California at Davis



In a world increasingly threatened by erosion of civil rights, environmental destruction and economic disparity, PIXELDUST presents a visual/aural display of hope, faith and resoluteness through short autobiographical texts and visual portraits from inspirational figures in world history. Participants approach a shrine/altar that triggers a visual dust storm of pixels that rise from the bottom of the screen. While the ‘pixeldust’ swirls, an autobiographical statement is heard/displayed from an unknown person, taken from a position of hopelessness, despair or fear expressed in that person’s life. As the voice/text ends, the pixels assemble and reveal the person’s identity, easily recognizable figures who clearly overcame their weaknesses and made substantial contributions to our world. PIXELDUST is designed to be an “engine” built to accept public contributions of inspirational figures from all points of the world. It is designed to be a public display resource to console and give hope to people around the world who fight for peace and social justice.



     33.Wake vortex

Wake Vortex


Dejan Grba / Serbia
New Media, Faculty of Fine Arts, University of the Arts in Belgrade; Digital Art PhD Program, Interdisciplinary Studies, University of the Arts in Belgrade


Wake Vortex is an ongoing series of generative videos and images built around the idea that digital raster image can be treated as a three-dimensional object and viewed not just frontally but also from any other side. This process can be understood as line-scanning of digital imagery. Viewed orthogonally from the side, the image is perceived as a one-pixel wide line, while orthogonal scanning of a stacked set of video frames creates a new set of images which can be animated, and certain combinations of source materials and scanning sides/directions produce interesting results.


Wake Vortex employs (re)creativity with orthogonal scanning of the artworks and cultural artefacts which were themselves developed through various modes of innovative combinatorics. Dimensional collapse in orthogonal scanning reveals new formal values and facilitates layered observation. While visually estranged, the generated imagery retains the suggestiveness of the original so the viewer intuitively regards it analytically.


In aviation and seamanship, wake vortex is often a dangerous, unpredictable turbulent trail generated by the craft’s motion. In this project, it points to the complexity of the imperceptible or unregistered default values of an artwork or cultural artefact, to their unforeseen expressive, cognitive, ethical and political consequences.





Mitra Azar / USA


Scars&Borders is an ongoing archive of images shot by the artist investigating crises locations at geographical borders from the imaginary yet real perspective metaphorically located at the buffering areas between two confining countries - where technically and symbolically there’s no proper jurisdiction of a country’s law over another. The political danger of this zone is underlined by their prison-state status and by the strategies of distraction enabled on site via presence of duty frees and/ or touristic attractions, both responsible for anesthetizing the subversive strength of those spaces.


Those borders are selected on the basis of their sociopolitical and aesthetics potential in regards of disclosing narratives in the frame of challenging political situations, and studied from the point of view of an aesthetic of crises. Thus, the praxis of the artistic research looks at borders not anymore as frozen scars but rather as virtual lines of flights, optimal for the beginning of a process of deterritorialization from a certain type of bio-political control, for example the one on the notion of human movement. Scars&Borders generates a series of site-specific works with the means of photography, filmmaking and performances at borders’ areas around the globe.


     29.Wake up The fight does not only last one day

Wake up! the fight does not only last one day


Johana Marcela Jimenez Orozco / Colombia
Pontificia Universidad Javeriana-Universidad de Caldas


Since a couple of month the colombian state has taken a little more consciousness about the need to protect one of the most vital resources for every living creature: the water, the element that most value should have for the human being, which is only 0,4% (potable water) in the entire planet, which is, nowadays, a big part contains contamination traces, result of unconscious human actions; one of the protection measures that are being realized in Colombia I am interest in stick out one of them, located in Villamaría, in Gallinazo county, place where mining activities were intended and would directly affect the river and all the nearby water sources; these tasks were recently suspended for legal actions implemented by people of town.


I want to highlight all this fights that have the objective to looking for the wellness of everybody and I want to make a call of attention with the proposal to continue supporting this goals that make this world a better one, we want to join more people to fight with us, and partner this world with the nature enjoying all that it does for us.


     28.Scnery valugan

Scenary: Valugan 


Melissa Dela Merced / Phillippines
University of the Phillippines Film Institute


Scnery:Valugan is based on a video installation which attempts to bring the user into various places. My first visit to the Valugan beach is 30 years after my father’s first visit to the island and he narrated the changes the island is going through. Rocks were being picked off and sold as the popularity of both the beach and island is growing. I believe there is beauty in the rocks and the sound preserves its presence in time.


Instead of a parallel projection of the scenery. I have decided to project the images on the floor to give emphasis on the rocks on the shore as the images are of such. By silencing out the noise of the urban and focusing on the slow crash of the waves and distant chatter of the residents of the island. I want to bring you to the beach.



     27.Three dimensional



Camilo Hermida / Colombia
Universidad de Caldas


The video explores the construction of three-dimensional spaces and questions the generation of artificial worlds, where organic is represented by poligonal geometry. It invites to the immersion of the viewer in environtments which mutate digitally, but where evolutive processes and transformations are modeled from reality fragments. Contruction of objects are not just developed with 3D tools as visual contruction, it is also generated thereafter parameters of programation which reconstruct fiction and imagination in an aleatory way.



Solar Flare


Michael Fox-Jessica Rodrigues / United Kingdom-Mexico
University of Hull-Universidad de Guanajuato



A1- SolarFlare | B1-StillTransmitting | B2-EvenWhenI’mGone A piece in three movements inspired by the film Sunshine. The piece was made with a damaged synth, and recordings of an old family piano; The synth constantly warps like how traveling through space involves the distortion of space and time itself, and the detuned piano samples are manipulated to express more than the raw sounds can. The distorted and twisted video effects reflect and amplify these themes.



     23.Inner Pathways

Inner Pathways


Gabriel Vanegas - Katharina Klemm / Colombia


The mystery of the Nazca lines and the lines called "Ceques" at the Bolivian Plateua, lead us to explore different conceptual and aesthetical speculations of this technology lost in time. The Quechua concept of "Pacha," (Time and Space) was one of the worldviews that shaped this majestic artwork and it was created by lost civilizations before the indigenous communities that inhabit currently these areas.


We had the opportunity to walk throughout several of these lines at the Sajama national park in Bolivia; collecting audiovisual material meanwhile commuting with the indigenous inhabitants of the area, who told us several fantastic stories hidden in these pilgrimage routes which connect several worlds.


According to the inhabitants the civilization who built the lines, disappeared the day when the sun raised. These perfectly straight pathways can only be seen from satellites. Later on the lines were readapted by the Inca Empire to connect the entire South America. They were also related to their calendar; the movement of the stars; geomagnetisum and spiritual paths. They connected the mountains, springs and other sacred places where the gods lived and controlled the destiny of the inhabitants.





Laura Sofia Arango Palacio / Colombia
Universidad de Caldas 


That’s how the mass behavior analysis manifest: the days, the evenings and the nights connected amongst themselves showing a whole idea of the cultural coffee landscape with common sounds full of social chaos caused by these networks where time goes fast and showing how everyday passes by, full of lights and the independent beings inside their “own world”, but dependent on a network created with an identity of masses and informal fraternity. The ceremonial and ritual behaviors are, without a doubt, important elements that contribute to producing the “us”, which is the self-representation without which the group can’t exist.


We must understand how the connections between the countryside and the city caused a complete transformation of these two, affecting their environment and changing the identities that made them different from each other…they unify and begin to understand the same language, their behaviors and the chaos itself.


It’s the kind of self individuality of the metropolis that has sociological bases that defend around intensifications of the common stimulus of beings which comes from subtle and continuous changes on the reception of different types of impulses to maintain, internally or externally, mechanized for the appropriation of our environment.


     20.Art Value

Art Value


Vygandas Simbelis / Sweden
KTH, Royal Institute of Technology, Stockholm, Sweden


The project “Art Value” examines the notion of political economy and neoliberal values in the art processes, i.e. production, circulation and consumption. The economy standards and its influences to the art world and to creation in general is a key theme of the project. Critically appropriating principles of such dichotomy discourse, the artist seeks for a synthesis between those two different and opposite paradigms. The viewer of the exhibition is invited to rethink the existing connotations of those philosophical assumptions, elevating the moral and aesthetic values.


It is a speculative project questioning artwork’s reception and perception through economical principles, i.e. through rethinking the notion of the artwork as commodity. It is also a critique of one of the main characteristics of the contemporary art world – the segregation of the art world and its public escalation of the monetary values.


“Art Value” is taking place through the exposition of numbers. This aesthetic turn is examining the contemporary notion of contemporary human (post-human), who radically and decisively believes in numbers. Questioning the exponentially growing trust in numbers and data, its inclusion in everyday life, abstraction and unification of everything what is around us, also through what is digitalized, coded and quantified.





Vygandas Simbelis / Sweden
KTH, Royal Institute of Technology, Stockholm, Sweden


The STRATA project is concerned with the limits of human senses at those edges where the boundaries dissolve. In an audiovisual film both the audio and the visuals work together – to create evocative and extreme experiences. The project explores the aesthetic properties of analog and digital transformations formed by the limitations and qualities of various forms of sensing apparatus. The result takes the form of noisy and hypnotic soundscapes. An abstract animation is directly and in real-time generated from the sound itself; audio frequencies affect the pulsation of the RGB diode. The artist plays with several parameters affecting the light (e.g., amplitude, frequency, phase, frequency modulation, and wave shape). The camera captures the pulsation of the light and generates moving colorful lines through that. In such a generative process, there is no need for any post-production technique. The STRATA film project is closely related to S T R A T I C audiovisual performance project.


     17.The Green Proyect

The Green Project 


Yun Hong / USA


In recent decades, China has had a severe environmental crisis with millions of people suffering from bad air, polluted water and vegetation degradation. Instead of finding sustainable solutions, some local governments make a “big show” of decorating landscape surfaces by using “artificial colors”, such as paint, fabric, or printed imagery to physically cover the no-longer naturally colored environments. At Laoshou Hill, thousands of square meters of mountain were painted green to hide red coal mine pits. In Beijing, the sky surprisingly became blue and clear during special “showing” days like the Olympic Games to let “guests”forget the extremely high concentration of PM2.5.


In this work, I use the standardized/ industrial meadow green to highlight this “artificial color”. I call it “The Green Project”, a camouflage by the government that uses fantasy to maintain power structures. In this situation, the environment becomes an artificial landscape where citizens are forced to exist within it. The green is a portal to travel between the decayed reality and the fictionalization nature, it blurs the boundary between fantasy and reality, covers the truth with layers of deceit, which makes people’s trust in the government evaporate. The more layers of color, the “greyer” the truth becomes.





Joao Pedro Oliveira / Brazil


Âphâr is an Hebrew word that means “dust”. This video is inspired on two passages of the Old Testament:

In the beginning, God created the heavens and the earth. The earth was without form and void.
(Genesis 1)


Jacob had a dream: He saw a stairway erected on the earth with its top reaching to the heavens. The angels of God were going up and coming down it and the Lord stood at its top. […] He said: Your descendants will be like the dust of the earth.
(Genesis 28)



Landschaften Der Vergangenheit


Juan Escudero / Spain
Universidad de Oviedo


In this project certain conexions with algebraic geometry are explored. The visual part is based on recent research in algebraic geometry, relating the theory of aperiodic tilings with singularity theory in algebraic hypersurfaces.





Anabel Costa / France



The festival features a selection of audiovisual works, dealing with the problem of gender inequality. It is about creating a space for discussion in favor of human rights, in which gender equality is contemplated. The festival was born in Spain with the cultural platform guerrilla food sound system, who promotes art, culture and food rights. An international jury has selected 40 films with a total duration of three hours, in them there are short films, documentaries and experimental video. The aim of this exhibition is to demonstrate a new concept of empowered women, all jobs share the spirit of struggle and many of them also do it from the humor, because we see no need, about showing more drama. This show has been travelling around spain and portugal by truck, the symbol of male led by a woman. In this second stage, the proposal no longer have truck, but has two legs.



     10.International show feminist cinema

International Show of Feminist Cinema, Fem Tour Truck


Alejandra Bueno / Spain
Fem Tour Truck 

The festival features a selection of audiovisual works, dealing with the problem of gender inequality. It is about creating a space for discussion in favor of human rights, in which gender equality is contemplated. The festival was born in Spain with the cultural platform guerrilla food sound system, who promotes art, culture and food rights. An international jury has selected 40 films with a total duration of three hours, in them there are short films, documentaries and experimental video. The aim of this exhibition is to demonstrate a new concept of empowered women, all jobs share the spirit of struggle and many of them also do it from the humor, because we see no need, about showing more drama. This show has been travelling around spain and portugal by truck, the symbol of male led by a woman. In this second stage, the proposal no longer have truck, but has two legs.



     09.Smart User

Smart User 


Kuesti Fraun / Germany


Reinterpretation of Lord's Prayer


     08.The Sky The Man and the sea

The Sky, The Man and The Sea


Lynn Bianchi / USA
Independent artist


This large scale work can be presented as a video projection or a multimedia installation composed of a photograph on a plexiglass superimposed onto a digital monitor displaying video with sound. The work incorporates unusual depth and monumental dimensions achieving a particularly emotional effect. “The word emotion comes from the latin emovere, which is historically connected with the idea of movement. An eternal movement that moves the viewer emotionally and conceptually, and that the artist observes and try to preserve with his creation. In the presence of the work, the viewer can connect with a larger emotional landscape that embraces all of us and lives without and within; because we are all part of a larger spectacle.”


     07.New York New York

New York, New York


Lynn Bianchi / USA
Independent artist


New York, New York focuses on the magic feelings and alchemic effects that transform a daily view of the Hudson river into a layered and complex video composition. As in a well-organized spectacle numerous little epiphanies slowly become part of a balanced composition. “The soundtrack is composed of two main audio tracks. I recorded the first one while contemplating the view, fascinated by a jazz musician practicing with his saxophone. The second one is composed by the voices of three friends of mine. I invited them to hum a few famous American melodies like “New York New York” and a few others. They recorded them in their apartments in NYC, and then sent them to me, to become part of a larger portrait of my city.”


     06.A prayer for the dead

A Prayer for the Dead 


Lynn Bianchi / USA
Independent artist


In A Prayer for the Dead, subjecting the body to the purifying power of water evokes ideas and feelings of renewal and cleansing. This project started as an impulse to communicate through water. It slowly took form in its attempt to portray the universal experience of release. Unexpectedly, the work mirrored rituals of which I wasn’t aware, like the Buddhist funerals, where “water is poured into a bowl placed before the monks and the dead body. As it fills and pours over the edge, the monks recite: ‘As the rains fill the rivers and overflow into the ocean, so likewise may what is given here reach the departed’.”





Lynn Bianchi / USA
Independent artist



Grasshopper es un video de alta definición que muestra a una pareja disfrutando tranquilamente de una tarde en la playa. Las interpretaciones del tiempo y el significado del espacio se exploran de la forma en que una realidad puede rebotar a la siguiente, al caos de las dimensiones alternativas. Los fragmentos de existencia fueron reensamblados, mostrando cronogramas incoherentes existentes dentro de un solo video digital. Se supone que el tiempo es intangible e invisible, pero sus signos son claramente visibles a nuestro alrededor. Podemos sentir el paso del tiempo cuando sentimos el viento soplando; podemos ver el tiempo fluyendo a través de las olas del océano, y el paso del tiempo está encarnado por nuestras huellas en la arena - trazando las múltiples trayectorias de nuestras actividades frenéticas. En este nuevo mundo digital, la idea clásica de continuidad se abandona a favor de saltos y desviaciones de la linealidad: capas múltiples están ocultas dentro de las vistas más mundanas y diferentes líneas de tiempo se entrecruzan de maneras impredecibles.




     04.The waiting Pool

The Waiting Pool 


Lynn Bianchi / USA
Independent artist



Can media art, now deeply influenced by the diffusion and power of emerging technologies, help us feel again in a deep, spiritual way? Can emerging media arts help us rediscover a long lost sense of connection with nature? Could that be a key factor in the effort of re-balancing our sociopolitical global situation? In the face of planetary-scale computation and digital realities spinning out of control I look for a renewed sense of peace and harmony. People today are losing the ability to focus and contemplate, submerged by a constant flux of signals, images and sounds.


Will media art necessarily contribute to this trend or can it help us rediscover ourselves? I’ve always been looking for the extraordinary in the ordinary. I started my career as a fine art photographer, however, in the last five years, my work has been deeply influenced by both emerging technologies and by the new technical and conceptual possibilities offered by them. My latest works are suspended between Henri Cartier-Bresson’s idea that to photograph is to hold one’s breath with all faculties converged in an effort to capture fleeting reality, and the belief that flowing processes that transcend reality cannot be entirely captured by static images. My goal is to capture the natural world, illustrating my motivations and emotions, looking for the precise moment when mastering a composite moving image becomes a great physical and intellectual joy.