Warning: Contains strobing effects. A short animated documentary by Eryk Salvaggio on how AI image generation works, and the entanglement of composite photography,…

Is this the world's first AI-generated documentary? Alan Warburton was commissioned by the ODI's Data as Culture programme to bring us 'The Wizard…

Writer and Editor, Benjamin Shearn Narrator, Matt D’Elia Music J.S. Bach Jesus nahm zu sich die Zwölfe, Cantata BWV 22 - 5. Sanctify Us (Arr. Cohen) Performed by Alicia De Larrocha Featuring Clips from Scanners, Hellraiser, Raiders of the Lost Ark and The Fury, Dust Devil, Chopping Mall, Wild At Heart, The Fly, Saw IV, Dogma, Freddy’s Dead: The Final Nightmare, Street Trash, Planet Terror, The Prowler, Kingsmen: The Secret Service, Stitches, Dawn of the Dead, Prometheus, Deadly Friend, Battle Royale, I Am Not Okay With This, Maniac This video is for not for profit. This video is for educational purposes only. No infringement is intended.

Crowd dynamics test using Miarmy for Maya. Shows the new servo force feature which allows struggling animation once the agent has become dynamic Rendered with ArnoldCast: Dave Fothergill vfxTags: crowd dynamic, dynamics, maya, mtoa, miarmy, animation, cgi, vfx and arnold render

Magic UX is a new smartphone interface inspired by the physical world. It uses your view of the real world to help you navigate computer generated content in the digital world. It's a practical, subtle use of augmented reality. specialprojects.studio/project/magic-ux/Cast: Special Projects

A surgeon and his assistant wheel a bed with a panda on it into the operating room of a large hospital in Sweden. This is not a flesh-and-blood panda, however, but a mechanical toy. With great concentration, the surgeon starts to operate, painstakingly removing layer after layer of the furry covering followed by the soft filling. While the surgeon searches for the plastic core in the operational innards, the panda doggedly resists its deconstruction. The noises it emits sound more animal than machine-made, reinforcing the absurd nature of this clash between a living being and a machine. The film's calm, serious, observational style invites us to consider a number of current cultural issues. What is the difference between man and the technology he designs? To what extent are our flesh-and-blood bodies becoming technological bodies? And if, at some point in the future, we all have a technological body, will the operations of the future be like this one, on this pitiably whimpering panda? These are questions artist Tove Kjellmark also addresses in her other work./IDFACast: Tove KjellmarkTags: naked, skinned, art, sculture, toy, toys, panda, operation, another nature and idfa

Houdini FEM solver for the ball and the octopus.Cast: thomas marqué

James Clifford discusses his new book 'Returns: Becoming Indigenous in the Twenty-First Century' with Trish Audette, doctoral student in Communication Studies, at the Feminist Media Studio, Concordia University, October 2013.Cast: Feminist Media StudioTags: James Clifford, becoming, indigenous politics, Feminist Media Studio and Returns (Harvard UP 2013)

Professor Rosi Braidotti (Columbia University Visiting Professor, Distinguished University Professor at Utrecht University and founding Director of the Centre for the Humanities) Rosi Braidotti is an incredibly influential contemporary philosopher and feminist. She is largely heralded as pioneer of European Women's Studies. This lecture will address the so-called ‘post-human’ turn in contemporary feminist theory in the light of three main considerations: firstly the shifting perception and understanding of ‘the human’ in the Life sciences. Secondly the effects of globalization as a system that functions by instilling process of ‘timeless time’ and perverse, multiple time-lines. Thirdly, the impact of inhuman factors like wars and conflicts in contemporary governmentality and the new forms of discrimination they engender on a planetary scale. Last but not least, lecture examines the implications of this historical context for progressive, affirmative politics in general and gender and feminist issues in particular.Cast: IRWGSTags: iMovie

Description: We present a design exploration on how water based droplets in our everyday environment can become interactive elements. For this exploration, we use electrowetting-on-dielectric (EWOD) technology as the underlying mechanism to precisely program the motion of droplets. EWOD technology provides a means to precisely transport, merge, mix and split water based droplets. We integrate EWOD devices into a range of everyday objects and scenarios to show how programmable water droplets can be used as information displays, interaction medium for painting and personal communication. Credits: Udayan Umapathi (vimeo.com/udayanu), Patrick Shin, Ken Nakagaki, Daniel Leithinger and Hiroshi Ishii. Winner of the Golden Mouse Award in the CHI 2018 video showcase.Cast: Tangible Media Group

In diesem Video geht es um den Salon Digital 10. Dokumentation des 10. Salon Digital an der Hochschule für Künste Bremen am 29.11.2017. Mit Daniel Rourke. / filmische Dokumentation: Eva Klauss Rather than try and solve the problems we face as a planetary species - political and social problems which have been with us for millennia; or problems which come with new, and shiny names like ‘The Anthropocene’ - Daniel Rourke and Morehshin Allahyari, in their #'Additivism project, look to question the very notion of ‘the solution’: asking how the stories our problem come wrapped in are products of particular privileges, identities, and points of view. In this talk Daniel Rourke introduces The 3D Additivist Manifesto and Cookbook, showcasing some of the 'post-solution' projects it contains, and asking difficult questions of how to act once there are no solutions left. What is #Additivism? In March 2015 Allahyari & Rourke released The 3D Additivist Manifesto, a call to push the 3D printer and other creative technologies, to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions. - The program for Digital Media at the University of the Arts Bremen launched a regular series of salon-style gatherings titled “Spectacle: Reenactments in the Arts, Design, Science and Technology.” The events have an open format and provide a forum for experiments, presentations and performances from a range of different fields, but with a common focus on old and new media, as well as technologies. The salon thereby enables a practice of reenactment as a way to make things past and hidden visible, present and also questionable. Contemporary new technologies and media seem to cover knowledge with complex layers of materials, code/sign systems and history/organization. Reenacting can translate obscured knowledge, ideas and theories into bodies and actions. At the heart of this conceptual approach is a desire to turn past events into present experiences—although the very nature of the past prohibits such an endeavor. The salon pursues the primary goal of opening closed systems and constructions (black boxes). Global power structures, as well as complex processes in development and production—leading to hermetic constructs—have made it even harder to understand science, economy and contemporary media, as well as new technologies. Recipients therefore tend to mostly grasp only their superficial level. The spectacle is a way to condense actions and processes. Reenactment, on the other hand, builds on repetition and history. But the spectacle is a moment in the here and now where everything flows together and culminates. Organised by: Andrea Sick, Ralf Baecker und Dennis Paul salon-digital.comCast: Digitale Medien KuD der HfK

A videoart work by South Korean multimedia artist Kim Beom. Presented at the Gwangju Biennale in 2012 and screened exclusively on the Walker Channel only from December 6–18, 2012.Cast: Варвара ВоробьевTags: videoart and art

In this lecture, “The Quick and the Dead,” Sophia Roosth asks: At what pace must life proceed in order to count as life? How do qualities such as speed, slowness, time, and temperature actually shape the ways in which we think about life as form, pattern, or process? What is the place of latency in the life sciences and allied disciplines? Roosth interrogates these questions historically and anthropologically by attending to a variety of scientific communities, among them geobiologists and micropaleontologists seeking ancient microbial life-forms fossilized in stone; polar scientists excavating organic substances frozen in Antarctic riverbeds; resurrection scientists seeking to insert ancient proteins into living cells; and researchers at the Svalbard Global Seed Vault, which stores samples of the world’s seeds for post-apocalyptic renewal.Cast: The American Academy in BerlinTags: sophia roosth, harvard university and american academy in berlin