[Overview] [Presentations] [Workshops] [Art Events]
27th International Symposium on Electronic Art [ISEA2022]
Barcelona, Catalonia, Spain June 9-16, 2022.
Organised by the UOC (Universitat Oberta de Catalunya; Open University of Catalonia) in partnership with the Centre for Contemporary Culture, Barcelona (CCCB), Santa Mònica arts centre, the Museu d’Art Contemporani de Barcelona (MACBA), New Art Foundation, the new Art, Science and Technology Hub Hac Te, Barcelona City Council (through Barcelona Science and Universities and the Institute of Culture), the Government of Catalonia’s Ministry of Culture and the Institut Ramon Llull. ISEA2022 was held at the CCCB, MACBA, and many other locations, among which the Convent de Sant Agustí, Museum Arts Santa Mònica, Museum La Capella, Hospital de Sant Pau Museum and Beep Gallery (Reus).
ISEA2022 In Numbers
- 140 expert presentations
- 16 panels and round tables
- 18 posters and demos
- 45 institutional presentations
- 40 artist talks
- 23 screenings
- 13 performances
- 4+ art exhibitions
- 13 workshops
With the aim of bringing the intersections between Art, Science and Technology closer to the public, ISEA2022 has created the ISEA Extended Program, in Barcelona and other 10 cities which includes more than 50 activities along the Catalan territory with the support of Barcelona City Council and the Generalitat de Catalunya, through its Ministry of Culture.
Hac Te, the new Hub of Art, Science and Technology of Barcelona has articulated the ISEA Extended Program to make possible exhibitions, workshops, outdoor projects, panels, artists talks or school initiatives where visual arts venues, design schools, museums and art centers, art factories, festivals and high schools are involved.
With this extensive program that complements the conferences and exhibitions, ISEA2022 wants to make the intersection between arts, science and technology practices open and accessible to society, involving and connecting the international Symposia with the different catalan communities related with this interdisciplinary field.
Apart from Barcelona, within the framework of ISEA2022, 10 Catalan cities all among the territory will host several activities: Girona, Lleida, Mataró, L’Hospitalet de Llobregat, Amposta, Tarragona, Vic, Balaguer, Reus and Berga.
Extended and Exhibition Program available at the bottom of this page [PDF]
ISEA2022 Online Teaser
ISEA29022 After movie
Introductory Notes, Closing Events
- CCCB — ISEA2022 Barcelona
- UOC — 7000 people enjoy Barcelona’s first drone show, marking the end of the world’s leading digital art symposium
- Marta Vega (MACBA Archive) — Welcoming Remarks to 2nd Summit on New Media Art Archiving
On June 10, Museu Frederic Marès hosted the ISEA2022 Barcelona Opening Ceremony to welcome both local and international participants to ISEA2022 Barcelona.
Before, one could visit the Maria Aurèlia Capmany viewpoint. Located on the terrace of the Novíssim building (Plaça de Sant Miquel, 2), it offers the best panoramic views of the city.
7:00 p.m. – Open access to Maria Aurèlia Capmany viewpoint
8:00 p.m. – Reception in Museu Frederic Marès (Pati Verger)
FORMS – (it is a) Live de Playmodes
20:30 p.m. – Speeches.
Visual ‘Slow Violence’ de Hamill Industries
21:00 p.m. Standing cocktail dinner
FORMS – (it is a) Live de Playmodes
22:00 p.m. – Closing
FORMS (it’s a)Live
Santi Vilanova, artist of the Playmodes collective, presents a new performance format of his work FORMS. This work – which in its “Screen Ensemble” version is part of the Beep collection of Electronic Art and of the exhibition that can be seen at the Recinte Modernista de Sant Pau – explores the compositional possibilities of visual music through ‘generative graphics and image sonication algorithms.
On this occasion, the artist has developed a live controllable audiovisual system, which generates infinite variations of sonicated spectrograms, and which operates halfway between the sound machine and the live musical instrument.
Slow Violence – Hamill Industries
This piece proposes a space to rethink some of the long-lasting effects, and formulates a visual exercise on the geological transformation and destruction of living ecosystems. We want to create a visual that reflects on the great acceleration of these changes (Anthropocene) and their repercussions on climate and biodiversity. A visual and living fresco that encapsulates the unstoppable disaster before our eyes, that devours and consumes nature in an exercise of terrible beauty and where we contemplate, in a very sensory and almost tactile way, the effects and changes produced on the earth’s surface.
Using techniques to photograph frequencies outside our visible light spectrum (ultraviolet and infrared) and time lapse explores ways of seeing complexities, forces, and natural phenomena that are not obvious to the human eye. We want to work on the technique to take an exploratory, deep and conscious look and make visible the invisible forces of nature (erosion, thawing, floods …), observing it through a different perspective.
Recinte Modernista de Sant Pau will host the Main Ceremony of ISEA2022 Barcelona, on June 14, where the testimony will be passed to the next city that will host the Symposium, Paris.
19:00 p.m. Reception and Visit to the exhibition of digital art with five works from the ISEA2022 Barcelona call and twenty pieces from the .Beep Collection.
20:00 p.m. Welcome drink
20.15 p.m. Speeches
20.30 p.m. Performance “Ventriloquist ontology”, by Afroditi Psarra
20.45 p.m. Standing Cocktail dinner
21.50 p.m Fractal Listening (audiovisual performance), by Sebastian Seifert
22.30 p.m. Mapping Cité Mémoire, by Michel Lemieux and Victor Pilon in collaboration with Michel Marc Bouchard,
23.10 p.m Closing
There is in nature, a mysterious and complex mathematical system that repeats itself over and over again, an underlying geometric pattern in forms as disparate as clouds, mountains, trees or our own circulatory system. Its distinctive feature is self-similarity, the same configuration that is repeated at different scales, branching out infinitely. There are those who believe that it is “God’s fingerprint”, “the absolute truth of the universe”.
In Fractal Listening, any attempt at stylistic corseting is diluted in the hybridization of artistic languages. Thus, the fractal images dialogue with acoustic and electronic sounds in an interweaving of infinite kinesthetic notes. In this way, abstract figures in strident colors outline mandalas and enigmatic portals, piercing the virtual canvas with three-dimensional shapes that evoke sacred geometry. This incessant algorithmic repetition generated by pre-established codes, sometimes follows a visual choreography and other times -altered by the frequencies of live sound- it improvises an organic dance, introducing variations to the original pattern. Simultaneously, the sound dimension is embodied in layers and loops, intertwining the electronic bases of IDM, ambient and experimental with the live chords of a guitar. Intervening the work, a trumpet interprets vibrant and moving jazz melodies with harmonics that generate sensations of body and spirit, closing the virtuous circle with a sensory, immersive and enveloping atmosphere.
In 2019, Microfeel & Santiago Bartolomé began their collaborative work with the aim of furthering their respective creative pursuits. This path of experimentation materialized in different artistic proposals. In 2021 they created the live show AV Fractal Listening, the work combines digital art, electronic music and the guitar of the multimedia artist Microfeel (Sebastián Seifert) with the trumpet and processes of the musician and composer Santiago Bartolomé.
Ventriloquist Ontology is a media performance that explores the limits of control and points of hybridization between the human and the machine Ventriloquist Ontology is a media performance that conceptually stems out of philosophical ideas that are rooted in the realms of Posthumanism, Actor Network Theory and Object-Oriented Ontology. Inspired by Alejandro Jodorowsky’s dystopian theatrical play The School of Ventriloquists, it encompasses the creation of a modular wearable, trained using Natural Language Processing to create its own language that manifests in the form of speech and movement actuation. It explores the idea of soft control and points of hybridization between human and machine through the relationship of a performer and a wearable entity. This soft modular entity speaks through text generated using the GPT-2 language model, trained on a dataset of texts around biopolitics, algo-governance, the surveillanced body, and queer theory. The softness aspect of its control refers to the plasticity of the interface, the malleability of its hardware connections, the suggestive nature that the GPT-2 generated text pertains to, and the indicative nature of the movement of the actuators.
Sequentially, it brings forth the soft data of the body inextricably linked to ideas of care and intimacy, as well as to the pliability of the different levels of interpretation between the human and the machine. The aspect of control is tied to the cybernetic idea of steering the body to its optimal movement through a feedback loop between machinic language, and human assimilation. It also deals with the hardness of the linear actuators and the microcontroller that manipulates them, to the domination of these mechanical components over the softness and vulnerability of the human flesh. Ultimately, the idea of ventriloquism is used to give agency to an ontological entity comprised of subtle suggestive wearable modules, human flesh and cognitive motor abilities, born-digital, able to produce novel language, but also conditioned to reproduce the biases of its algorithmic parts.
Video mapping: Grand Tableau from Cité Mémoire
H2Emotion invites you on June 14 to the tableau from the renowned Cité Mémoire Montréal projection circuit.
The Grand Tableau from Cité Mémoire will be projected onto the façade of the Sant Pau Hospital. It is a journey through the key periods in Montreal’s history: the Indigenous presence, French Regime, British conquest and contemporary Montreal —a look at more than 375 years of history.
Created by multidisciplinary artists Michel Lemieux and Victor Pilon in collaboration with playwright Michel Marc Bouchard, the majestic digital work takes a poetic and playful look on the city of Montreal through images, words and music.
· 10:30 pm – 11:15pm
· 11:15 pm – midnight
Quebec, where ISEA2020 (online only) was organised, was ‘Guest of Honour’ at ISEA2022
Summit Organising Committee
- Bonnie Mitchell, SIGGRAPH and ISEA Archives
- Janice Searlman, SIGGRAPH and ISEA Archives
- Wim van der Plas, ISEA Archives
- Terry Wong, ISEA Archives
International Programme Committee
- Oliver Grau, ADA
- Wim van der Plas, ISEA
- Janice Searleman, SIGGRAPH Archives
- Christina Radner, Ars Electronica
Summit Art Jury
- Bonnie Mitchell, SIGGRAPH and ISEA Archives
- Terry Wong, ISEA Archives
Possibles not only open up an unfinished world of futures before us, but also presents and pasts behind us.
The Possible is openness and movement, a horizon of change that unfolds and organizes the world.
The Possible started with the polis, the city, and is political by definition.
The Possible has nothing to do with the unreal, the impossible, or the fictitious, but rather with the unfinished real in front of us.
The Possible shapes our reality, and that is precisely why it is a political problem in itself. From “everything is possible” to “be realistic and ask for the impossible”, from an “infinitude of possible worlds” to “this is not possible and cannot be done”.
Sometimes we are trapped in a world of pre-designed Possibles – “this is it” – where it seems that nothing could have been left out, there are no alternatives. Sometimes it is living an illusion of freedom in an impossible world where the critical just disappears. How to open towards contingency, not only to the becoming but also its uncertainty?
How to draw new Possibles to come, and not just confirming those that are there waiting to be confirmed, experienced and thought, as Possibles that can be brought to existence in our worldview? How to move from the impossible, the fable or the utopia to directly bite into our reality?
The Possible is inscribed within the arts, design, sciences and technologies that surround us now and those yet to come.
We see these Possibles behind climate change and global warming, behind robotics and biotechnologies, inside algorithms, artificial intelligence and data science, in between quantic worlds trying to get a grasp of what matter is, up there above our heads in outer space and the multiverse.
Human and Non-Human
What does it mean to be a human now?
How do we relate with the non-humans?
How do we become bodies in the world?
How do we construct and gain knowledge?
How to develop the interaction between human and machine?
And with the other animals?
These are some of the questions behind this sub-theme that focuses on the possible humans and non-humans that we are, redesigning ourselves and the things around us through new perspectives that open these Possibles in an unfinished world that shapes our existence.
Natures And Worlds
Quantum Art or Nano Arts
How do we understand and experience life nowadays?
How do we relate with nature?
How to fight climate change and global warming?
How do we transform and inhabit our world?
How would we inhabit other worlds that we long to discover and experience?
And how about the universe, the outer space and the planets we dream about?
In a context where all Possibles seem to be closed towards a dystopian future where we are heading , it is crucial to open these Possibles that are waiting to be unfolded, thought and experienced as the Other to come.
Futures and Heritages
Which is the role of history?
How can we construct our futures?
What is the role of the arts in all this?
How should we take care of our past and heritage?
How to remember and forget when there is so much information available?
How to create meaning and sense in a world overflowed with data?
The way we conceive our past, memory and history structures our present and creates our future to come. From Digital Oblivion and Technological Obsolescence, this sub-theme moves forward and backward to an Archaeology of Media that suggests possible futures and heritages.
Educations and Societies
Labs and Maker Education
Education as Culture Creation
Recognition of Diversity
Festivals and Events
Cultivating the Possible
meaningful STEAM learning environments
Pedagogy as Artistic Practice
Art and Design production centers and Labs
How to experience and learn from inter/multi/trans/anti-disciplinarity?
How to integrate the arts into science and technology and the other way around?
Which experiences need to be shared to reinforce that connection?
How and why is there a need to congregate around events such as festivals or conferences?
What can we learn from this?
What experiences from art and design production and research centres and programmes do we need to be familiar with and replicate?
These are some of the questions that stem from the relationship between education and society, that place where citizenship comes to be and interlaces with the rest.
Partners, Sponsors & Funders
In Collaboration with:
Links [to be added]
- Proceedings (PDF)
- Final Programme (PDF)
- Workshop Programme (PDF)
- Extended and Exhibition Program [PDF]