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These datasets underpin the analysis presented in the agency's work. Most data may be viewed interactively on screen and downloaded in Excel format. All countries. Topics A-Z. The content in this section is aimed at anyone involved in planning, implementing or making decisions about health and social responses. Best practice. We have developed a systemic approach that brings together the human networks, processes and scientific tools necessary for collecting, analysing and reporting on the many aspects of the European drugs phenomenon. Explore our wide range of publications, videos and infographics on the drugs problem and how Europe is responding to it. All publications. More events. More news. We are your source of drug-related expertise in Europe. We prepare and share independent, scientifically validated knowledge, alerts and recommendations. About the EUDA. Price and purity: mean national values — minimum, maximum and interquartile range. Countries vary by indicator. Show source tables. Back to list of tables. Homepage Quick links Quick links. GO Results hosted on duckduckgo. Main navigation Data Open related submenu Data. Latest data Prevalence of drug use Drug-induced deaths Infectious diseases Problem drug use Treatment demand Seizures of drugs Price, purity and potency. Drug use and prison Drug law offences Health and social responses Drug checking Hospital emergencies data Syringe residues data Wastewater analysis Data catalogue. Selected topics Alternatives to coercive sanctions Cannabis Cannabis policy Cocaine Darknet markets Drug checking Drug consumption facilities Drug markets Drug-related deaths Drug-related infectious diseases. Recently published Findings from a scoping literature…. Penalties at a glance. Frequently asked questions FAQ : drug…. FAQ: therapeutic use of psychedelic…. Viral hepatitis elimination barometer…. EU Drug Market: New psychoactive…. EU Drug Market: Drivers and facilitators. Statistical Bulletin home. Quick links Search news Subscribe newsletter for recent news Subscribe to news releases. Breadcrumb Home Media library Dashboard. Cocaine market in Europe, price, purity, seizures. A more recent version of this page exists: Dashboard. Cocaine market in Europe, price, purity, seizures updated June Publication date. List of tables Table 1. Cocaine metabolites benzoylecgonine in wastewater in selected European cities: most recent data Table 4. Percentages except where otherwise stated. Table 5. Trends in first-time cannabis treatment entrants Table 6. Markets seizures source data Table 7. Trends in the number of cocaine seizures x Table 8. Trends in the quantities of cocaine seizures and quantity of illicit drugs seized tonnes Table 9. Price, potency data Table Table 2. Prevalence of drug use in Europe, trends Country Country code Geographical scope Substance Recall period Age Austria AT National Table 3. Masaryk Water Resesrch institute, p. Table 4. Trends in first-time cannabis treatment entrants Country Germany Spain Italy France Other countries Table 6. Table 7. Table 8. Table 9. Table For the latest data and detailed methodological information please see the Statistical Bulletin Prevalence of drug use. Graphics showing the most recent data for a country are based on studies carried out between and Main subject. Target audience. Copyright status. Related assets in the Media library Previous slide. Next slide. Drug seizures in the European Union — number of reported drug seizures, breakdown by drug, percent updated June Forensic Toxicology Labs. Prevalence data presented here are based on general population surveys submitted to the EMCDDA by national focal points.

Expanded Animation 2024

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The Ars Electronica Animation Festival is a diverse showcase that invites spectators to discover current artistic productions in the field of digital animation. The showcase presents around 60 cutting-edge videos, encompassing everything from CGI to AI-generated visuals, cinematic deepfakes, animated documentaries and data visualizations. For the first time this, Ars Electronica Animation Festival will take place in medSPACE, a new venue for teaching anatomy, offering an immersive 4k screening experience with a projection surface of 14 by 7 meters. Located on the medical campus of Johannes Kepler University Linz, the space has been developed and implemented by the Ars Electronica Futurelab. The selection encompasses a wide array of critical social-political themes and challenges of our times: data surveillance, climate change, the erosion of image credibility, the commodification of transnational education and the invisible human labor that goes into training AI systems. Hope alone cannot shape a project for future improvement, but it can serve as the underlying emotion that translates into various actions and tendencies shaping the future. Let us for a moment think about hope not as a tool, but as a springboard for other useful concepts encapsulated in its letters: H for Healing, O for Otherness, P for Paradox, E for Entanglement. This program features creative fusions of dance, music and AI, alongside deep explorations of memory and the human body. Dystopian scenarios and comedic notes are also woven into this eclectic selection. Through animation, scientific concepts become more than just data—they become stories that resonate and inspire. In other words, they make us aware of phenomena that develop either too slowly climate change or too fast DNA replication to be noticeable through direct experience or observation technology. Runway AI Film Festival offers a glimpse into a new creative era, demonstrating the rich variety of styles emerging in AI-driven filmmaking. The program is a selection of short films created by young artists across Austria, who have submitted their projects to the Prix Ars Electronica in the u19—create your world category. Use the dropdown below to switch to a different timezone. The game consists entirely of physically made models that are 3D scanned and put together in the Unity engine. The result is a wholly unique stop motion-like visual quality that is deeply immersive through its carefully crafted interactivity. This presentation attempts to cover our bumpy, yet fortunate journey and show our unusual asset and development pipeline and the way we got there through experimentation and iteration. Onat DE is a game maker as well as composer from Cologne, Germany. Driven by curiosity he has been making various award winning interactive projects, ranging from installations over VR experiences to games. Modeling, character animation, particle simulations and VFX - all these areas of animation are closely linked to physics, programming languages and therefore also to mathematics. This abstract science allows us to capture and describe the world on a very high and detailed complexity and use it to create animated illusions - be it a precise replica of reality or the creation of new worlds based on this reality. But what happens when we move into the abstraction of auteur animation? Do hard, logical numbers and structures still have any place there? Here, intuition, chance and broken rules seem to gain the upper hand. But this impression can be deceptive. In my films, mathematics permeates every level of my work - from the precise, frame-accurate temporal structures to the interwoven animation loops and the design of the auditory levels. In this lecture, I would like to declare an ode to curves, graphs, numbers, geometry and formulas from the perspective of my animation thinking. With her company iraru. Through these examples, I will explore how AR and site-specific science-fiction storytelling can support people in imagining and experiencing alternative futures for their places. In Billennium, future architecture appears around participants as degree AR animations, and spatialised audio immerses them in the sound of utopian and dystopian times to come. Can intermedial methods of participatory futuring enable more representative people to narrate themselves into times to come and see themselves represented in their own preferred scenarios? Using live VR drawing, AR and spatial audio, Uninvited Guests materialise virtual possibilities for neighbourhoods and enable participants to explore them physically, in an embodied way. This presentation will address whether such technology-enabled, immersive approaches make possible futures for places more tangible and support people to explore their emotional and affective relationships towards them. Her published research, teaching, and creative practice focus on archives-driven \[…\]. His research focuses on the design and creation of virtual avatars and digital humans in the context of VR, HCI, and games. Specifically, he investigates how the visual appearance of avatars can be utilized to improve the \[…\]. Her current creative practice focuses on the development of physically immersive, animated environments that \[…\]. Since he a \[…\]. By touching the screen to draw shapes that change color with live weather data, simultaneously triggering sound as weather data sonification, the work engages viewers in 'datamancy' — actively creating meaning from available information, akin to reading the palm of one's hand. Moreover, by exploring the art object as 'behaviorable in its history, futurible in its structure, trigger in its effect' Roy Ascott, , this paper discusses how meta-forms resulting from generative processes entangled with audience participatory actions can engage in 'performative data-visualization. From the earliest mechanical water clocks, humans have divided time into calculable units through tools, continuously seeking the most precise frequencies in nature to measure time more accurately. Through virtual reality, heart rate sensing, and custom-built water-dripping mechanical devices, it creates multi-sensory experiential situations. Based on scientifically quantified time and bodily frequencies, the project generates sensory experiences from asynchronous to synchronous, encompassing visual, auditory, and tactile sensations. Inspired by the concept of extending organs, the project aims to create a tool for perceiving the passage of bodily time. We created an alternative way of presenting chemical reactions through tangible, interactive, and movable models. The adenosine triphosphate ATP synthesis, often represented by written formulas, is problematic for high school students due to its complexity and abstract nature. We used real protein data to prototype a 3D-printed ATP synthase molecule adapted to move e. We then collected feedback from biomedical visualisation experts to improve our second prototype. Afterward, we created a tangible interactive electron transport chain and observed people interacting with it at a public outreach event. A combination of art, science, and technology allows the users to go beyond observing and explaining complex chemistry through tactile exploration, visuals, and minimal text at scientific museums and introductory classes in biochemistry. This involves investigating designs of molecular and anatomical visualisations that take many forms, such as illustrations, animations, 3D physical models, and comics. These are the results of collaborations with various groups of people, for \[…\]. The rise of diffusion models in AI image synthesis revolutionized computational image generation, challenging the traditional no- tion of photographic objectivity. In Fencing Hallucination, we explored integrating AI models into a traditional hand-coded computation pipeline, introducing real-time interactivity to AI image synthe- sis and increasing the artistic control of the AI-generated images. The research culminated in an interactive installation exhibited at various venues, attracting over audience visits. The system gen- erated authentic chronophotographs from diverse human-AI inter- actions while maintaining consistent aesthetic control. This project exemplifies the potential of combining AI models and hand-coded programs, which pave the way to better human-AI co-creative systems. Weihao US is an interdisciplinary artist and researcher with a dual background in image production and digital computation. His early work focused on exploring the Internet of Things during his undergraduate studies in computer science, where he investigated how the boundaries between the physical and virtual worlds can be transcended. This exploration led him to \[…\]. And even when they have tried VR, they still require experience guiding on how to move and interact within the experience, often called 'onboarding' as well as 'offboarding' to help them reintegrate back to reality, especially if the content of the experience is extremely emotional and affecting. Her work is \[…\]. Mosaic Immersion is a mixed-reality installation that reimagines the ancient practice of cairn stacking for the digital age. Within the augmented reality space, participants create and interact with virtual rocks featuring their unique hand movement scans, each embodying personal narratives. Inspired by the cultural significance of trail cairns as symbols of guidance and connection, the installation transforms rock stacking into a communal, contemplative virtual experience. Participants contribute to or observe a growing virtual cairn, exploring themes of resilience and human connection. This immersive journey blurs the boundaries between physical and virtual worlds, inviting reflection on shared experiences and collective memory in our increasingly digital world. Through this hybrid approach, viewers are invited to explore the illusion of passing time in virtual space. As part of the ongoing artistic research project VRinMotion, 'The Cage of Time'' stands as a testament to the innovative possibilities of combining traditional kinetic, instrumental and animating mediums with immersive technology. Collaborating closely with the media and time-based artist Anna Vasof, the VRinMotion team pushes the boundaries of animation by bringing physical objects to life through stop-motion animation within the virtual realm. By blurring the boundaries between the physical and digital worlds, 'The Cage of Time' not only offers a captivating experience but also prompts reflection on the nature of perception, reality, and the passage of time itself. Through this interactive installation, viewers are encouraged to contemplate the sound and the fluidity of existence and the interconnectedness of the tangible and the intangible. His main research interests are: Theory, aesthetics and history, in particular of documentary and amateur film, media and popular culture. This paper presents a work-in-progress project detailing a Mobile Augmented Reality MAR game that blends the digital and physical worlds, making gameplay immersive and engaging. Navigating real-world spaces requires players to make quick decisions based on their environment, fostering quick thinking and adaptability. This heightened realism can make the gameplay more thrilling and impactful. With the rise of video games as a popular form of entertainment and the unique learning opportunities presented by augmented reality, this convergence warrants thorough investigation. We present Fury of the Red Black Tree FoRBT , a custom-designed mobile augmented-reality game that enhances engagement and immersion by integrating real-world interaction. FoRBT focuses on two aspects of gameplay: 1 using the immediate environment for contextual integration, enhancing situational awareness and adaptability, and 2 continuous movement, enhancing hand-eye coordination and reflexes, and preventing the monotony that can occur in passive games. Future work will focus on refining the software, enhancing the game's spatial user experience, and conducting user testing. Before this, she worked as a user experience designer and researcher in India and New Zealand, exploring different technologies to support children and adults with their mental health. Her research \[…\]. This article aims to construct interactive narratives in virtual reality that incorporate multiple art forms and explore various contexts. The theoretical analysis of surreal aesthetics is conducted through literature review and historical research to recreate 17th-century European fascination with the distant and mysterious Orient in a virtual environment. The paper describes the process of constructing a virtual reality space, including context-specific worldviews, interaction mechanisms, and artistic elements. Following a technical evaluation of the initial interactive prototype, the project proposes a virtual reality game, aiming to provide an immersive interactive experience that enhances sensory engagement through physical device control. She is currently employed as a level artist at NetEase Games, with extensive experience in 3D \[…\]. Maclean will discuss her latest short film DUCK, a surreal and darkly comic spy thriller starring Sean Connery, which was made using deepfake technology. She will talk about the making of the film as well as the themes it raises related to the slipperiness of identity and the veracity of images in the age of AI. Rachel Maclean UK is an established artist based in Glasgow whose films have shown widely in galleries, museums, film festivals, and on television. She has received significant acclaim with solo shows at Tate \[…\]. Through a discussion of some of my previous films, I will introduce the investigative and documentary approach that I employ during the research phase for my projects, along with the aesthetic and technological strategies that I choose for the production of the visuals. He has worked with Forensic Architecture before graduating from Le Fresnoy, Studio national des arts. His work is imbued with this double training, navigating between online open-source investigations and the critical use of new \[…\]. The idea would closely revolve around 'Unfiltered Creativity' - How AI frees your mind to go to new places but how constraints are still necessary. It would focus on how I've used my own live action material and my sensibilities as a filmmaker and artist to retain my vision while using AI. I would show examples of my various work. Paul Trillo US is a director and video artist who challenges both his own curiosity and illusion with his visually inventive, conceptual, and technical films. His diverse body of work spans various genres and formats, infusing meaning and purpose into his experimental uses of technology and technique. This talk examines the role of speculation as a tactical strategy in the context of post-media artivism, with a specific focus on the work of artist Bahar Noorizadeh and her piece 'Teslaism: Economics at the End of the End of the Future. Post-media artivism represents a paradigm shift, incorporating new media, digital platforms, and speculative narratives to engage with socio-political issues. The concept of speculation is situated within the broader discourse of tactical media, which emphasises the subversive and interventionist potential of media practices. This theoretical framework serves as a lens through which to analyse Noorizadeh's artistic practice and her engagement with speculative strategies. Her work offers a nuanced critique of techno-capitalism and its reverberations across society. By employing speculative fiction and visual storytelling, 'Teslaism' not only envisions alternative futures but also exposes the power dynamics inherent in contemporary technological discourses. His work investigates the intersections of queer ecology and techno-capitalism. Through mixed media installations and research projects, he explores how the mode of production and desire shape our stance towards culture, art, and technology. Deep Hysteria is a still image series that repurposes algorithmic bias in the service of unraveling a deep human bias. Artworks are generated using deep learning algorithms trained on still frames of thousands of YouTubers speaking to the camera. Further, these deep learning algorithms are themselves trained on data categorized by humans — so they reflect human biases. The comparisons interrogate how humans perceive emotion differently, and often in alignment with stereotypes, when observing people of differing genders. Amy Alexander US creates computational artwork which spans installation, performance, and online media. With background in film, music, and expanded cinema, she was one of the early artists working in the development of generative net art beginning in the mids. In addition to her work under her own name, she has developed tactical media projects \[…\]. The response was overwhelming though in the rush to implementation issues surrounding data sources, algorithmic parameters and prompt engineering were deemphasized. Language Is Leaving Me — An AI Cinematic Opera Of The Skin , a mixed realty performance installations focuses on AI, algorithmic rendering, sound, and biometrics through the lens of epigenetic, or inherited traumatic memories of cultures of diaspora. As machine learning systems are rapidly changing our world, the role of data science as a discipline is elevated. However, existing approaches in science communication and data visualization are not sufficient to address the complexity of such systems and the profoundly changing relationship between humankind and data. For this paper, we propose a Data Art Research model and use it to discuss one of these art projects, 23nm. We aim to show the value in creating a system to reason about DAS and position the latter as a new way of approaching data-reliant projects in academia and industry to increase the quality of public knowledge and discourse. Maria Pfeifer AT is Key Researcher for Future Narratives, where she investigates the question, how stories about the futures can change the here and now. Other thematic interests lie in Art Thinking, art-inspired innovation, Data Art and Science and the collaboration between art and science. She studied art, comparative literature and cultural studies in Vienna \[…\]. This generative piece emulates the reactive behavior of Mimosa pudica, commonly known as the 'sensitive plant,' using a sophisticated blend of fractal tree structures and Cellular Automata CA. In 'Sensitive Floral,' user interactions trigger a cascade of movement within a digital ecosystem, where thousands of virtual leaves respond to stimuli much like their botanical counterpart. This dynamic system not only replicates the mechanical response of Mimosa pudica but also extends its expressive potential into the realm of generative art. This presentation will discuss the development of 'Sensitive Floral,' focusing on its computational framework, the role of biomimetic design in generating organic visual experiences, and the broader implications for kinetic art and adaptive systems. Attendees will gain insights into how complex biological behaviors can inspire new modes of artistic expression, pushing the boundaries of interactive and generative art in contemporary digital practices. As the leader of the BioLogicDesign BLD Lab, he explores biologically-inspired computing to create novel aesthetics in generative graphic art and \[…\]. The project aims to investigate the impact of algorithmic decision-making on body representations in social media, exploring how these platforms may shape and distort forms of representation and perception such as body aesthetics, choreography, iconography, and authenticity. Social media platforms like Instagram treat their users as black boxes, analysing their affects based on continuously sampled visual media. By reversing this practice and identifying algorithmic 'affects' towards specific body characteristics, we cast a virtual hyper-embodiment of Instagram's affective economies and notions of integrity. To this end, we have developed a prototype of a self-operating software architecture based on principles of black box testing, machine learning, and synthetic data. This work in progress presentation will move through the different trials, challenges and preliminary results of the project, elaborate on areas for further research and provide an overview of the project's ongoing and future developments. Michael Wallinger AT is a media artist. Their practice strives to fathom the performative, communicative and symbolic dimensionalities of data-driven technologies. Drawing upon the author's personal experiences and observations, the film is the result of a partly co-creative investigation with a non-human creative instance, while uncovering parallels between co-creation and the process of bereavement. Through qualitative analysis and reflective inquiry, the film uncovers the nuances of acceptance, relinquishing of control, and the emergence of new aesthetic possibilities inherent in this unconventional creative practice. The findings shed light on the transformative potential of integrating generative AI into artistic endeavors, offering insights into the dynamics of human-machine collaboration and the renegotiation of artistic agency within a context marked by unpredictability, serendipity, and chance. Verena AT is a transdisciplinary visual artist, exploring different technologies and their interplay in a rather explorative and playful approach. While studying Graphic Design at the University for Applied Arts in Vienna, a pivotal year in Portugal sparked her deep interest in film, animation, and moving images. Apart from her work as an animator for \[…\]. The Transaction is based on an intelligent agent that utilizes diary-like text to create videos. The Transaction then transforms the montage into a Manga strip printed by a thermal receipt printer. Each receipt strip is augmented with a QR code, facilitating access for a closer look into the associated full-length archival videos with context. This work operates on an improved narrative-aware language-video joint embedding space based on deep learning, where text inputs are translated into vectors, and used to retrieve historical archival clips to construct a new video. The final Manga strips are transformed from the generated video through state-of-the-art image generation and style-transfer models. Playfully sitting at the intersection of memory, history, and narrative, this work uses the dialectical and serendipitous encounter with archival footage to destabilise the fixed linearity of history and archival narratives. This transaction between private memory and public history aims to reveal the fragility, plurality, and absurdity of the accepted norm, calling for a reexamination of our perception of the past and the present. His research interests include multimodal machine learning, knowledge representation and semantics, audiovisual narrative, HCI, and digital \[…\]. Subsequently, we developed a new narrative experience system that harnesses the potential of new media. In this presentation, we will introduce our system design, where performers serve as mediators between artificial intelligence and the audience. This interaction facilitates the creation of personalized narratives and adaptive soundscapes within a virtual reality environment. This triangular co-creation framework transcends the limitations of pre-written scripts, allowing for deeper explorations of inner realms and providing a more personalized storytelling experience. In our current development, we use frame-by-frame AI-generated images as visual content. This project has been publicly presented in Taiwan and France, with over a dozen showings. It has enabled participants from diverse cultural backgrounds to have transcendent experiences. Additionally, it offers new insights into audience interaction and the emotional impact of immersive technologies. Compared to previous mainstream VR projects, this new form more effectively guides real-time personalized storytelling, providing audiences with unique and unreplaceable spiritual experiences. Our future studies will optimize the real-time conversational narrative system and gather extensive feedback to improve and validate its applicability and effectiveness across diverse artistic and cultural contexts. Their expertise lies in virtual reality, real-time image generation, audiovisual art, dance, and performance, using these mediums to craft immersive and dynamic experiences. Driven \[…\]. Once upon a time, there was a king, or a princess, or a sausage choose one , and every day he, she, it, asked himself, herself, itself: What are the limits of audience agency in narrative gaming or interactive storytelling? This talk will explore some or all of these questions, depending on audience interaction, or not. The notion of looking backwards as we continually move forward often refers to how the past influences our perception of the future. In the field of expanded animation, we often strive for innovative approaches using the latest technology and contemporary techniques, yet the outcome is always shaped by our knowledge and past experiences. By creating an immersive Time Tunnel in , Mitchell invited participants to traverse the history of computer graphics experientially and didactically in hopes that future creators and thinkers would not only become interested in the past but be inspired to move beyond it. Mitchell coordinated a series of events, talks and displays to mark the occasion with the immersive, interactive Time Tunnel as the core of the experience. The content for the walls of the Time Tunnel was a mix of real-time generated and pre-rendered animations and data visualizations. Using innovative technology to create a fully immersive experience of this magnitude, we capitalized on the idea that in the future, reality and virtuality will be fused. The Time Tunnel and other SIGGRAPH 50th conference celebration events merged the past, present, and future to create an illusion that transported the viewer to various points in time relative to their personal experiences. The field of Expanded Animation is a wide-open discipline where the impossible is possible and the past can become the future. The visual styles, technical innovations, failures, and successes of the past have helped to pave the path we are currently on. It will also discuss altered perceptions of time and how immersive experiences can encourage people to think differently as they forge ahead into the future. This paper explores the creative tensions involved in bringing together the rapid ideation of theatre devising process with the meticulous development typical of 3D and immersive production. With reference to a collaboration between University of Plymouth and the Wardrobe Ensemble theatre company, the text focuses on the integration of Unreal Engine into devised theatre production. It discusses: the navigation of these differing temporalities; methodologies for creating media in a way is incorporated into the devising process; and the promotion of media assets as active elements within the narrative. The approach of 't h inkering' is introduced—combining the concepts of thinking and tinkering—as a process that eschews linearity of common 3D, animation and VFX production pipelines, emphasizing instead reflection and experimentation in media creation. The text explores how low-fidelity assets and fast turnaround times facilitated a dynamic dialogue between theatre and creative technologists and concludes by emphasizing a shift in perspective towards viewing Unreal Engine as a sandbox for experimentation rather than a linear production tool, advocating for a process-oriented approach to media creation. He recently undertook an MRes at the University of Plymouth and has spent the last year working with the university as a Research Assistant and Technologist, enmeshing a range of techniques for creating 3D animatics and virtual environments with \[…\]. World-building emerges as a transformative paradigm in global design education, fostering interdisciplinary collaboration and holistic perspectives. Rooted in disciplines like speculative fiction and game design, it transcends constructing alternate realities to encompass a comprehensive design process. Designers cultivate critical thinking, systemic understanding, and narrative proficiency through immersive exercises. Leading institutions integrate world-building, preparing students for real-world challenges. In the School of Animation and Games at the China Academy of Art, world-building is an experimental approach to facing traditional education challenges. Nevertheless, it evolves to integrate diverse research methods, challenging stereotypes, and attempting to emphasise solutions to real-world problems through virtual worlds. This paper provides a historical survey of gamification concepts and techniques applied to music composition, performance, and listening experiences. It traces the origins back to 18th century musical dice games before exploring how digital technology enabled new interactive and immersive possibilities pioneered by composers like Xenakis, Tudor, and Laurie Anderson. Psychological concepts like flow state are discussed in relation to fostering creativity and engagement through game-like elements. This paper positions current musical gamification practices within a rich historical tradition. Juan Carlos Vasquez CO, www. With two decades of dedicated engagement in intermedia projects, his innovative journey has illuminated the global stage. His creations, ranging from spatial audio works to immersive interactive experiences and game art, have resonated across continents, being \[…\]. This paper develops a spatiotemporal model for visualizing dynamic topologies of hybrid spaces. The joint representation of spatiotemporal data is a well-known problem, for example in digital twins and urban planning. There is also a lack of a basic ontology for understanding hybrid spaces. Existing concepts and types of representations of hybrid spaces are presented. The spatiotemporal model is developed in three layers. The model was tested on the occasion of an art exhibition. Range, number of interactions and response rates were recorded. Various dynamic topologies of hybrid spaces could be successfully represented. An online survey provided a positive correlation between modality and individual activity. The three-leveled model structure helps to improve class formation and software architecture in serious games or digital twins. The joint representation of real and virtual places also revealed that range and urban density are equivalent concepts. Media can be described as places. Multilocality could successfully be mapped. Modality of hybrid spaces shows new relations between media and transportation. Combinations of the examination parameters allow a large number of different dynamic topologies to be represented. Pattern recognition in hybrid spaces enables further research and user experience studies. The results of this study convey a new understanding of urban space. Born and grown up in Vienna, Austria, he worked as an architect and city planner in Vienna, London, Hamburg and Munich. He has \[…\]. By exploring the hybrid relationship between bodies and their digital representation in a posthuman context, the project creates a phygital physical-digital space where visitors can experience new dimensions of self-perception and interaction with others, in a constant interchange between physical and virtual worlds. Listed in the Forbes 30 Under 30 List of , Flavia graduated \[…\]. This paper explores the creative application of animation and interactive technologies to craft playful, tangible interactions that convey imaginative stories and enhance spectator experiences in the exhibition 'Ceramic Stories \[digital connections\]' at the Australian Design Centre. It demonstrates the process of creating digital connections between artifacts and audiences, based on the imaginative and historical narratives collaborating with two ceramic artists, Sebastian Conti and Casey Chen and their series of work in distinct. This illustrates the process of establishing digital linkages between artefacts and audiences. The study suggests the use of interactive technologies and animation to change spectator experiences and increase audience participation by drawing on this experience. Her teaching responsibilities encompass the fields of Media Arts and Interaction Design, where she provides guidance and supervision to students. With over ten years of experience in the animation industry, \[…\]. Informed by feminist posthumanism the project aims to transgress the distinction between subject and object by tracing the formation of configurations, where nature and culture construct each other. The project involves two mutually informative art-based strategies of inquiry which both use mimesis as a lens: Based on a period of gathering data via field experiments, interviews and walks with biologists, audiovisual research about peatland and mosses, a laboratory experience space was created which invites the audience to immerse themselves in a living archive of mosses. The second strategy of inquiry addresses the interaction between the audience and the specimens. This is made possible by using artificial intelligence models mediating between the audience and the biomes and communities, the mosses interact with. By training a number of specialized LORA models with the collected hundreds of images of biomes and specimens, we can prompt those AI models to turn participants into plants, fungi, soil and whole ecosystems that move along with them. The project invites to participate in seemingly rational practices of objectification such as collecting, inspecting, sorting and categorizing and juxtaposes them with seemingly affective practices of performance and dance. By activating the entire body to explore the dynamics of vegetal phenomena, the project critically approached the disembodied rationale of Western epistemology thereby exposing the dichotomy of human activity and plant passivity as a myth. The result is a distributed choreography involving human and more-than-human actors. She \[…\]. Lexicon de Plantas is a large-scale audiovisual and site- specific art installation that immerses the observer in a realm of visual poetry through layering memories from the past with contemplation of the present and of possible futures. It features the transformation of drawings into animations; these are then projected onto paper sculptures. It features conceptual and collaborative activations that work to break down the barriers between artist and audience by sharing community-sourced stories relating to memories of plants. This work invites the audience to engage with the complexities of memory, migration, and belonging. It explores magical realism through a lens of belonging and mutual compassion as key parts of collective wellness. The goal is to inspire environmental awareness through acts of care and intentionality by remembering and revering shared familial traditions that link to our relationships with plants. These memories become heirlooms, manifested in a space that allows for reflection before passing them down. The end of the installation featured a live music performance, readings of the written memories, and an open invitation for the audience to participate by telling their stories related to memories of plants. This collaboration between interdisciplinary visual artist Alejandra Abad and musician Steve Jones aims to foster empathy and to nurture our communities by engaging memory in relation to the moving image, collective awareness, and storytelling. Often artists are looking at how art can help highlight the climate crisis, motivating the public to act. Combining digital art practices, such as computer animation, virtual reality, and generative art, with a focus on ecological issues, eco-digital art invites and encourages discourse on a wide range of environmental sustainability, biodiversity, and the relationship between technology and nature. In this intersectional domain, animation can play a valuable role, creating new approaches that reflect, critique, and even propose solutions to contemporary environmental challenges. The eco-digital approach emphasizes the integration of natural processes and digital aesthetics to foster a deeper understanding of and engagement with the natural world. Working at the intersection of animation, sound, installation and data visualisation, we explore ways that digital systems and ecological systems can interact, drawing attention to the common threads that link both humans and plants. This is possible through a variety of methods and techniques: this research examines one such approach, combining plant bio-electrical signals, Indigenous thinking, human music and real time animation. Our goal is to develop approaches that might benefit future hybrid ecosystems, incorporating Indigenous practices of environmental care that mobilise animation and operate to bring the public closer to nature. We are transdisciplinary art researchers with a collaborative practice, encompassing exhibition, performance, publication, presentation, music and community engagement. Working with different modalities of analogue and digital art, we explore with new methods in motion-based and sonic media, including live performance, music, digital design, and virtual image creation. The proceedings of the Expanded — Conference on Animation and Interactive Art can be found here:. Visit the Expanded Animation YouTube channel to see current and past content. Switch to the current or next scheduled live stream by clicking on the button below. The symposium Expanded Animation began in and offered a first approach to the expanding field of computer animation. Every year under an overarching theme, the symposium has researched the field of technology, art, animation, and aesthetics, investigated the collapsing boundaries in digital animation, and explored positions and future trends. As with the first conferences on computer animation at Ars Electronica in the s, practice and theory are equally important. The richly illustrated publication Expanded Animation: Mapping an Unlimited Landscape features contributions from speakers and artists from the past six years and presents an overview of the prize winners in prix category Computer Animation from to The exhibition is located at the Salzamt in Linz, a platform for artists and cultural creators from various fields. During Expanded Play, the venue will be utilized to explore a wide range of experiences between games and interactive installations. This innovative use of space and technology will provide attendees with an immersive journey through the evolving landscape of interactive art and play. Through interactions with different characters, the player uncovers secrets and collects rocket parts with the aim of building a rocket to escape from this dying world and travelling to a space station. Augmented Social Play ASP is an innovative digital intervention format that leverages smartphones to deliver real-world, face-to-face group psychotherapeutic experiences and foster supportive communities. The COVID pandemic significantly heightened social isolation and mental health challenges among young people, exacerbated by the rise of social media use driven by digitalization and social transformations. Clothing, vehicles and various other objects are altered or replaced to reflect the expectations of the chosen era. A custom machine learning approach utilising stable diffusion as a starting point was developed to create an alternative look into the past. This interactive project allows users to perform AI evolutionary operations themselves. You can create a new random image or select an existing image to mutate its embedding, thereby creating a variation. Selecting two images enables mixing, resulting in a combined image with characteristics of both. The main goal was to incorporate sound as an essential game mechanic to the game and realize a gradual shift in between auditory and visual dimensions. The project members pretend to be employees of a fictional company aiming to release a new product. The VR game represents the virtual testing ground for this new product. The walls feel like they are about to collapse. A desperate struggle for breath. Do not think about this and that. What else can go wrong? This feels like being stuck in a meat grinder. I hope I can get my work done today. Thoughts collide, a chaotic ballet. Who is saying that? I will… slow down. Lack of time, lack of focus. Being overwhelmed. Always occupied, in constant worry. Nothing works. Nothing is right. This installation combines science, art and technology with the aim of making biochemistry more understandable and interesting. It uses real-life data and encourages viewers to interact with molecules that are otherwise invisible to the naked eye. This game immerses players in a 2D world where their line of sight influences the narrative, the environment, and non-player character NPC reactions. Reading fiction in virtual reality is an unexplored topic whose potential is yet to be discovered. So far, the closest research field in which extended reality XR is applied to written texts is the use of augmented reality AR in education. Most of the time, this field does not focus on leisure reading and does not aim to intentionally create pleasure for the reader, but is rather focused on enhancing learning. Dreamcatcher Dominik Senzenberger. Overload Remo Rauscher, 5. Semester DAb. Impressions from past Expanded Animation symposia. We want to thank the following sponsors for their support. Toggle navigation. Artist Position. Rachel Maclean www. Paul Trillo www. Nicolas Gourault www. Paul Clarke Uninvited Guests. Irina Rubina iraru. Reinhold Bidner gold extra. Art Research Paper. Biin Shen China Academy of Art. Clarissa Ribeiro Roy Ascott Studio. Luca Cacini www. Art Paper. Xiruo Wang University College London. Verena Repar www. Vinaya Tawde Masaryk University. Michael Wallinger www. Welcome: Expanded Clarissa Ribeiro Dr. Weihao Qiu Weihao US is an interdisciplinary artist and researcher with a dual background in image production and digital computation. Art Paper Session 1 — Extended Reality. Jinsil Hwaryoung Seo: Mosaic Immersion: Stacked Realities Merging Physical and Virtual Experiences Mosaic Immersion is a mixed-reality installation that reimagines the ancient practice of cairn stacking for the digital age. Jinsil Hwaryoung Seo Dr. Xiruo Wang: Constructing Virtual Narrative Environments: A Surrealist Exploration of 17th-Century European Oriental Fantasies This article aims to construct interactive narratives in virtual reality that incorporate multiple art forms and explore various contexts. Artist Position — Rachel Maclean: If it looks like a duck. Artist Position — Rachel Maclean: If it looks like a duck Maclean will discuss her latest short film DUCK, a surreal and darkly comic spy thriller starring Sean Connery, which was made using deepfake technology. Rachel Maclean Rachel Maclean UK is an established artist based in Glasgow whose films have shown widely in galleries, museums, film festivals, and on television. Artist Position — Nicolas Gourault: Investigation and simulation, a documentary approach to new media. Artist Position — Nicolas Gourault: Investigation and simulation, a documentary approach to new media Through a discussion of some of my previous films, I will introduce the investigative and documentary approach that I employ during the research phase for my projects, along with the aesthetic and technological strategies that I choose for the production of the visuals. Paul Trillo Paul Trillo US is a director and video artist who challenges both his own curiosity and illusion with his visually inventive, conceptual, and technical films. Amy Alexander: Deep Hysteria: Toward a Constructive Approach to Algorithmic Bias Deep Hysteria is a still image series that repurposes algorithmic bias in the service of unraveling a deep human bias. Amy Alexander Amy Alexander US creates computational artwork which spans installation, performance, and online media. Scottie Chih-Chieh Huang: Biomimicry Aesthetics: Exploring Reactive Systems in Generative Art 'Sensitive Floral' is an innovative interactive artwork that delves into the intersection of art, biomimicry, and computational systems. Verena Repar: Exploring the Transformative Potential of Evocative Interactions with Diffusion Models echoes of grief is a filmic reappraisal of a fatal loss, delving into the complex interplay between grief, human creativity, and the utilization of generative artificial intelligence in artistic expression. Verena Repar Verena AT is a transdisciplinary visual artist, exploring different technologies and their interplay in a rather explorative and playful approach. Jan Pinkava: The illusion of choice in interactive storytelling. Jan Pinkava: The illusion of choice in interactive storytelling Once upon a time, there was a king, or a princess, or a sausage choose one , and every day he, she, it, asked himself, herself, itself: What are the limits of audience agency in narrative gaming or interactive storytelling? Biin Shen: Some Practices and Reflections on World-building as a New Path for Design Education under Oriental Thinking World-building emerges as a transformative paradigm in global design education, fostering interdisciplinary collaboration and holistic perspectives. Juan Carlos Vasquez: From Dice to Metaverses: Gamifying Musical Experiences This paper provides a historical survey of gamification concepts and techniques applied to music composition, performance, and listening experiences. Juan Carlos Vasquez Dr. June Kim: Animating Tangible Narratives: Creative Application of Animation and Interactive Technologies for Playful Interactions in the exhibition of Ceramic Stories \[digital connections\]\] This paper explores the creative application of animation and interactive technologies to craft playful, tangible interactions that convey imaginative stories and enhance spectator experiences in the exhibition 'Ceramic Stories \[digital connections\]' at the Australian Design Centre. Vegetal agency in distributed more-than-human choreographies. Read the proceeding. Download the catalog. Download the animation screening program. Watch live. Expanded Animation — Mapping and Unlimited Landscape The symposium Expanded Animation began in and offered a first approach to the expanding field of computer animation. Starborne Mail - The Cosmic Courier. Time Machine. Evolutionary Diffusion. Evolutionary Diffusion This interactive project allows users to perform AI evolutionary operations themselves. Marcel Salvenmoser AT. Mind the Passage. Mind the Passage Monday. Interactive ATP Reaction. Interactive ATP Reaction This installation combines science, art and technology with the aim of making biochemistry more understandable and interesting. I See You. Bookwander Reading fiction in virtual reality is an unexplored topic whose potential is yet to be discovered. Supported by. Copyright Expanded Animation.

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