Archive Dreaming, which was first presented at SALT Galata, is user-driven; however, when idle, the installation “dreams” of unexpected correlations among documents.

In this project, a temporary architectural space is created as a blank slate for light and data to be applied as materials that form a volume of an archive visualized with machine intelligence. By training a neural network with images of documents, Archive Dreaming reframes memory, history and culture within the understanding of a museum for the 21st century.

Credits

As part of the five-year program The Uses of Art—The Legacy of 1848 and 1989, organized by L’Internationale, Archive Dreaming was realized with the support of Google’s AMI program.

SALT Research and programs: Vasıf Kortun, Meriç Öner, Cem Yıldız, Adem Ayaz, Başak Çaka, Merve Elveren, Ari Algosyan, Dilge Eraslan, Sani Karamustafa

Google’s AMI program: Mike Tyka, Kenric McDowell, Andrea Held, Jac de Haan

Refik Anadol studio members and collaborators: Raman K. Mustafa, Toby Heinemann, Nick Boss, Kian Khiaban, Ho Man Leung, Sebastian Neitsch, David Gann, Kerim Karaoglu, Sebastian Huber

The database is designed to serve as an active research platform for artists, curators, scholars, scientists and anyone else interested in finding out more about female practitioners in these fields. This database makes no claim to completeness; it is intended to offer an initial overview and starting points for further research. As an active partner in various school and college programs designed to nurture women’s interest in technology and

science, Ars Electronica’s mission in supporting this project is to contribute to greater public awareness of women working in media arts, to promote new role models and to encourage girls and women to become actively involved in a field that is still dominated by men.

The project is a work-in-progress and will be updated on an ongoing basis. It can be accessed via Ars Electronica’s online archive at: archive.aec.at/womeninmediaarts.

http://archive.aec.at/womeninmediaarts/

It aims to raise questions on the impact of technology on governance and evolution of urban settlements. The protagonist is Kitty AI—an artificial intelligence that acts as the first non-human governor of a European city in 2039.

Credits

Script, editing, CGI: Pinar Yoldas
CGI: Rob Tom Browning

At this time the border region between Nubia and Egypt was a political hotspot. It comes as little surprise then that Hisn al-Bab, the site at the heart of our project, saw the building of several successive forts.

The ruin is as spectacular as its setting, opposite the Temple of Philae high up on the eastern shore of the river south of the low dam at Aswan, its walls preserved to a height of eight meters. In addition to the visual experience of a unique and, until recently, completely unstudied monument, we will present the results of several seasons of excavations. These help to understand the daily life of the inhabitants of the fort.

Modern technology gives us the opportunity to visit and present a site that is remote in location and also inaccessible to tourists. The exact three-dimensional documentation of the ruin is a prerequisite for conservation and protection, and also provides the means to introduce the site to a wider international public, thus ensuring its future survival.

Credits

The project is financed by the FWF Austrian Science Fund. The scanning was carried out by the Technical University, Vienna: Prof. M. Doering, T. Mitterecke, I. Mayer, G. Styhler-Adin.

Scan + Postprocessing: TU Wien, Fachgebiet Baugeschichte und Bauforschung (Prof. M. Döring), DI Irmengard Mayer
und DI Thomas Mitterecker. Read more on baugeschichte.tuwien.ac.at

The story starts as a myth. The young demi-god Prometheus rebels. Encouraged by his lover Minerva, he decides to bring humanity to life: “They may be bound here by their lifelessness, but they are free and I feel their freedom!” And so Prometheus becomes the inspiration for VR. He releases humanity from its age-old chains, just like VR, which liberates viewers from the four-sided screen.

The film ends in a documentary format. The animated Pitoti celebrate their daily life: dancing, plowing and hunting—the people, the birds and the animals—until the Romans conquer.

Credits

Pitoti Prometheus is a McDonald Institute for Archaeological Research, Cambridge University production for the European Union’s Seventh Framework Programme for the 3D-Pitoti Consortium: ArcTron 3D, Archeocamuni, Bauhaus University Weimar, Centro Camuno di Studi Preistorici, Graz University of Technology, St. Pölten University of Applied Sciences, University of Cambridge, University of Nottingham.

In collaboration with and by permission of the Ministerio dei beni e delle attivita cultural e del Bell arte.