Resultados de la búsqueda

etoy. Corporation, Zurich, 1994. The etoy. Corporation is a collective structure formed in Zurich in 1994. etoy is the typical promotor (online since 1994) that develops rapidly, quickly becoming a controversial, market leader in the field of experimental art and digital entertainment on the internet. Shares and services such as digital kidnap (1996), etoy. Timezone (1998), Toywar (1999/2000) or etoy. Daycare (2002) are art classics. The etoy. Corporation belongs to more than 2000 etoy shareholders: international art collectors, venture capitalists, etoy agents, etoy administrators, admirers and several hundred toywar soldiers (that protected the brand during the legendary toywar). The etoy shareholders posses and control the corporative structure of etoy. etoy. Corporation does not sell individual art products. etoy interchanges and sells parts of itself: etoy shares represent participation and cultural value. The 640,000 etoy shares available in the international art market represent 100% of the power of etoy (=100% of the company). The etoy share certificates guarantee a strict limit to etoy Shares. Since 1998, the orange etoy Tanks (retrofitted transport containers without windows, 12 by 6 metres – icons of globalisation) form a mobile and multi-function system of etoy offices, including studios, hotels and conference rooms, etc. Wherever etoy is needed throughout the physical world, etoy appears and disappears from the morning to the night to infect the way that people are thinking and feeling (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending upon the the situation of the market and project, between 5 and 15 etoy Nucleus-Agents (currently 4 women and 11 men in switzelrand, Austria, Italy, Germany, Japan and the U.S.A.) form the production and investigation team of etoy. The etoy administration (2 or 3 Directors must sign contracts) carries out daily business. etoy. Corporation has won various international art prizes, (the Golden Nica in the .net category / Prix Ars Electronica) and regularly appears on TV (invited and uninvited) as in other media to infect the etoy VIRUS: The New York Times, the Silicon Valley Reporter, the Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Republica, Relax Japan, etc. etoy team members gave conferences and spoke in the MIT Media Lab in Boston, the UCSD in San Diego, the DASARTS in Amsterdam, the ETH in Zurich, the Gottlieb Duttweiler Institute, the ICC Intercommunication Center en Tokyo, the Interactive Institute in Stockholm and in many international festivals. etoy investments are not focused on gaining economic profit. etoy risk is about cultural benefits, social profits and intelectual capital gains on the resources invested. ​​ Work at the collection: 30+10 etoy. Shares etoy. Corporation, Zurich, 1994. The etoy. Corporation is a collective structure formed in Zurich in 1994. etoy is the typical promotor (online since 1994) that develops rapidly, quickly becoming a controversial, market leader in the field of experimental art and digital entertainment on the internet. Shares and services such as digital kidnap (1996), etoy. Timezone (1998), Toywar (1999/2000) or etoy. Daycare (2002) are art classics. The etoy. Corporation belongs to more than 2000 etoy shareholders: international art collectors, venture capitalists, etoy agents, etoy administrators, admirers and several hundred toywar soldiers (that protected the brand during the legendary toywar). The etoy shareholders posses and control the corporative structure of etoy. etoy. Corporation does not sell individual art products. etoy interchanges and sells parts of itself: etoy shares represent participation and cultural value. The 640,000 etoy shares available in the international art market represent 100% of the power of etoy (=100% of the company). The etoy share certificates guarantee a strict limit to etoy Shares. Since 1998, the orange etoy Tanks (retrofitted transport containers without windows, 12 by 6 metres – icons of globalisation) form a mobile and multi-function system of etoy offices, including studios, hotels and conference rooms, etc. Wherever etoy is needed throughout the physical world, etoy appears and disappears from the morning to the night to infect the way that people are thinking and feeling (i.e. in San Diego, San Francisco, New York, Zurich, Tokyo or Torino between 1998 and 2003). Depending upon the the situation of the market and project, between 5 and 15 etoy Nucleus-Agents (currently 4 women and 11 men in switzelrand, Austria, Italy, Germany, Japan and the U.S.A.) form the production and investigation team of etoy. The etoy administration (2 or 3 Directors must sign contracts) carries out daily business. etoy. Corporation has won various international art prizes, (the Golden Nica in the .net category / Prix Ars Electronica) and regularly appears on TV (invited and uninvited) as in other media to infect the etoy VIRUS: The New York Times, the Silicon Valley Reporter, the Washington Post, Wired News, NPR, Le Monde, Der Spiegel, NZZ, WOZ, La Republica, Relax Japan, etc. etoy team members gave conferences and spoke in the MIT Media Lab in Boston, the UCSD in San Diego, the DASARTS in Amsterdam, the ETH in Zurich, the Gottlieb Duttweiler Institute, the ICC Intercommunication Center en Tokyo, the Interactive Institute in Stockholm and in many international festivals. etoy investments are not focused on gaining economic profit. etoy risk is about cultural benefits, social profits and intelectual capital gains on the resources invested. Work at the collection: 30+10 etoy. Shares http://www.etoy.com https://en.wikipedia.org/wiki/Etoy <<-- Back 30+10 etoy Shares, 2011 - 2012 etoy.Corporation does not sell isolated art objects. etoy sells, trades and exchanges parts of itself and its brand: etoy.SHARES represent participation in etoy and cultural value generated by etoy. All 640’000 etoy.Share-units available on the international art market equal 100% of the etoy.Power represented by the privately held company etoy.Corporation (registered in the City of Zug, Switzerland / Register of Commerce CH-170.3.029.244-0). etoy.Share-Certificates are works of art and part of international collections like the Artothek (collection of the Austrian Bundeskanzleramt), the Migros Corporation, the Shiffler collection and in the hands of private supporters of etoy (Michelangelo Pistoletto, Joichi Ito, John Perry Barlow etc). Each etoy.Share-Certificate is a unique visual documentation of a specific code, moment or element of the etoy.Universe and certifies the strictly regulated ownership of etoy.Corporation: the core of the etoy.Art-Work. etoy. Corporation is on hibernation mode and the etoy. Shares are not trading. On loan from LaAgencia Collection.

Sponsors who collaborate with the foundation and its activities such as exhibitions or support for artists Partners Research Institutes Universities National / International institutions Art centers and museums Technical support Festivals and fairs

Paul Thomas, currently based in Sydney, 1950. Professor at UNSW Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010–2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. As an artist Thomas is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there currently exploring concepts of visualising the liminal space between the classical and quantum world. Thomas’s current publication Quantum Art and Uncertainty (published October 2018) is based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. His internationally exhibited research projects have been based on working with scientist and asking specific questions. The art work ‘Quantum Consciousness’ was based on experiments done in collaboration with Professor Andrea Morello, Centre for Quantum Computation and Communication Technology, UNSW. The artwork was created from data of Thomas reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, to affect the spin of a single electron. Previous projects exploring nanotechnologies have also been exhibited nationally and Internationally. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams of photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold at a nano level. Other publications are Quantum Art and Uncertainty (2018), Nanoart: The Immateriality of Art, (2013), Relive Media art Histories, co-edited with Sean Cubitt and Interference Strategies and Cloud and Molecular Aesthetics co-edited with Lanfranco Aceti and Edward Colless. The works in the Collection were donated by the artist after a process of adaptation and improvements aimed at ensuring their proper preservation, as part of a research program conducted in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat of Catalonia. Paul Thomas, currently based in Sydney, 1950. Professor at UNSW Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010–2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. As an artist Thomas is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there currently exploring concepts of visualising the liminal space between the classical and quantum world. Thomas’s current publication Quantum Art and Uncertainty (published October 2018) is based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. His internationally exhibited research projects have been based on working with scientist and asking specific questions. The art work ‘Quantum Consciousness’ was based on experiments done in collaboration with Professor Andrea Morello, Centre for Quantum Computation and Communication Technology, UNSW. The artwork was created from data of Thomas reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, to affect the spin of a single electron. Previous projects exploring nanotechnologies have also been exhibited nationally and Internationally. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams of photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold at a nano level. Other publications are Quantum Art and Uncertainty (2018), Nanoart: The Immateriality of Art, (2013), Relive Media art Histories, co-edited with Sean Cubitt and Interference Strategies and Cloud and Molecular Aesthetics co-edited with Lanfranco Aceti and Edward Colless. The works in the Collection were donated by the artist after a process of adaptation and improvements aimed at ensuring their proper preservation, as part of a research program conducted in collaboration with the General Directorate of Innovation and Digital Culture of the Department of Culture of the Generalitat of Catalonia. http://www.visiblespace.com <<-- Back "Quantum Chaos Set" , 2022 The work, a collaboration between Paul Thomas and Jan Andruszkiewicz, is a visualization of the shift in our cultural understanding of what exists in terms of the difference between the classical and quantum world of uncertainty. The experimental artwork explores the liminal space between the classical and the quantum using data from quantum chaos. This space is a conceptual and contextual location of a permeable boundary. Artwork donated by the artist http://visiblespace.com/blog/?p=2007 "Quantum Consciousness and Richard Feynman" , 2015 Quantum Consciousness explores the link between quantum computing, Consciousness, and artistic expression. Utilizing real-time data from a phosphorus electron, the installation visualizes dynamic quantum states influenced by the artists voice reading Richard Feynman’s 1982 paper on Quantum computers. A microwave signal modulates the electrons precession, transforming quantum fluctuations into visual and auditory experiences. This artwork investigates the co-emergence of human thought and quantum phenomena, materializing the intersection of impossible quantum states and human consciousness. With the collaboration of Kevin Raxworthy. Artwork donated by the artist https://visiblespace.com/blog/?p=1376 "Quantum Chaos " Series Nº 8 , 2020 Quantum Chaos series is a collection of paintings that investigates the relationship between classical chaos and quantum mechanics. Through the use of custom squeegees, the artist layers gestural brushstrokes, which are partially erased to reveal hidden spaces that metaphorically represent the boundary between classical and quantum realms. The chaotic brushstrokes embody classical uncertainty , while the influence of quantum data reflects the unpredictable nature of quantum behavior. Each painting is a dynamic exploration of the invisible forces shaping the universe, translating abstract quantum phenomena into a visual form, where chaos is reinterpreted into order, and the intangible is made perceptible. This interaction between traditional painting methods and quantum-inspired concepts emphasizes the coexistence of visible and invisible worlds. The series reimagines reality through the lens of quantum uncertainty, offering a new way to perceive the universe. Artwork donated by the artist Nanoessence , 2010 The Nanoessence Project examines life at a sub-cellular level using an atomic force microscope (AFM) to analyze living and dead HaCat skin cell. Data collected during a residency at symbiotic and the Nanochemistry research institute informs the interactive installation. Viewers breath, captured by sensors, directly influences the visuals and sounds, symbolizing life’s essence through cell topographies. This interplay promoters a sensory understanding of microscopic life, re-examining concepts of existence and creating a metaphysical experience that blurs the line between life and death. Whit the collaboration of Kevin Raxworthy. Artwork donated by the artist Multiverse , 2012 Multiverse is an interactive artwork visualizing parallel universes through Richard Feynman’s quantum theories on photons. The installation reflects the viewers portrait, analogous to a photons Spain, based on Feynman’s ´probability amplitude ‘ using data from an atomic force microscope, the work generates thousands of alternate versions of the portrait , revealing multiple realities. The project highlights that alternative quantum worlds coexist ant are equally real, independent of observation, making the invisible quantum world visible to the audience. With the collaboration of Kevin Raxworthy Artwork donated by the artist Midas, 2007 Midas delves into the transitional phase between skin and gold, using data from an atomic force microscope (AFM) to capture atomic vibrations. This research, conducted in collaboration With SymbioticA and the Nanochemistry Research Institute, explores the intersection of biology and material transformation. Drawing inspiration from the myth of King Midas, the project transforms this scientific data into a visual and sonic installation, amplifying the nanoscale experience of cellular transformation into gold, creating a metaphorical exploration of touch and transmutation. Whit the collaboration de Kevin Raxworthy Artwork donated by the artist

Marie-France Veyrat, Lyon (1951) and Jaime de los Ríos, San Sebastián (1982). Marie-France Veyrat. After living in Grenoble, she moves to the province of Tarragona where she still lives and works. She is a versatile artist who brings out a constant interest in investigating and experimenting in art creation using different languages such as textile, paintings, three/dimensional, installations, digital compositions and land art. Her work is based on lived experiences, memories and travels stored in her daily life which she transforms into real objects or virtual works. Every work represents a lived instant which is part of herself at some point in her life. She has been a teacher in Tríptic School in Reus. She is a founding member and the current president of the jury of the ARCO-BEEP Electronic Art Award. She has published three monographic catalogues for the occasion of her solo exhibitions. Jaime de Los Rios. Founder of the open laboratory of Art and Science Arteklab, his career focuses on the intersection of these disciplines and Systemics, in relation to mechanisms, rhythms and natural patterns. His work concerns the space between human aspirations and the politics of technological language, therefore he is a specialist in Free Software and Hardware, finding in his work, much of which is collaborative, immersive environments as well as dynamic works that relate natural behavior with computational. In recent years Jaime has explored the social implications of media, cybernetics and the human-machine relationship, exhibiting, acting and developing open projects in working groups, supporting international artists and developing protocols for horizontal creation and production. Work at the collection: La Forme De l´Eau. Marie-France Veyrat, Lyon (1951) and Jaime de los Ríos, San Sebastián (1982). Marie-France Veyrat. After living in Grenoble, she moves to the province of Tarragona where she still lives and works. She is a versatile artist who brings out a constant interest in investigating and experimenting in art creation using different languages such as textile, paintings, three/dimensional, installations, digital compositions and land art. Her work is based on lived experiences, memories and travels stored in her daily life which she transforms into real objects or virtual works. Every work represents a lived instant which is part of herself at some point in her life. She has been a teacher in Tríptic School in Reus. She is a founding member and the current president of the jury of the ARCO-BEEP Electronic Art Award. She has published three monographic catalogues for the occasion of her solo exhibitions. Jaime de Los Rios. Founder of the open laboratory of Art and Science Arteklab, his career focuses on the intersection of these disciplines and Systemics, in relation to mechanisms, rhythms and natural patterns. His work concerns the space between human aspirations and the politics of technological language, therefore he is a specialist in Free Software and Hardware, finding in his work, much of which is collaborative, immersive environments as well as dynamic works that relate natural behavior with computational. In recent years Jaime has explored the social implications of media, cybernetics and the human-machine relationship, exhibiting, acting and developing open projects in working groups, supporting international artists and developing protocols for horizontal creation and production. Work at the collection: La Forme De l´Eau. https://www.veyrat.org/ https://www.tabakalera.eus/es/jaime-de-los-rios/ <<-- Back La Forme De l´Eau. Poétique D’un Instant 2019-2022 How do we preserve our memories? Memory tends to dissipate the form. In the drift of our most rational thought, we tend to scientificize our memories: where, how, when... Computable and direct data that in most cases reduces the experience of what has been lived to a list of items. La forme de l’eau converts a tangible memory into its most poetic elements,freezing an instant and making it infinite. An installation made with scientific and physical installation of fluids to capture the fall of water and emulate its shape in 3D printing, which no longer falls, but rises as in the language of dreams opposed to Newtonian laws, and rendered algorithms in real time, which follow one another choreographically in parallel with the first-person account of Marie-France, who shares her voice to narrate a discovery. Ironizing about the speed of consumption and the eagerness for novelty in contemporary society, Veyrat and de los Ríos invite us to reflect from the contemplation and poetics of the moment. It was a spring day when I came across the falling water.... https://www.youtube.com/watch?v=EcCDufnpqF0

Manu Arregui, Santander, 1970. Pioneer in the application of 3D animation to his work, Manu Arregui's work focuses on reflection on body policies and the commitment to "non-normative" identities.Always from a critical questioning, his pieces, full of lyricism, fuse virtuosity and experimentation. At the same time, without neglecting irony, the artist analyzes the progressive virtualization of our lives and the future of art in this post-contemporary era. He has a degree in Fine Arts from the University of the Basque Country. His works have been included in important exhibitions such as Trans-sexual Express International curated by Xabier Arakistain and Rosa Martínez, Bad Boys project by Agustín Pérez Rubio made on the occasion of the 50th Venice Biennale, Single Channel Video: 1996-2002 curated by Juan Antonio Álvarez -Reyes and Berta Sichel for the National Museum Reina Sofía Art Center, Animated Sessions project by Juan Antonio Álvarez-Reyes for the same museum and the Atlantic Center for Modern Art in Las Palmas, Chacun à son Goût curated by Rosa Martínez for the commemoration of the tenth anniversary of the Guggenheim Museum in Bilbao. Spanish Art 1957-2007 at the Palazzo Sant’Elia in Palermo. He has participated in important international fairs of Contemporary Art such as ARCO (Madrid), ART BASEL MIAMI BEACH (Miami), or FRIEZE (London). In 2002 he obtained the Plastic Arts Scholarship from the Marcelino Botín Foundation, with which he completed his training at the ISCP in New York. In 2004 he won the First Prize for Video Creation and Digital Formats Caixa Galicia and in 2007 the Altadis Prize for Visual Arts. His work is represented, among others, in the collections of the ARTIUM museums in Vitoria, the Guggenheim in Bilbao, the MUSAC in León and the Reina Sofía National Art Center Museum in Madrid. His work “Ejercicios de medición sobre el movimiento amanerado de las manos” won the 9th edition of the ARCO-BEEP Electronic Art Award ​ Work at the collection: Ejercicios de medición sobre el movimiento amanerado de las manos Manu Arregui, Santander, 1970. Pioneer in the application of 3D animation to his work, Manu Arregui's work focuses on reflection on body policies and the commitment to "non-normative" identities.Always from a critical questioning, his pieces, full of lyricism, fuse virtuosity and experimentation. At the same time, without neglecting irony, the artist analyzes the progressive virtualization of our lives and the future of art in this post-contemporary era. He has a degree in Fine Arts from the University of the Basque Country. His works have been included in important exhibitions such as Trans-sexual Express International curated by Xabier Arakistain and Rosa Martínez, Bad Boys project by Agustín Pérez Rubio made on the occasion of the 50th Venice Biennale, Single Channel Video: 1996-2002 curated by Juan Antonio Álvarez -Reyes and Berta Sichel for the National Museum Reina Sofía Art Center, Animated Sessions project by Juan Antonio Álvarez-Reyes for the same museum and the Atlantic Center for Modern Art in Las Palmas, Chacun à son Goût curated by Rosa Martínez for the commemoration of the tenth anniversary of the Guggenheim Museum in Bilbao. Spanish Art 1957-2007 at the Palazzo Sant’Elia in Palermo. He has participated in important international fairs of Contemporary Art such as ARCO (Madrid), ART BASEL MIAMI BEACH (Miami), or FRIEZE (London). In 2002 he obtained the Plastic Arts Scholarship from the Marcelino Botín Foundation, with which he completed his training at the ISCP in New York. In 2004 he won the First Prize for Video Creation and Digital Formats Caixa Galicia and in 2007 the Altadis Prize for Visual Arts. His work is represented, among others, in the collections of the ARTIUM museums in Vitoria, the Guggenheim in Bilbao, the MUSAC in León and the Reina Sofía National Art Center Museum in Madrid. His work “Ejercicios de medición sobre el movimiento amanerado de las manos” won the 9th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Ejercicios de medición sobre el movimiento amanerado de las manos http://manuarregui.com/ <<-- Back Ejercicios de medición sobre el movimiento amanerado de las manos, 2014 This video of 6’30” duration that uses time, passing in a linear way, to give form to an investigation into codes and connotations linked to gestures. Using as a starting point a recording of hands of various professional dancers in movement and an example of 3D modelling software to replicate those movements and obtain the corresponding positioning and rotation data, the piece uses the theme of dance to reflect upon topics such as the phobia of effeminacy and masculinisation.

Ars Electronica 2019. Out of the Box, Mobile Week Barcelona 2019,Technology, Ars Electronica, the Art of technology, art, science, new media, new media art, electronic art, technological art, contemporary art, art collection, beep collection, Art collection, Spain,, beep art, beep, newartcollection Presentations <<-- Back .NewArt { foundation;} at Ars Electronica 2024 Albert Barqué-Duran and Marc Marzenit, Vestibular_1 .NewArt { foundation;} has been invited by the ArsElectronica festival to present, in collaboration with the Institut Ramon Llull, one of his most emblematic works, Vestibular_1 by Albert Barqué-Duran and Marc Marzenit, in its next edition in September 2024. Ars Electronica is the great annual event of technological art bringing together more than 100,000 professionals from all over the world in the city of Linz. Massive Binaries, by the artist Andy Gracie, will be on June 13th, 14th and 15th at Sónar+D, with the NewArtFoundation. The piece, which was presented at the Ars Electronica festival in September 2023, is the result of the first edition of the Randa Art Science residency organized by the Institut Ramon Llull, and developed in Linz (Austria) and the Barcelona Institute of Science and Technology (BIST), with the collaboration of the Barcelona Hub of Art, Science and Technology HacTe and the New Art Foundation. During this residence, Gracie did a stay at the Institute of Physics and High Energy, where he was researching on gravitational waves and particle accelerators. Massive Binaries proposes two superimposed narratives about processes and interactions in binary systems. The first is made up of a pair of neutron stars orbiting each other and, finally, they fuse and generate large amounts of energy, and the second refers to contemporary society which, unlike neutron stars, seems increasingly polarized. The bridge mechanism between the two areas is the use of AI which, according to the artist, can become a tool to improve information or destroy it. Young Gallery Weekend 2019. (Al)most Life, after all Presentation of the Collection and the production program for young artists developed with Hangar. September 2019. http://younggalleryweekend.com/en/galleries/arts-santa-monica/ Ars Electronica 2019. Out of the Box Presentation of the Collection and the production program for artists developed with Hangar. September 2019. https://ars.electronica.art/outofthebox/en/beep-electronic-art/ Mobile Week Barcelona 2019. Our Simple Relationship with Technology Presentation of the Collection and the ATA (Advanced Technology Art) Program developed with Eurecat, Tycho Test One, Paul Friedlander. February 2019. In collaboration with Eurecat and Escofet. https://ajuntament.barcelona.cat/museudeldisseny/ca/exposicio/la-nostra-senzilla-relacio-amb-la-tecnologia Ars Electronica 2018. Error, the Art of Imperfection Presentation of the Collection and the ATA (Advanced Technology Art) Program developed with Eurecat, Tycho Test One, Paul Friedlander. September 2018. In collaboration with Eurecat and Escofet. https://ars.electronica.art/error/en/the-beep-electronic-art-collection/ Ars Electronica 2020. In Kepler’s Gardens Presentation of the Collection and the production program for artists developed with Hangar and the Inst itut Ramon Llull. Due the pandemic the Festival was developed in a multi-site format with more than 120 nodes worlwide. Eac h node was called "Garden". The Ars Electronica Bar celona Garden, Uncertainty and Ecology, was developed by the Institut Ramon Llul, Hangar, UOC-ISEA 2022, OFFF and the .NewArt { foundation;}. September 2020. https://ars.electronica.art/keplersgardens/en/uncertainty-ecology/ https://arselectronicagardenbarcelona.org Ars Electronica 2021 Garden Barcelona For the second edition of this multi-site f ormat, Ars Electronica Garden Barcelona brought forth A Digital New Deal The ma in challenge of the new digital is to resist the transhuman capitalist dream of the digital as utopia, and to try and compose instead hybrid, bastard, problematic, metaestable and interdependent approaches to the digital media. These Hybrid Times we are now living in have made us utterly aware of our interdependence, the state of being mutually reliant upon one another, as a form of symbiosis or mutualistic relationships to take into account. Merging the digital and online world with the analog and presential world needs also to relate and connect with the multiple layers of reality involved, from technopolitical infrastructures to ecosocial impact. https://arselectronicagardenbarcelona.org Ars Electronica 2022 Welcome to P lanet B Welcome to Planet B – A different life is possible! But How? A festival takes on the chall enging s earch for answers to the contradictions of our time. After the two Ars Electronica Garden editions, in 2022 the .NewArt { collection;} was presented once more in Linz. From September 7 to 11, in one of the largest stages for media art, an experimental field for the next generation, a showcase for creativity and innovation – a unique festival for art, technology and society worldwide. https://ars.electronica.art/planetb/en/ .NewArt { foundation;} at Sónar 2023 Sónar celebrated its 30th Anniversary this year. As collaborators, we brought ‘Orbihedron’ by Eve lina Domnitch and Dmitry Gelfand to Sónar +D's Project Area. The Art & Science section of Project Area is dedicated to works that explore the intersection between research and creativity. Hac Te presented Yolanda Uriz ' s 'Chemical E cosystem', winner of the NASEVO 2022 scholarship in collaboration with Institut Ramon Llull and the .NewArt { foundation;}. And in the gaming area, artist Albert.DATA presented the arcade version of his newest project S.F.I.D. along with a performance that took place at Sónar Village. .NewArt { foundation ;} at Ars Electronica 2023 RAND A Art|Science Resid ency's , Andy Gracie , Massive Binaries. The RANDA Art|Science Residency is organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the new hub of Art, Science, and Technology from Barcelona, Hac Te, and the NewArtFoundation. The winner of the first edition was Andy Gracie, whose project *Massive Binaries* explored the extraction of knowledge from processes of merging and collision related to gravitational waves and particle accelerators. Gracie has been hosted at the Institut de Física d’Altes Energies (IFAE), from BIST. The NewArtFoundation contributed to the production, preservation and exhibition of the artwork created during the residency. https://ars.electronica.art/who-owns-the-truth/en/massive-binaries/

The .NewArt { foundation;} is based in the city of Reus, Catalonia. Its ambition is to help the artistic community to develop new technological, scientific, conceptual and social practices. The Foundation disseminates art at its intersection and transgression with science and technology as a strategy of development and social empowerment. It acts not only as a witness, but as an active agent. Art, science and technology The .NewArt { foundation;} is based in the city of Reus, Catalonia. Its ambition is to help the artistic community to develop new technological, scientific, conceptual and social practices. The Foundation disseminates art at its intersection and transgression with science and technology as a strategy of development and social empowerment. It acts not only as a witness, but as an active agent. One of its main challenges is the development, conservation and preservation of an artistic legacy linked to science and technology, within the framework of its collection, the .NewArt { collection;}. The .NewArt { foundation;} is recognized not only for what it collects, but also for how it does: it has generated a new type of collecting, promoting programs of production, conservation and patronage of technological art, encouraging debates around issues related to the introduction of new technologies into art. A collection that is not limited to buying works of art in the market, but is recognized for its collaboration programs by making open calls for production with other organizations and institutions. Under the patronage of the Rodríguez-Veyrat family, this collection of electronic and digital artworks has grown to become one of the most relevant in the world. The .NewArt { foundation;} & {collection;} are active members of the vibrant Catalan ecosystem. They are cofounders of HacTe, the new art, science and technology hub in Barcelona. This hub is promoted by Catalan institutions of great relevance to make Barcelona a global center for research, training, transfer, dissemination and production in this field. In collaboration with several Catalan institutions and organizations, the .NewArt { foundation;} & { collection;} have expanded its scope internationally. With stable collaboration programs with centers such as V2 in Rotterdam or Ars Electronica in Linz, among others, and through their works loan program, they have collaborated with the main state and European institutions. With HacTe, a member of the New European Bauhaus, they strengthen Catalan culture and ecosystem as a focus of innovation and creation in Europe. The New Art Foundation aims to provide the technological art community with a wide range of services and expertise, in order to develop sustainable production methodologies that ensure the preservation of this legacy for future generations. <-- Return

The .NewArt { collection;} is a pioneering electronic and digital art collection, featuring artworks from world-renowned artists that work in the intersection between science and technology. To collect isn't just to buy and keep, it's something active, it's a process in which you must work with all the different agents, because all of us have the responsibility of creating a legacy for the future generations. Artist Recent Incorporations

Collection of artists of the New Art Collection, collection art, art electronic, coleccion beep, arte electronico, wort art, new art foundation, new art, collection, coleccion, artist, artists Artist Antoni Abad Mark America Eugenio Ampudia Marcel·lí Antúnez Marcela Armas Keith Armstrong Manu Arregui Waldo Balart Albert Barqué Duran & Marc Marzenit Albert.DATA Josè Manuel Berenguer Darya von Berner Julius von Bismarck & Benjamin Maus Christophe Bruno Daniel Canogar Paolo Cirio Analivia Cordeiro Alba G. Corral Lúa Coderch,Julia Múgica, Lluís Nacenta and Iván Paz Fabrizio Corneli James Clar Evelina Domnicht & Dmitry Gelfand Kenneth Dow Felicie d’Estienne d’Orves Etoy Evru (Zush) FakeShop Manuel Fernández Joan Fontcuberta & Pilar Rosado JoseCarlos Flórez Anaisa Franco Paul Friedlander Andy Gracie Davide Grassi Peter Halley Ricardo Iglesias y Gerald Kogler Concha Jerez & José Iges Eduardo Kac Shona Kitchen Sachiko Kodama LIA Libres Para Siempre Rafael Lozano-Hemmer Luis Lugán Chico MacMurtrie–ARW Óscar Martin Ken Matsubara Anthoni McCall Ulrich Muchenberger Antoni Muntadas Marnix de Nijs Marina Núñez Josè Antonio Orts Andrés Pachón Roc Parés Alex Posada Monica Rikić Patricio Rivera Charles Sandison Mariano Sardón & Mariano Sigman Robertina Sebjanic Christa Sommerer & Laurent Mignonneau Spéculaire (Flavien Théry & Fred Murie) Stefan Tiefengraber Paul Thomas TopLap Patrick Tresset Hong SungChul Yolanda Uriz Ubermorgen.com Eric Vernhes Marie-France Veyrat Marie-France Veyrat & Jaime de los Rios Santi Vilanova Peter Weibel Weidi Zhang

Anaisa Franco, Uberlândia, 1981. Searching for the expansion of the senses, Anaisa Franco creates interfaces that artistically elaborate an “affective” situation where people expand their senses through the interaction with the sculptures, creating new forms, relationships and experiences between people, the subjects chosen and the technological material that we have available in the market. She has a Master of Advanced Architecture at IAAC Institute for Advanced Architecture of Catalonia in Barcelona. One year of M-Arch 1 at SCI-Arc in Los Angeles, a master’s degree MA in Digital Art and Technology from the University of Plymouth in England and a BA Bachelor of Arts in Visual Arts from FAAP in São Paulo. In the last years she has been developing Responsive Public art Installations and New media Artworks for Museums, Public spaces, Galleries, Medialabs, Residencies and Commissions such as Shanghai City Life Festival, Medialab Prado, Mecad, MIS, Hangar, Taipei Artist Village, China Academy of Public Art Research Center, Mediaestruch, Cite des Arts, ZKU, SP_Urban, MAC Fenosa, VIVID Sydney, EXPERIMENTA Biennale Melbourne, RUMOS Itaú Cultural, URBE, and many others. Her work “Expanded Eye” won the 6th edition of the ARCO-BEEP Electronic Art Award Works at the collection: - Expanded Eye - Neuronnection Anaisa Franco, Uberlândia, 1981. Searching for the expansion of the senses, Anaisa Franco creates interfaces that artistically elaborate an “affective” situation where people expand their senses through the interaction with the sculptures, creating new forms, relationships and experiences between people, the subjects chosen and the technological material that we have available in the market. She has a Master of Advanced Architecture at IAAC Institute for Advanced Architecture of Catalonia in Barcelona. One year of M-Arch 1 at SCI-Arc in Los Angeles, a master’s degree MA in Digital Art and Technology from the University of Plymouth in England and a BA Bachelor of Arts in Visual Arts from FAAP in São Paulo. In the last years she has been developing Responsive Public art Installations and New media Artworks for Museums, Public spaces, Galleries, Medialabs, Residencies and Commissions such as Shanghai City Life Festival, Medialab Prado, Mecad, MIS, Hangar, Taipei Artist Village, China Academy of Public Art Research Center, Mediaestruch, Cite des Arts, ZKU, SP_Urban, MAC Fenosa, VIVID Sydney, EXPERIMENTA Biennale Melbourne, RUMOS Itaú Cultural, URBE, and many others. Her work “Expanded Eye” won the 6th edition of the ARCO-BEEP Electronic Art Award Works at the collection: - Expanded Eye - Neuronnection http://www.anaisafranco.com/ <<-- Back Expanded Eye, 2008 Expanded Eye is an interactive light sculpture composed by a big transparent eye sculpture suspended from the ceiling; the big eye looks to the user, but it's in fact user's eye which is projected inside the sculpture. The sculpture recognizes the user’s eye blinking and generates an interactive animation based on it. Each blink of the user multiplies the number of eyes in the projection in a fragmented, hexagonal and dislocated way. The core of the piece is to expand the view of human beings, transforming the view into a multiple and hexagonal expansion as the ultra complex insect’s compounds eyes structure. Expanded Eye project was developed during Interactivos 2008 at Medialab Prado in Madrid. It was developed in collaboration with: Jacqueline Steck, Alvaro Cassinelli, Carles Gutiérrez, Oswald Aspilla Pérez https://www.anaisafranco.com/expandedeye https://vimeo.com/47768582 Neuronnection. 2021 NEURONNECTION is an interactive installation that connects the thoughts of the spectators inside a parametric light sculpture that allows people to play and control sensitive light reactions using their own thoughts. The installation creates an interface with the brain, which immerses the user inside their own thoughts. The creation of the shape and interactivity was inspired on how our thoughts are created inside the mind. Our thoughts come from the activity of neurotransmitters that generates electrical signals (synapses) in neighbouring neurons, which propagate like a wave to thousands of neurons, leading to thought formation. The user will wear the device Nextmind to interact with the work. interactivity of the installation occurs when people look to Neurotags, which activates movement of ligts. The main idea o the project is to immerse and mirror humans inside their own thoughts and let them control and play with their own imagination. Team: Parametric structure by In_generic Interactive software by Antonio Mechas Visuals, mapping and documentation by VPMAP Sound design by Inertia 3D print Fabrication by Ana Correa and Agustin Cervai Neuronnection was funded by a production and exhibition grant by Institut Ramon Llull, Universitat Oberta de Catalunya, La Caldera, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2021. https://www.anaisafranco.com/neuronnection https://youtu.be/3raOcr2iKI8