The PlayOn! partner universities and similar organisations are key knowledge providers. They function as consultants and are integrated on several levels in the project’s activities. In the frame of „HOPE – A Creative Online Forum“ they have their own platform to connect to each other on European level, the DIGITAL CAMPUS.
On three evenings from March 29-31 resident artists, students and researchers from eight institutions will be meeting online to present their digital arts projects, research topics and deliver academic impulses.
Please register here.
Bohdana Korohod is an Estonia-based artist and researcher from Ukraine. With the background in social sciences (Kyiv-Mohyla Academy, Ukraine/Leiden University, the Netherlands) she started her artistic journey as a photographer and a documentary filmmaker and editor. After starting her MA program in Sound and Visual Technology (University of Tartu Viljandi Culture Academy, Estonia) she’s been engaged in both visual and performing arts. From May 2020 she’s a part of eˉlektron where she’s also a curator of the global online residencies program „fruitful misunderstandings“.
As a multidisciplinary artist of infinite curiosity, Feli Navarro creates and explores in the fast-paced fields of electronic music, new media art and performance. With a background in audiovisual engineering and music technology, he expanded his artistic field of action receiving training as a performer and actor as well. Due to his fascination with performance art and the evocativeness of virtual spaces and electronic music, the narrative component always plays a very important role in his works. Memory and dreams, the dialogue between digital technology and nature, the ideas of dystopia and utopia or the meaning of home have been topics treated in his pieces. Feli works at the Music Technology Group (UPF) as a researcher in music, technology and memory, and more recently started teaching at the Sound Art Lab (Bachelor of Arts) at the Universitat Oberta de Catalunya.
Currently based in New York, Carrie Sijia Wang uses computer programming, video editing, graphic design and live performance to create meaningful interactive experiences. In her multimedia performance—The System, she created a fake government department that tests candidates’ ability to generate system-compliant content. She is also the creator behind ALEX, a fictional artificial intelligence HR manager that uses gamification as a subtle tool of control in the workplace. The juxtaposition between the real and the fictional, the rational and the absurd is a recurring theme in her work. Wang is a 2021 Pioneer Works resident, 2020 Mozilla Creative Media Award recipient and 2019-2020 research fellow at the Interactive Telecommunications Program at NYU. She has shown her work with venues including New York Transit Museum, Ujazdowski Castle Centre for Contemporary Art, A.I.R. Gallery, New York Live Arts, and CultureHub.
Maksym Maksymchuk – theatre director, dramaturge, playwright and media artist based in Ukraine. In the field of his interest is integration and interplay of reality and fiction. He uses highly stylized aesthetics and alternative forms of theatre to reach a strong feeling of immersion and to participate with the audience. Studied directing at the Janáček Academy of Music and Performing Arts in Brno and theatre studies at the Charles University in Prague, the Goethe University Frankfurt and at the University of Vienna.
Now, in these stoppage times, we want to think about Movement. How can we evolved audience and artist in a hibrid stage where a move coming from the audience could change the narrative?
“Swing, move, move! Only then can you escape it. He who rules the world has no power over movement and knows that our body in motion is sacred. (…) It only exercises power over what is immobile and immobilized, over what is passive and inert. ” Flights by Olga Tokarczuk.
Teatro O Bando | Founded in 1974, and being one of the oldest cultural cooperatives in the country, Teatro O Bando takes to be a group that elects the transfiguration as aesthetic mode of civic participation and community. After several homes, O Bando is now settled in a Farm in Vale dos Barris, Palmela – Lisbon, where unsuspected potential stages can be found. There O Bando is waiting for you, always with soup, bread and cheese, Muscatel Wine and a cozy chat next to the fireplace.
Polytechnic Institute of Guarda | The MSc in Mobile Computing from the Polytechnic Institute of Guarda is one of the first courses in Portugal to focus specifically on the theme of mobility and ubiquity of computer systems. The course meets the growing interest in the area of mobile systems and especially the great need of qualified human resources capable of responding to the needs of developing innovative systems and services in the area of mobile communication networks, and mobile and ubiquitous computing.
What have cars and VRs in common? We say: A first-person drive, a longing for progressionand a question how technical set-ups drive us to (in)sanity.
In our talk we give a short overview on our current research on VR and car-crashes, methods to become present in the virtual, and staging dramatic contents and materials within VR. Inspired by Paul Virilios dromology and the racing-drama „The one legged runner“ by Katharina Schmitt we seek to shift perspectives on and within the virtual real.
OBJECTIVE SPECTACLE / Oblique Sensations works at the intersection between happening, performance, installative art and soundart. OS examines dispositives of spectacular sensation in medial settings, political environments and figurations of society.
Assuming an emotional world, a story or humanity to the inanimate object is part of our psyche. Whether it is the worship of idols, simple caricatures, pareidolia or the tradition of objecttheatre and puppetry.
We – Caspar Bankert and Nico Parisius – are puppeteers and we are trying to find out what possibilities, new technologies and contemporary narrative forms open up in this field. Can an object die? Can you miss things as if they were people? And do you feel the pain of your smartphone when it only has 3% battery?
In the last few decades the puppeteers have worked their way out of their hiding places into the limelight. We dare to ask: „Shouldn’t they disappear behind monitors and keyboards?“ or should they get replaced entirely with a good portion of cyber?
After all, why do the objects need us, if they were able to tell their own stories? Viva la machina!!
We will present parts of our research work on our current project: „Memory of Things“. As well as some impressions from previous ones – working at the interface between theater, people and objects.
I will give a brief insight in the idea and work process of my research project „Die Andere Stadt“ (The Other City). Inspired by China Miéville’s topographical layout of the overlapping of two cities, I am working on connecting digital, virtual and physical spaces. Exploring location based Augmented Reality and networking tools let’s me understand the metaphor „seeing the world differently“ litteraly and call into question how we rationalize reality.
TELEMASSIVE PERFORMANCE — Spatial-Augmented-Reality-Check
As a member of the research project „Telematic Network Performance Fomat“ I provide insights into our technological and artistic approaches to the design of distributed immersive performances. The environment of augmented on-stage reality creates different logics (e.g. through latency) for the interaction of different actors involved in a performance at the same time in different locations. This results in new theatrical immersive experiences and aesthetic practices.
Benjamin Burger works at the intersection of theater, performance, design and media-art. He founded the company EXTRALEBEN, which develops, among other things, immersive performances.
He is part of the research project „Telematic Network Performance Format“ at the University of Arts in Zurich. The interdisciplinary team designs a technological framework and an artistic practice for distributed performances within an augmented stage reality. Currently they are linking the Immersive Arts Space at ZHdK with the „Academy for Theater and Digitality“.
Performative art relies on social interaction and bodies as primary tools. I would like to present ways to engage the body as a performative medium despite physical distance. Sensors and actuators can be used to create a performative circuit, generating sensory experience while enabling social exchange and active participation via digital platforms. How do these digital interfaces change the way how we experience and tell stories? How can they be understood and used as extensions of a primarily physical art practice?
How can we communicate with the earth on which we live? EARTHBOUNDS is a speculative performance that extends the experience of body(s) in space through sensors. How can we connect the installation to a 3D multiplayer virtual world so that one can interact with it remotely? In a 14 days residency, we currently build a basic setup and are excited to share our state of the art.
VERAVOEGELIN is a collaboration between Leoni Voegelin and Anna Vera Kelle. Since 2019 they develop projects at the threshold of theater and digital media.
Project: Erwartung: Erster Schnee // Expectation: First Snow
In the story “Erwartung: Erster Schnee” (Expectation: First Snow) by Austrian writer Sophie Reyer, Lea struggles to overcome the death of her mother, while Hasan is plagued by the memories of his families’ dangerous journey to Austria.
We want to use the mechanics of a live escape room game as tools of narration. In our project, Lea and Hasan have disappeared. The audience (max. 1 school-class) should be tempted to look through the rooms of the figures they´re searching (Lea or Hasan), learn the story of the character and find out, where he or she is.
We use a conference-App (probably zoom). In the room there is an extra with a handycam on a gimbal who connects the audience to the rooms.
Course stage design by Stefan Brandtmayr at kunst universität linz
In recent years, kunst universität linz and the theatre for young audiences at Landestheater Linz collaborated two times already to give students the opportunity to work on a practical project and showcase their art to an audience outside of the university context. The current Stage Design course is comprised of students Jitka Effenberger, Elisabeth Maurer, Theresa Muhl, Nikita Narder and Sophie Netzer. The course is held by Stefan Brandtmayr, who is not only responsible for the design of theatre and opera productions at Volkstheater Wien, Staatstheater Nürnberg and both Theater Phönix and Landestheater Linz, among others, but also well at home in graphic, product and interior design.
Susanne Schwab – staging
Susanne Schwab was born in Wels, Austria, and studied theatre film and media studies in Vienna. After several internships in the fields of directing, dramaturgy and theatre pedagogics at Landestheater Linz and Theater der Jugend in Vienna and graduating from university, she freelanced as director’s assistant in Upper Austria. From 2016 on she is director’s assistant for the department of theatre for young audiences at Landestheater Linz and already staged two plays there (Noah und der große Regen and Zukunft von Gestern). She also directed the fringe production of Du bist mir so unendlich lieb about the life and work of the composers Robert Schumann, Clara Wieck and Johannes Brahms.
Jitka Effenberger studies in Master of Architecture, focusing on natural ecological building materials. Beside Architecture her interest focus on Arts and Theater, which lead her to join the stage design course at Kunstuni Linz.
Elisabeth Maurer studies textile, art and design at the university of art Linz.
Theresa Muhl, born in DE, lives and works in Linz AT. After her bachelor studies in interior design in Detmold and Brussels, she has been studying raum&designstrategien at the University of Art and Design Linz since 2018. She is a designer, spatial strategist and spatial thinker. The focus of her artistic position deals with the relationship between body-space and human-space, as well as questions about the experienceability of space and spacial storytelling. She works performative, participative and installative. She is part of the female artist collective raumarbeiterinnen.
Nikita Narder was born in Genoa and grew up in Chiavari and the surrounding area, where she attended a high school with a focus on linguistic literature. In 2015 she moved to Turin where she started a three-year degree course in theatre and film scenography at the Accademia Albertina di Belle Arti of Turin. During these years she matures several experiences in different fields, such as audio-visual, costume design or stage assistant. She lives and works in Linz since November 2019 where she starts the first semester as a master student of Space and Design Strategies at the University of Art and Design in Linz
Sophie Netzer has been living and working in Linz (AT) since 2017. As an artist and spatial thinker, she works interdisciplinarily in many formal languages. Whether it is a spatial installation, a workshop or a sculpture, her works always call for interaction with space and object. Her interventions are characterised by performative elements that are framed by the material. Collaboration and personal exchange with others is the basis and essence of her work. She is part of the female artist collective raumarbeiterinnen.
Fülöpp Réka (MA I) and Kerékgyártó Dorottya (BA III) are students at the Hungarian University of Fine Arts, studying scenography and production design. They design for theatre and film, but also like to experiment with different animation techniques. One of the courses, recurring every year, offers a great opportunity for that kind of work. Within that framework student produce an on stage puppet play trying to find the most adequate digital and analog techniques in a real theatrical environment.
The paper presents the whole working process and the play that was set on stage in 2021.
3D modelling, animation, sculpting and Environment Design course
What is this course about? – modelling, lighting, rendering an interior scene. Your own set design. Sculpting, and simple animations. Environment design for games.
– Creating world – What are the possibilities, if you can use 3D software? – for a Visual Designer – how widely we can use the 3D software all the time.
It is really important to keep the step with the industry today, and we have to work faster than ever. 3D software makes our job easier. The 3D classes at the Hungarian University of Arts are one of the best opportunities in the country if you would like to study 3D programmes for any part of your workflow. It’s important to study a 3D program for visualization. Most of the time, you don’t have enough time to make dioramas at all, and for the movie project, it is better if you have a 3D model for that as well. I could speak about this for a long time so let’s see how can we use 3D skills in the industry and not just for working in the theatre.
– Storyboard backgrounds – Composition + camera in the 3D space – it helps to realise if one of the walls is in your way.
– Environment design for games – For concepts it’s easier to work on the details if you don’t have to deal with the correct perspective with hand. Furthermore, you can make plenty of different renders of your concept, landscape, or city.
– Game asset and the turbosquid – Actually we can sell our 3D models on turbosquid, because it could become a continuous income. It’s not a big income but good for motivation.
– Architectural design – For architectural visualization, it is a quite useful skill. In any case, you have to design for somebody an apartment or a restaurant, or making a 3D reconstruction of a building far away from you – for educational, research reasons, or if the particular building was being destroyed.
– 3D illustration – for motion design, album covers or other possibilities.
– What are the expectations today in the industry? – The deppressing Artstation – but keep an eye on it.
Movie as an emotional experience – designing a 360° video
Interaction Design Studio Faculty of Industrial Design Academy of Fine Arts in Krakow (PL)
Specialized in spatial UX design and digital accessibility area. Previous working experiences include developing 3D-printed hand exoskeleton and 5G interactive installation design in cooperation with Ericsson (2018).
Jiayun is a writer and dramaturg currently based in Los Angeles. Edwin is a light designer and theatre technician based in Rotterdam. Together we are interested in experimenting with new storytelling paradigms and technological possibilities in theatre and performance.
This presentation will give a brief introduction to our new research project, working title FXKE. The project draws a parallel between the social media infodemic, and the COVID-19 pandemic we are currently experiencing. With the help of OpenAI’s text generating model that simulates our social media presence, and the dynamic data visualization of the local COVID-19 statistics, we want to bring in some “layers” between the audience and the live performance, hence the issue of transparency in the post-truth age.