Foto: rubra

Wechselnde Programme jede halbe Stunde

Ebene 0

Deep Space Nightline
Do – Mo 21:00 – 23:00

Mo 7.9. 18:00 – 19:00
Special Trips to the End of the Universe
Dietmar Hager F.R.A.S. (AT), Deep Space

Deep Space Nightline

3.9. 21:00 – 23:00
Deep Universe: Breathtaking Imagery of the universe in 2D and 3D
created by SCISS (SE), NASA, ESA, Dietmar Hager (AT)

4.9. 21:00 – 23:00
Art Cinema: Audiovisual Installations created by The Sancho Plan
(UK), Ars Electronica Futurelab (AT), stadtmusik (Dietmar Offenhuber (AT),
Sam Auinger (DE), Hannes Strobl (DE)), Ryoji Ikeda (JP)

Ryoji Ikeda – data.tron [8K enhanced version]
Commissioned by Ars Electronica Centre for the inauguration of their Deep Space venue, produced by Forma

5.9. 21:00 – 23:00
Cultural Heritage Night: Cultural Treasures preserved
by CyArk (UK) and Haltadefinizione (IT)

6.9. 21:00 – 23:00
Science Cinema: Iceman Photoscans (Ötzi) by the Institute of Mummies
and the Iceman (IT), and In-silico Experiments Live from Leibniz
Rechenzentrum (DE)

7.9. 21:00 – 23:00
Views on Earth: Perspective on the planet by Yann Arthus-Bertrand and
Luc Besson (FR), and on Linz by Erich Pröll (AT)

Foto: rubra

Fr 4.9. 11:00 – 15:00

Ars Electronica Center
Deep Space (Level 0)

11:00 – 11:30
Pixelspaces Opening: Do-it-Together! (Horst Hörtner, Ars Electronica Futurelab, AT)

Panel 1: DeepImage

Developers from the Ars Electronica Futurelab and artists present their works in the Deep Space.

11:30 – 12:00
Intro: Deep Space (Ronald Martins, Oliver Elias, Daniela Kuka, Ars Electronica Futurelab, AT)

12:00 – 12:30
DeepImage. Giga-Pixel Images at Deep Space (Oliver Elias, Ars Electronica Futurelab, AT)

12:30 – 13:00
xRez in Focus (Eric Hanson, Greg Downing, xRez Studio, Inc., US)

13:30 – 14:00
Ôr’ganik Constructions (Kenneth A. Huff, interdisciplinary visual artist, US)

14:00 – 14:30
Last Supper. New Approaches in Preserving Art History (Pascal Maresch, Ars Electronica Future Lab, AT)

14:30 – 15:00
Iceman Photoscans (Albert Zink, EURAC Institute for Mummies and the Iceman, IT)

Moderation: Daniela Kuka

Deep Space
Deep Space is a large-scale platform for interactive, stereoscopic and high resolution content. Its platform character allows processing Virtual Reality Environments, 2D/3D-Movies and computationally intensive (realtime) 2D applications for a big amount of users. In this talk, we will give an introduction to the general approach of Deep Space and how it differs from CAVE-like systems. The talk can be seen as a making-of presentation with a special focus on the spatial and the system design. As part of this, we will demonstrate the use of the Apple iPod Touch technology as a VR control unit and the possibility to use other devices as tools for Interactive Storytelling.

The following talk, DeepImage, concentrates on the specially developed viewer for extreme resolution images at Deep Space. The viewer allows to synchronously zoom and pan Giga-Pixel-Images on a 4K projection without any visible loading processes.

xRez in Focus
This session will highlight the work of xRez Studio, a pioneer in gigapixel photography and visual effects work. The talk will discuss the emergence of high resolution gigapixel photography with the convergence of film visual effects techniques. Also shown will be a unique view of Yosemite National Park in North America which, as part of the recent Yosemite Extreme Panoramic Imaging Project, is a single image made up of 10,000 separate shots and mapped onto 3d terrain, revealing an unprecedented elevational view of nature devoid of conventional perspective. Other work in the areas of cultural heritage documentation, computational photography, and dome theatre projection will be shown.

Eric Hanson (US) Eric Hanson is a visual effects designer specializing in the creation of digital environments. Having worked with leading visual effects houses such as Digital Domain, Sony Imageworks, Dream Quest Images, and Walt Disney Feature Animation, his work can be seen in „The Day After Tomorrow“, „Cast Away”, “Mission to Mars”, “Fantasia 2000”, and “The Fifth Element”, among others. He is CEO of xRez Studio, a company specializing in gigapixel photography and effects work, as well as Associate Professor at the USC School of Cinematic Arts, leading their curriculum in visual effects. Eric is a member of the VES, IVRPA, PMA, ACM/Siggraph, and attended University of Texas at Austin. He wishes he could sleep more.

Greg Downing (US) Greg Downing, President of xRez Studio, Inc., specializes in technical photography and image-based 3D technologies. His photographic work has been displayed in some of the nation’s most prestigious museums including the American Museum of Natural History, the Cincinnati Art Museum, and the Denver Museum of Nature & Science. Greg’s technical background comes from his work in development at Realviz on ImageModeler, Stitcher and Sceneweaver graphic applications. He has worked in film production as a Lighting Technical Director at Rhythm & Hues and Sony Imageworks in Los Angeles. Greg teaches at the Gnomon School of Visual Effects, has presented at professional conferences for both visual effects artists and photographers, and has been published in numerous industry publications.

Ôr’ganik Constructions
With Kenneth A. Huff at Deep Space, you will see something that you have never seen before, but also something that is vaguely familiar. Inspired by the random, yet structured beauty and minute details of nature (flora, fauna and mineral), Huff’s very high resolution images are creating an illusion of reality even while the viewer is gently confronted with the practical knowledge that the objects represented do not exist. At Pixelspaces, Huff will talk about his artistic approach to deal with high resolution imagery and take you on a journey to the details of “Ôr’ganik Contructions”.

Kenneth A. Huff (US) is an interdisciplinary visual artist working in a variety of traditional and new media. Through intricately-detailed abstractions, he explores evolving patterns and forms in nature. His body of organically-inspired work spans more than fourteen years and includes prints, sculptures, time-based projects and photographs. Ken’s works have been included in over 350 public showings in Australia, Austria, Canada, China, France, Italy, Japan, Malaysia, Mexico, South Africa, Spain, United Kingdom and twenty-seven states in the United States.
Ken maintains a studio in Savannah, Georgia and is a Professor of Visual Effects in the School of Film and Digital Media at Savannah College of Art and Design. His work can be viewed on the Web at www.kennethahuff.com.

Iceman Photo Scan
The Iceman Photo Scan is an innovative project which records the complete photographic documentation of the body of the famous 5.300 years old Iceman mummy from South Tyrol. Thanks to 12 differing angle-shots it is possible to see the whole body of the mummy. The intuitive zoom function enables a high-resolution navigation, from a total body image down to millimetric detail. The image at any enlargement guarantees both a perfect view and accurate color reproduction.

PD Dr Albert Zink
got a degree in biology from the university of Ludwig-Maximilian of Munich (LMU), in 1998 he concluded his research doctorate at the Institute for Anthropology and Human Genetics. He was a scientific researcher at the Institute of Pathology at the University of Munich and at the Academic-Teaching hospital of München-Bogenhausen. Here he dedicated himself to the identification of pathological alterations in ancient Egyptian mummies with a major interest in the molecular detection of human pathogens. At the beginning of 2005 he obtained the teaching professorship at the faculty of medicine at the University of Munich. From October 2004 to June 2007 he was a member of Professor Dr. W. M. Heckl’s group at the Department of Geoscience of the University of Munich where he has led a working group in nanomedicine. Since July 2007 he is Scientific Director of the Institute for Mummies and the Iceman at the European Academy (EURAC) in Bolzano, Italy.

Ars Electronica Center
Deep Space (Level 0)

Panel 2: Virtual Narratives

11:00 – 11:30
Intro: Interactive Virtual Narratives at Deep Space (Ronald Martins, Oliver Elias, Daniela Kuka, Ars Electronica Futurelab, AT)

11:30 – 12:00
Immersive Virtuality Authoring for Narratives (David Nahon, Dassault Systèmes, FR)

12:00 – 12:30
On-Site. New Approaches in Virtual Heritage (Erwin Christofori, CyArk.org, DE/US)

Moderation: Daniela Kuka

12:30 – 13:30 (Main Gallery!)
Featured Artist Talk with Hiroshi Ishiguro (JP) moderated by Gerfried Stocker

Intro: Interactive Virtual Narratives at Deep Space
The Ars Electronica Futurelab is using Deep Space as expanded lab for R&D in the field of Human Computer Interaction and Interactive Virtual Storytelling. A production that has been created specially for children serves as use case for the integration of Anoto technology in Virtual Storytelling. The project, “Papyrate’s Island”, is a virtual island completely made of paper. Participants can use real pen and paper in order to add objects and characters to the story. The interface was developed in cooperation with the Media Interaction Lab in Hagenberg (A). We are talking about the making-of of the story as an example of Virtual Narratives at Deep Space and are demonstrating how we are making use of Anoto technology within that story.

Born in Paris in 1968, David Nahon studied Electrical Engineering at SUPELEC, one of France’s preeminent engineering universities and obtained an MSc in “Communications and Signal Processing” from the Imperial College of Science and Technology in London, in 1991. Due to his strong interest in visual arts, David began studying 3D computer graphics and aesthetics for an MSc from Paris 8 University’s “Art and Technology of Images” program.
In 1994 he entered Z-A Production as a researcher and development engineer. At Z-A, he developed PERSONA, a visual programming toolbox for procedural and interactive animation in real-time, which was used for Z-A’s many 3D computer animation productions. Around the same time, David became involved in the development of various interactive public artworks for Maurice Benayoun, using networks, real-time 3D animations, VR immersive environments, interactive sound, the internet …
David Nahon became technical and R&D director of Z-A soon after. In 2001, he headed up the software development of the SAS Cube, the first PC-based CAVE, and first French CAVE, partnering with Barco and Clarté.
In 2003, David Nahon joined Virtools as „VR and Simulations Solutions Manager“. While his first mission was to continue the development of the Virtools VR Pack, initiated while at Z-A, he spent most of his energy developing Virtools’ business in the VR market and making Virtools one of the leading commercial VR solutions, with prestigious customers like PSA, Procter and Gamble, EADS, Matsushita or Boeing.

Since Virtools was acquired by Dassault Systèmes (DS) in 2005, David Nahon leads the virtual reality and augmented reality technologies (Immersive Virtuality) for the DS group.

Ars Electronica Center
Deep Space (Level 0)

Panel 3: Data Universes

11:00 – 11:30
Intro: Data Universes (Daniela Kuka, Ars Electronica Futurelab, AT)

11:30 – 12:00
Zurückbleiben bitte! (stadtmusik, Sprecher: Sam Auinger, Komponist, DE)

12:00 – 12:30
Scaling the Universe (Staffan Klashed, SCISS, SE)

12:30 – 13:00
In-silico Experiments – Live from LRZ (Dr. Dieter Kranzlmüller, Dr. Helmut Satzger & Dr. Ferdinand Jamitzky, Leibniz-Rechenzentrum der Bayerischen Akademie der Wissenschaften, High Performance Computing Group, DE)

Moderation: Daniela Kuka

The intro talk focusses the idea of a “public laboratory”, an idea that has a long tradition in the history of R&D at Ars Electronica Futurelab. A “public lab” should give public access to data that is normally used in research facilities only. A series of examples – three of them presented during the panel – is demonstrating that Deep Space can be seen as one prototype of a “public lab”: It is blending together an exhibition and a research platform. By means of this, Deep Space is changing its functionality within seconds: from a microscope to a telescope, from an experimental performance place to a live connected simulation lab to a walk-able archive… huge data universes are unfolding to augment familiar dimensions of perception and to transfer knowledge from different disciplines to the public.

Daniela Kuka, M.A. is Senior Researcher for Interactive Dramaturgies at the Ars Electronica Futurelab, Linz (A), where she curates Pixelspaces, the media art R&D Lab’s annual conference and exhibition. She has been one of the creators and the project manager of Deep Space. She studied Theories of Media Culture and Art at the University of Art and Industrial Design in Linz, and Cultural Engineering at Otto von Guericke University in Magdeburg, Germany.

Scaling the Universe
Scaling the Universe is nothing short of an interactive tour of the entire observable universe. Enabling the Deep Space to improvisation by live presenters using the Uniview visualization software, this presentation will take you on a tour of abstract data as well as supernovae, constellations, stars and planets. As viewers tour this virtual representation of the real deep space, the journey is sure to violate the speed limit of light demanded by physics and scale billions of lightyears in just a few minutes.

Staffan Klashed is the founder and CEO of Sciss AB, authors of the Uniview visualization software. In this presentation, he will talk through the technical challenges of visualizing scientific data ranging billions of lightyears in scale and describe some of the solutions created at Sciss AB. He will also give some thoughts on the future of immersive visualization spaces and scientific visualization for entertainment and education.

Zurückbleiben Bitte!
Zurückbleiben bitte! ist eine für das „Deep Space“ Environment aufbereitete stereographische und interaktive Version des gleichnamigen Kurzfilms von stadtmusik. Die Arbeit basiert auf der Lautsphäre der U-Bahnstation „Schönhauser Allee“ in Berlin.
Die visuelle Ebene kontrastiert die von menschlicher Aktivität geprägte Audiospur mit entrückten, menschenleeren Orten, an denen die Zeit still zu stehen scheint. Visuelle Eindrücke sind in Partikel zerlegt und aus dem Wahrnehmungskontinuum herausgelöst – eine Raumerfahrung, die vor dem Hintergrund des schlafwandlerischen absolvieren täglicher Routinewege für die meisten Menschen nachvollziehbar sein dürfte.
Die Aufmerksamkeit als ständig nachjustierende Optik, die Sinneseindrücke neu ordnet.
Eine U-Bahnstation ist ein öffentlicher Ort mit einer speziellen Raumzeitstruktur – ein Ort des Wartens, der Abfahrt und des Ankommens.
Im Warten hören wir anders…

Stadtmusik ist eine Zusammenarbeit zwischen den Berliner Komponisten Sam Auinger und Hannes Strobl und dem Linzer Medienkünstler Dietmar Offenhuber. Stadtmusik beschäftigt sich mit Wahrnehmungssituationen in der Stadt, die insbesondere durch den Einfluss akustischer Phänomene entstehen. Stadtmusik untersucht die urbane soundscape anhand von Geräuschstrukturen, die von Gebäuden und städtischen Einrichtungen erzeugt werden. Die Arbeiten von Stadtmusik sind Diagramme dieser Wahrnehmungssituationen.
Die Arbeiten von stadtmusik wurden auf zahlreichen internationalen Festivals präsentiert, darunter Sundance, dem Hongkong International Filmfestival, Sonar / Barcelona, Arte Contemporaneo in Madrid, Seoul Media Art Biennale, die Transmediale Berlin, das Museumsquartier Vienna und das ZKM in Karlsruhe.

„In-silico Experiments – Live from LRZ“
Proteine sind die Hauptakteure in fast allen uns bekannten biologischen Prozessen. Die Simulation dieser molekularen Nano-Maschinen ist essentiell, um Krankheiten besser zu verstehen und Ansatzpunkte für Therapien zu finden. In dem vorgestellten Projekt wird eine Live-Schaltung zum LRZ Supercomputer in Garching bei München hergestellt, auf dem die Bewegung der Atome berechnet, ins AEC übertragen und dort online visualisiert wird. Der Forscher wird nicht nur zum Beobachter, sondern zum Akteur im molekularen Geschehen. Diese Demo zeigt einen Blick in die Zukunft der biologischen Wissenschaften, die mit Hilfe von Supercomputern Unsichtbares sichtbar machen.

Das Leibniz-Rechenzentrum (LRZ) in Garching bei München ist das Rechenzentrum für die Münchner Universitäten und die Bayerische Akademie der Wissenschaften. Es ist für das Münchner Wissenschaftsnetz verantwortlich und stellt Höchstleistungsrechner für die Wissenschaft in Deutschland und darüber hinaus zur Verfügung.