TASMIL - QWANTURANK

About Tasmil

Art & Science @ Tsinghua

Tsinghua University is one of the most acclaimed higher learning establishments and a national key research institute in China.

The University considers the confluence of art and science to be a primary subject for higher education in the twenty-first century. In response to the University’s mandate, its branch of arts education, The Academy of Arts and Design of Tsinghua University, has hosted a ground-breaking exhibition and symposia series titled “The Millennium Dialogue: Beijing International New Media Art Exhibition and Symposium” in 2004, 2005 and 2006, positioning itself at the forefront of new media art discourse and production and as a leader in advocating new creative visions by linking art, science and technology among China’s finest art and educational institutions.

TASML’s Mission

Tsinghua University Art and Science Research Center Media Laboratory ushers in a new era in China’s experimental research linking art, sciences and technology. It is of great significance both strategically and practically in establishing a structured approach to the research and production of new media art and design, which will advance the development of overall media art education and practice in China, creating standards for such endeavors in the future. Under the auspices of the Art and Science Research Center of Tsinghua University, which is administered by the Academy of Arts and Design, the media laboratory is conceived as a research and production unit that aims to synergize the rich resources available among the University’s diverse research institutions and laboratories to create an incubator for crossbred, interdisciplinary experiments among artists, designers, scientists and technologists. TASML also functions as a center and a hub for worldwide exchange and collaboration both with academic and research institutions and the global media art and design community. Through information sharing and knowledge transfer, TASML can also be seen as a catalyst of innovations for other disciplines in the arts and for the creative industry in general.

Partnership

Within the Tsinghua campus, TASML has aligned with the Pervasive Computing Research Lab of the School of Computer Sciences and the Institute of Neural Engineering of the School of Medicine as inter-departmental partners to conduct transdisciplinary research. Collaborations with other Tsinghua research institutes and laboratories will be further expanded in the future.

Collaborations with global and Chinese media art institutes and research laboratories is a core component of TASML. Currently three internationally renowned media art and design institutes, V2_lab, the research arm of the V2_Institute for the Unstable Media, a Rotterdam-based major European media art institution, Parsons The New School for Design, a world class art and design school located in New York City, and the Media x Design Laboratory (LDM), an innovative bio-architecture / design research lab of EPFL | Swiss Federal Institute of Technology Lausanne, have joined TASML as founding partners. Together with a R&D base sponsored by CreativeStar in Shanghai, TASML has created a multi-nodal structure that can best serve its vision of international exchange and localized facilitation.

Shanghai Outpost

TASML has established its R&D base in Shanghai in collaboration with CreativeStar, a leading media design company which allows research and production to be integrated into the creative industry.

Reasearch

Research Directions

TASML will identify key technologies that may catalyze innovation and in turn influence the ways in which we engage with society as guidelines for artistic and technological investigation.

TASML has four primary goals:

  1. To function as a highly competitive research center for advanced media laboratory experiments that not only serve as conduits for realizing creative manifestations of Tsinghua’s scientific discoveries and producing innovations for social-use technologies, but also act as catalysts for the Tsinghua technical and scientific community to venture into artistically inspired research frontiers.
  2. To act as an incubator to foster a new generation of Chinese artists who will explore fresh artistic potentials and critical approaches outside of the conventions of an established art vocabulary by providing them with a comprehensive research environment and facilitating their work through a production base.
  3. To provide a research platform that can potentially generate value-added products with practical applications.
  4. To form a knowledge gathering and information dissemination center.

Qwanturank

Qwanturank is the new SEO competition taking place from December 2, 2019 to June 3, 2020. For me, Seo competitions are a welcome opportunity for SEO experimentation because most competitions take place on entirely new search terms. It is therefore very interesting to see which pages the Qwant search engine classifies when no historical data is available on this artificially created term.

Qwant competition

The search engine must rely only on signals that generally have little impact on the ranking. Of course, as in any SEO contest, there will be a lot of low-value spam or long-term ranking potential, but we can observe, which is the ranking, how long and maybe even why !

When search engines such as Qwanturank detect an increase in search volume on a specific term, they must assume that something new has happened and that users are looking for the latest news or information on that particular topic.

Qwant is an atypical search engine, which has a different operating system from the others. Indeed, qwant respects the privacy of its users (no filter or tracking). The results qwanturank.com are instantly organized into categories on the results page.

Qwanturank is a SEO competition organized by qwant. Several amateurs and SEO professionals compete. Competing in the SEO qwanturank competition is simply ranker's. The competition is held for six months.

Thus, the candidates will be mainly busy perfecting the content of their site, blog to be in front of the qwant at the end of the contest. Ranker is the set of methods to optimize the web page content on qwant. Knowing ranker takes time and strategy. It would be of great interest to candidates to investigate these methods in order to maximize their chances of success.

Qwanturank and SEO on Qwant

After entering all your information, you validate your registration by clicking on "register my registration". Registration is open to everyone over a defined period of time. You must ensure that you register within the specified time limit. For the 2020 edition, the period to demonstrate is from December 2, 2019 to February 3, 2020.

Qwanturank for the smooth running of the competition established certain rules to be observed by the candidates. Compliance with these rules shall ensure the effective participation of the candidate in the competition. To take part in the SEO competition
qwanturank, the candidate must be over 18 and not work for qwanturank. Then, it must be registered on the qwanturank platform before February 3, 2020.

Who would think they could beat the inevitable Google ? No one, some experts would say. But recently, a small poucet has left its mark with a double partnership signed with powerful institutions, and this, in less than a week. The opportunity for this little search engine created in 2013, to catch up with the American giant ?

The administration also puts.

The State announced Friday that a note would be sent to administrations to invite them to install this French search engine and use it at work. The secretary of State for Digital Economy describes this decision as a purely strategic choice. He particularly stresses the merits of Qwant which perfectly meets the legal and technical criteria desired such as the management of personal data or ethics.

Qwant thus finds the opportunity to further expand its number of users, having conquered the National Assembly and the region of île-de-France and the local services on the Côte d'azur and Brittany.

For popular seasonal terms like 'superbowl‘, the measures are the same as for newly created terms or growing search volume like‘ Qwanturank' because everyone wants to know which sites are currently ranked the best.

Every time such an event occurs, an algorithm comes into play, which means that the query deserves to be refreshed : updated or new pages and articles are better classified, as they provide more recent information to the user.

Microsoft's decisive support.

The majority of French internet users do not know Qwant according to the polls. Most of them use Google as a search engine. But it may be worth adopting a search engine developed by a 100 % French company, especially since it advocates transparency in its data management. Some saw it as the only company that could ever compete with the American giants. But he struggled to take flight despite his presence in 169 countries. However, the agreements signed last week could definitely change things.

The American subsidiary itself made the announcement at VivaTech in Paris. The Qwant option will appear on the next versions of browsers built into Windows 10, also compatible with Android and iOS. A windfall for Qwant, which can be expected in the medium term, in nearly 90 % of machines worldwide. Microsoft also highlights the positive points of this partnership for the old continent, an opportunity to launch a european search engine, autonomous and virtuous.

To support Qwant, the Americans will make Azur accessible, the cloud application platform and its computing power. They will also allow Qwant to access valuable data from their Bing search engine.

15 Minutes of Biometric Fame

Marnix de Nijs is the first TASML artist in residence to conduct robotics / artificial intelligence research. His installation 15 Minutes of Biometric Fame will comprise an autonomously moving robot equipped with a camera. The robot will scan the faces of exhibition visitors and link them to a database of national movie and TV stars.

The installation will be equipped with biometric video analyzing software which detects and scrutinizes the faces of the people in front of the camera. Rather than try and identify the person, the software probes for facial features and characteristics that are similar to one of the pre-selected persons in the data base. Visitors will be classified according to their celebrity match and can also become a star themselves. Categories will include various types of fame, such as movie stars, soap idols, and reality TV personalities.

The installation is designed with direct reference to the camera dollies that are used in television and cinema production and further reflect on the glamour and notoriety surrounding the industry, an industry that is not only populated with inaccessible stars but also people from everyday life. This is especially true of the television world with the present-day popularity of reality TV, in which anyone can become a star for as long as the show lasts.

The software features a dynamic database and each time a face is categorized and matched with one of the pre-selected TV personalities, an image of this new face will be displayed on a large public screen. Since the visitor now has a newborn celebrity status, their face will correspondingly be added to the data base. The ID’s of the visitor will be tagged with the category and various character features of the original TV star that primarily authorized the visitor’s face to enter the database. Character features may include details about their love-life and other such gossip.

Tsinghua University’s specially assembled team for this project consists of:

Team supervisor: Prof. Yuanchun Shi [1]

Yu Zhong, [1] [2]

Xin Li, [1] [2]

Mingming Fan, [1]

Dr. Huijun Di, [1]

[1] Department of Computer Science and Technology, Tsinghua University

[2] Department of Information Design, Academy of Art and Design, Tsinghua University

MeatMedia: Endless Loop March

Endless Loop
A Neural Media Project
A TASML PILOT Project

Project Description

The project is based on the cutting-edge research “Brain Computer Interface” (BCI), carried out by the artists Wu Juehui, Shao Ding and the Institute of Neural Engineering (Tsinghua University). Two subjects’ EEG signals will stimulate each other and form a loop mechanism by BCI. Throughout the process, a 3D printer will print EEG signals into a “Neural Sculpture,” the Thinking Tower.

Two participants are seated in a closed environment and respond to external stimuli. The experiment works in a closed loop: the stimulations to one participant are generated on the basis of the brain responses of the other participant to those stimulations. Both participants have equal control over the overall comfort level of this experiment.

Experiment paradigm

Single mode: internal cycle; self learning; adapting to the system
Dual mode: external cycle; cross learning; mutual match of brain activities

Possible directions

Neural engineering experiment based on scalp EEG
Brain-computer interface, event-related potentials, and cognitive processes
New concept in neuroscience: simultaneous analysis of dual EEG
The art of gaming and brain games: artistic representation of willingness mapping
Transformation from fuzzy artistic creation to trial-and-error and recordable scientific experiment

Project Team

Artists: Wu Juehui, Shao Ding
Institute of Neural Engineering (Tsinghua University): Hong Bo (PhD supervisor), Dan Zhang (PhD Candidate)

Knowledge Base

TASML will establish a digital database and a library of media art theory and history as a knowledge dissemination center. A large-scale knowledge transfer project is also under discussion that aims to replicate Media Art Net in a Chinese language version. The Media Art Net (in German and English) is the most comprehensive media art online database with rich audio-visual content and scholarly texts developed by the ZKM | Center for Art and Media Technology in Karlsruhe, Germany, the world’s largest media art museum. The publication of a book series on media art history and theories will further promote this objective.

About the Artist in Residence Program

An artist in residence program will be at the core of TASML’s practice. The Lab will identify key technologies that may catalyze innovation and in turn influence the ways in which we engage with society as guidelines for artistic and technological investigation. Candidates will be solicited through open calls to the arts community both within China and abroad. Given the title of research artist, the selected participant will receive a three-month residency at Tsinghua University with accommodation and a stipend. The research artist will be paired with relevant scientific and technological resources at Tsinghua to conduct research. Assisted by an MFA / MA student (of Art and Science cross disciplinary studies) with similar research interests, the research artist will create prototypes for the proposed project with demonstrable technologies developed over the span of the residency. The research artist will also be given teaching assignments as visiting professor to bring to the classroom their artistic experiences and expand the horizons of Tsinghua’s students.

TASML / DSL Artist Residence Award

With the support of DSL Collection, the renowned art collection specialized in contemporary Chinese art, the award is conceived to provide emerging Chinese media artists with an unique opportunity to engage with cutting edge research and production in the intersection of art, science and technology in some of the most innovative media art and design laboratory from around the world. From March of 2011 till February of 2013, two artists will be selected annually through a national wide open-call for proposal submissions. The awardees will receive a $4000 (RMB 26500) stipend to compensate for travel, accommodation and living expenses in the residence country. An international jury will decide the winners of the award based on the merits of the proposed projects. The inaugural residence is projected to begin in the summer of 2011 in partnership with V2_lab located in Rotterdam, the Netherlands.

About the DSL Collection

The DSL Collection was created in 2005 and focuses on contemporary Chinese art. It is a private collection representing 90 of the leading Chinese avant-garde artists, artists having a major influence on the development of contemporary art in China today. Even though focusing on the contemporary production of a specific culture, the collection is nevertheless not guided by the search for otherness. It admits basic cultural similarities and dispositions, however, goes beyond a simplistic approach looking for typical cultural signs and symbols.

The collection is limited to a specific number of art works – about 160 pieces – that as an entity is open to constant redefinition itself. Openness, movement and communication are basic qualities we want to promote

The collection is not only significant on a personal level, but also at a larger scale. We start from a museum approach, which means that we are collecting a wide range of media including painting, sculpture, installation, video, and photography. The choice of works further is not oriented on the trends of the market. To choose this kind of approach implies making the collection accessible for the public, as well as documenting the featured works.

The major tools to achieve these goals are new technologies, such as the internet and interactive programs and supports, like for example electronic books. These tools provide the means to share the experience of contemporary culture and to make it more accessible and meaningful for a broader public.

TASML | Corroll Fletcher Artist Residence Award

With the generous support of Carroll / Fletcher Gallery, a London based contemporary art gallery, TASML is pleased to announce its new artist residence award: TASML | Carroll Fletcher Artist Residence Award. The award will provide emerging Chinese media artists with an unique opportunity to engage with cutting edge research and production at the intersection of art, science and technology in some of the most innovative media art and design laboratories around the world. From March 2013 until February 2020, two artists will be selected annually through an international open-call for proposal submissions. In collaboration with Summer Sessions: International Talent Development Network, the award allows the selected artists access to a wealth of global media art labs by their own choice of interest. The awardee will receive a stipend to cover production, travel, accommodation and living expenses in the residence country. An international jury will decide the winners of the award based on the merits of the proposed projects.

About Carroll / Fletcher Gallery

Co-founded by Jonathon Carroll and Steve Fletcher, Carroll / Fletcher is a contemporary art gallery located on Eastcastle Street in Central London.

The gallery supports existing and new forms of artistic production, and works with exceptional emerging and established artists, whose practices use a diverse range of media to explore contemporary socio-political, cultural, scientific and technological themes.

Carroll / Fletcher showcases developments in visual culture by commissioning and exhibiting ambitious new works. It collaborates with museums and other non-commercial institutions to develop interest in, and long-term critical appreciation of the work of its artists. The gallery also presents curated group shows, occasional location specific works and collaborative education projects.

Opportunities

Along with the current pilot residency at Tsinghua, the first international residency program outside China will take place in September of 2010. In partnership with LDM of EPFL in Lausanne, this residency will focus on bio-architectural processes enabled through parametric design paradigms and organic algorithms to investigate future cities that transcend physical limits, germinating bionic environments capable of organically responding and adapting to human behaviors. A Chinese artist will be selected to work with the LDM researchers on the underlying logic that governs the emergence of organic “living” forms that are based on external, interactive input. The residency is scheduled for a period of six months at EPFL in Lausanne, Switzerland.

Events

International Symposium on Media Art Laboratories

Co-organized by Academy of Arts and Design of Tsinhgua University and Parsons The New School for Design

Participating Institutions
Co-organized by The Academy of Arts & Design of Tsinghua University (Beijing) and Parsons the New School for Design (New York).

Pervasive Computing Lab, Tsinghua University( CN)

Institute of Neural Engineering Tsinghua University (CN)

The Institute of Neural Engineering, established in 2004, is part of the Institutes of Biomedicine and also in the Department of Biomedical Engineering, School of Medicine, Tsinghua University.

Neural Engineering is an area of research at the interface between neuroscience and engineering. The mission of the institute is to establish an interdisciplinary technical platform for neuroscience research and to provide novel solutions for clinical diagnosis and treatment in neurology.

The main research areas of the institute are brain-computer Interface, functional brain imaging, neural information decoding, etc.

MIT Media Lab | MIT Center for Future Civic Media (US)

The MIT Media Lab applies an unorthodox research approach to envision the impact of emerging technologies on everyday life—technologies that promise to fundamentally transform our most basic notions of human capabilities. Unconstrained by traditional disciplines, Lab designers, engineers, artists, and scientists work atelier-style in close to 30 research groups conducting more than 400 projects that range from neuroengineering, to how children learn, to developing the city car of the future. Lab researchers foster a unique culture of learning by doing, developing technologies that empower people of all ages, from all walks of life, in all societies, to design and invent new possibilities for themselves and their communities.

The Center for Future Civic Media supports research at MIT to innovate civic media tools and practices and test them in communities. Bridging two established programs at MIT—one known for inventing alternate technical futures, the other for identifying the cultural and social potential of media change—the Center for Future Civic Media is a joint effort between the MIT Media Lab and the MIT Comparative Media Studies Program. It is made possible by a four-year grant from the Knight Foundation.

MIT Program in Art, Culture and Technology (US)

The merger of the MIT Visual Arts Program with the Center for Advanced Visual Studies unites two entities long allied in approach, philosophy and purpose and creates the potential for the MIT Program in Art, Culture and Technology (ACT) to become a leading international center for research, education, and practical exploration in art, science, and technology.

MIT Program in Art, Culture and Technology operates as a critical production- and education-based laboratory focusing on artistic research, advanced visual studies, and transdisciplinary collaboration within the context of MIT’s technological community. The program considers artistic practice to be knowledge production. The emphasis is on how cultural and artistic practices critically engage science and technology and envision their transformation. ACT curriculum includes courses in “Production of Space,” “Interrogative Design,” “Networked Cultures,” and “Contemporary Curatorial Practice,” among others.

ACT Faculty are world-renowned with active, international careers and a strong interest in cross-disciplinary debate, research, and modes of production.

ACT research fellows and affiliates engage with students and faculty on long term thematic research clusters in the field of art, culture and technology, such as “Interrogative Design Group.” “Mobile act lab,” “Artistic research and transdisciplinary collaboration,” and “Future of Body/Multiple Senses” to name a few

ACT hosts a weekly lecture series of artists, urbanists, and scholars from a broad range of disciplines.

Ars Electronica | Future Lab (AT)

Since its very inception, Ars Electronica’s focus has been on the tension and interplay at the nexus of art, technology and society. Formulating and implementing the future manifestations of this interaction is the chosen mission of the Ars Electronica Futurelab.

V2_Lab (NL)

V2_Lab is a place for artistic research and development (aRt&D). V2_Lab develops generic technical solutions that are relevant to the fields of art and culture. The results are published and made available under open-source licenses whenever possible. In V2_ projects, artists, technicians and scientists work together to develop technology for specific artworks. Additionally, V2_Lab offers technical and productional support to artists working with new technologies. An artist-in-residence program is one means of achieving this.

Media Lab Prado Madrid (SP)

Medialab-Prado is a program of the Department of Arts of the City Council of Madrid, aimed at the production, research, and dissemination of digital culture and of the area where art, science, technology, and society intersect.

Many workshops for the production of projects, conferences, seminars, encounters, project exhibition, concerts, presentations, etc. take place in its versatile space. All activities are free and open to the general public.

The Hexagram Institute (CA)

The Hexagram Institute is the largest arts and design based new media lab in Canada and is recognized internationally as the Canadian pole for interdisciplinary research in new media art, design, and interactive performance and technologies.

Established in 2001 to provide state-of-the-art equipment, resources and management infrastructure to new media art and design researchers principally at Concordia University and the Université du Québec à Montréal (UQÀM), the Institute now includes researchers from the Université de Montréal and McGill University.

More than 80 researchers are currently members of Hexagram and over 400 graduate students have used the resources in their research projects.

Media x Design Laboratory EFPL (CH)

The Media x Design Laboratory is an interdisciplinary research laboratory that examines the effects of digitalization on architecture and contemporary cities. Located between the School of Architecture, Civil and Environmental Engineering (ENAC), and the School of Computer and Communication Science (I&C) of the Swiss Federal Institute of Technology in Lausanne(EPFL or ETH), its objectives are the development of data-driven, digital design processes, and the study and invention of new (physical and virtual) architectures for a world where digital technologies have become pervasive.

Eyebeam | Center for Art and Technology (US)

Eyebeam is the leading not-for-profit art and technology center in the United States.

Founded in 1996 and incorporated in 1997, Eyebeam was conceived as a non-profit art and technology center dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre of cultural production.

Since then, Eyebeam has supported more than 130 fellowships and residencies for artists and creative technologists; we’ve run an active education program for youth, artists’ professional development and community outreach; and have mounted an extensive series of public programs, over recent years approximately 4 exhibitions and 40 workshops, performances and events annually.

ZKM | Center for Art and Media Technology (DE)

As a cultural institution, the Center for Art and Media (ZKM) in Karlsruhe holds a unique position in the world. It responds to the rapid developments in information technology and today’s changing social structures. Its work combines production and research, exhibitions and events, coordination and documentation.

For the development of interdisciplinary projects and promotion of international collaborations, the Center for Art and Media has manifold resources at its disposal: the Museum of Contemporary Art, the Media Museum, the Institute for Visual Media, the Institute for Music and Acoustics and the Institute for Media, Education, and Economics.

Blast Theory (UK)

Blast Theory is renowned internationally as one of the most adventurous artists’ groups using interactive media, creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores interactivity and the social and political aspects of technology. It confronts a media saturated world in which popular culture rules, using performance, installation, video, mobile and online technologies to ask questions about the ideologies present in the information that envelops us.

SymbioticA(AU)

SymbioticA, The Centre of Excellence in Biological Arts, is uniquely situated to allow hands-on Artistic research with the life sciences .Based at The School of Anatomy & Human Biology, The University of Western Australia, SymbioticA is the world’s first artistic research facility within a biological science department. The focus on experiential engagement with life led SymbioticA to develop programs that would allow artists and designers access to labs and techniques usually reserved only to scientists and engineers. These programs include residencies, workshops, academic courses and public engagement through exhibitions and forums. Projects researched at SymbioticA range from the molecular to the ecosystem and anything in between.
SymbioticA sets out to provide a situation where interdisciplinary research and other knowledge and concept generating activities can take place. It provides an opportunity for researchers to pursue curiosity-based explorations free of the demands and constraints associated with the current culture of scientific research while still complying with regulations. SymbioticA also offers a new means of artistic inquiry, one in which artists actively use the tools and technologies of science, not just to comment about them, but also to explore their possibilities.
SymbioticA won the inaugural Golden Nica in Hybrid Arts at Prix Ars Electronica.

Synthetic Aesthetics, Stanford University & The University of Edinburgh (USA / UK)

Synthetic Aesthetics aims to bring creative practitioners and those who are expert at studying, analysing and designing the synthetic/natural interface together with the existing synthetic biology community to help with the work of designing, understanding and building the living world. We will organize 12 embedded residencies, during which artists and designers will spend time in bioengineering laboratories, and scientists and engineers in artistic and design studios and workspaces. It is our intention that balanced exchanges will foster exciting and productive work.

IERC, Nanyang Technological University

The Interaction and Entertainment Research Centre is a University Level
Research Centre of the Nanyang Technological University. IERC is a new
centre dedicated to creative cross-disiplinary collaborations between
various university departments, as well as with government and industry
partners.

Areas of focus – interactive fine art, tangible and hybrid media,
entertainment robotics, augmented reality, animation, games,
education/training, simulation.

Medialab-Prado Madrid

Medialab-Prado is a program of the Department of Arts of the City Council of Madrid, aimed at the production, research, and dissemination of digital culture and of the area where art, science, technology, and society intersect.

Many workshops for the production of projects, conferences, seminars, encounters, project exhibition, concerts, presentations, etc. take place in its versatile space. All activities are free and open to the general public.

Our primary objective is to create a structure where both research and production are processes permeable to user participation. To that end, Medialab-Prado offers a permanent information, reception, and meeting space attended by cultural mediators, andopen calls for the presentation of proposals and participation in the collaborative development of projects.

There are five ongoing lines of research at Medialab Prado, hosting regular activities and workshops:

Interactivos?: creative uses of electronics and programming

Inclusiva.net: research and reflections on the network culture

Visualizar: data visualization tools and strategies

Laboratorio del Procomún: trans-disciplinary discussion on the Common

AVLAB: audio-visual and sound creation

Speakers

Alex Adriaansens, Director, V2_Institute for the Unstable Media

Alex Adriaansens is one of the founders of V2_, of which he is the general and artistic director. Curiosity in general, and art and science specifically, and how they critique, reflect and shape the realities in which we live in is a leading thread for him.

Adriaansens is a member of the advisory board of the Transmediale festival, Berlin; the Franck Mohr Institute, a masters program in the field of Media Art; international advisory board for the eArts festival in Shanghai; and Theatre in Motion in Beijing. He has been an advisor for different art institutes and art organizations, as well as policy organizations in Netherlands, Spain, Korea, Japan. Taiwan, Germany, Canada, Norway and China, among others. He has been a member of different juries for international art festivals and prize awards including the eArts festival in Shanghai, Ars Electronica (Austria), Transmediale (Germany), Share (Italy), Laboral (Spain), WRO festival (PL), and Nova Luz (Sao Paulo). He is a regular commission member for funding bodies (nationally and internationally) like the Mondriaan Foundation (NL), Flemish Audio Visual Fund (B); Fund for Visual Arts, and Design and Architecture (NL). His (co)curatorial work at V2_ — mostly in collaboration with the V2_ team and guest curators — includes The Body in Ruin (1993), Generated Nature (1994), Digital Territories (1996), The Art of the Accident (1998), Machine Times (2000), Information is Alive (2003), The Art of Open Systems / Feelings are always Local (2004), Interact or Die! (2007), V2_Zone (Taipei, 2007), and Life&Art (2009 – ongoing).

Adriaansens has also served as co-curator of Millennium Dialogue – exhibitions, conferences and workshops – Beijing (Millennium Museum, Tsinghua University, National Art Museum of China and local arts organisations in 2004, 2005, 2006, 2008); Metamorf 2010 festival in Trondheim (N); and 3rd I exhibition, official side program World Expo2010 Shanghai.

Prof. Ute Meta Bauer, Director, MIT Program in Art, Culture and Technology (US)

Ute Meta Bauer is an Associate Professor and the Founding Director of the recently inaugurated MIT Program in Art, Culture and Technology at the School of Architecture and Planning, at the Massachusetts Institute of Technology, Cambridge/USA where she served as Director of the MIT Visual Arts Program from 2005 – 2009. From 1996 to 2006, she held an appointment at the Academy of Fine Arts Vienna as a Professor of Theory and Practice of Contemporary Art. Educated as an artist for more than two decades Bauer has worked as a curator of exhibitions and presentations on contemporary art, film, video and sound, with a focus on transdisciplinary formats. She was a Co-curator of Documenta11 (2001-2002) in the team of Okwui Enwezor, has been the Artistic Director of the 3rd berlin biennial for contemporary art (2004) and in 2005 curated the Mobile_Transborder Archive for InSite05, Tijuana (MEX)/San Diego (USA). Furthermore Bauer has been the Founding Director of the Office For Contemporary Art Norway (OCA) and was the editor of numerous publications in the field of contemporary art, including: “What’s left…What remains? SITAC VI” (Mexico City 2009), “Education, Information, Entertainment. New Approaches in Higher Artistic Education” (Vienna, 2001) META 1 – 4 (Stuttgart, 1992-94), case(Barcelona, 2001; Porto, 2002) and Verksted # 1- 6 (Oslo, 2003-2006). Bauer is an advisor for a number of cultural institutions such as the MIT List Visual Arts Center, is a member of the administrative board of nbk – Neuer Berliner Kunstverein/Germany and serves on the Scientific Advisory Boards of the Bauhaus Dessau Foundation, Germany and LABoral Center for the Arts and Industrial Creation in Gijon, Spain. Her guilty pleasure is the collaboration with apparatjik, a collective project she joins as artistic director on special occasions.

Oron Catts, Director, SymbioticA, The Centre of Excellence in Biological Arts School of Anatomy and Human Biology, UWA (AU)

Oron Catts is an artist, researcher and curator whose work with the Tissue Culture and Art Project (which he founded in 1996) is part of the NY MoMA design collection and has been exhibited and presented internationally. In 2000 he co-founded SymbioticA, an artistic research laboratory housed within the School of Anatomy and Human Biology, The University of Western Australia. Under Catts’s leadership, SymbioticA has gone on to win the Prix Ars Electronica Golden Nica in Hybrid Art (2007) and became a Centre for Excellence in 2008. In 2009 Catts was recognised by Thames & Hudson’s 60 Innovators Shaping our Creative Future book as one of five in the category “Beyond Design,” and by Icon Magazine (UK) as one of the top 20 Designers “making the future and transforming the way we work.”

Catts was a Research Fellow at Harvard Medical School and a visiting Scholar at the Department of Art and Art History, Stanford University. He is also Visiting Professor of Design Interaction, Royal College of Arts, London.

Prof. Christopher Csikszentmihályi, Director, Computing Culture, MIT Media Lab, Director, MIT Center for Future Civic Media (US)

Christopher Csikszentmihályi cofounded and directs the MIT Center for Future Civic Media (C4), dedicated to developing technologies that strengthen communities. He also founded the MIT Media Lab’s Computing Culture group, which works to create unique media technologies for cultural and political applications. Trained as an artist, he has worked at the intersection of new technologies, media, and the arts for 16 years, lecturing, showing new media work, and presenting installations on five continents and one subcontinent. He was a 2005 Rockefeller New Media Fellow, and a 2007–2008 fellow at Harvard’s Radcliffe Institute for Advanced Study, and has taught at the University of California at San Diego, Rensselaer Polytechnic Institute, and at Turku University.

Boris Debackere, Director, V2_Lab (NL / BE)

Boris Debackere (Belgium) is an artist, lab manager at V2_Institute for the Unstable Media and staff at the postgraduate program Transmedia, Brussels. As a media artist with an emphasis on electronic sound and image, most of his recent work and research is focused on translations and transformations of the cinema concept into new formats like Live Cinema and audiovisual installations. His work includes ‘vortices’ (2006) and ‘Probe’ (2008), reactive installations dealing with the relationship between the viewer and the screen. He collaborated with Brecht Debackere on the Live Cinema performance ‘rotor’ (2005), and ‘Vector’ (2010). In 2008 he initiated the research project ‘The cinematic experience’ (2007) resulting in a series of lectures and a publication. He did sound design for Marnix de Nijs’ installations ‘Run Motherfucker Run’ (2004), ‘Beijing Accelerator’ (2006) and ‘Exploded Views’ (2008) and sound design for Herman Asselberghs’ video pieces ‘a.m./p.m.’ (2004), ‘Proof of life’ (2005), ‘Capsular’ (2006), ‘Futur Antérieur’ (2007 – First Price Transmediale Berlin), ‘Alltogether’ (2008), ‘Black Box’ (2009) and ‘After Empire’ (2010).

Prof. Louis-Philippe Demer, Principle Researcher, IERC (The Interaction and Entertainment Research Centre, NTU (SG)

Louis-Philippe Demers makes large-scale interactive installations, so far realizing more than 300 machines and participating in more than 70 stage productions. His works have been featured at major venues such as Lille 2004, Expo 1992 and 2000, Sonambiente, ISEA, V2, SIGGRAPH and Sonar. His works received four mentions at Ars Electronica, the Distinction of Prix 96, the first prize of Vida 2.0, a mention at Vida 12.0, the prize for Lightforms 98 and six prizes for Devolution in 2006. He was Professor at the HfG/ZKM then he joined the Interaction and Entertainment Research Centre at the Nanyang Technological University (Singapore).

Alexandra Daisy Ginsberg, Design Fellow, Synthetic Aesthetics, Stanford University & The University of Edinburgh (USA / UK)

Alexandra Daisy Ginsberg is a designer, artist and researcher interested in the future. Ginsberg uses design to explore the social, ethical and cultural implications of emerging and unfamiliar technologies, science and services. She holds an MA in Design Interactions from the Royal College of Art, a degree in Architecture from Cambridge University and was a Herchel Smith scholar at Harvard University. In 2009, Ginsberg completed a residency at SymbioticA, the art and science collaborative laboratory at the University of Western Australia. Recent projects include The Synthetic Kingdom, a proposal for a new branch of the Tree of Life; E.chromi, a collaboration with James King and Cambridge University’s grand-prize-winning team at the 2009 International Genetically Engineered Machines competition (www.echromi.com) and a science fiction short story for Icon magazine, UK, co-written with SymbioticA’s Oron Catts. Her work is currently exhibited in the Wellcome Trust’s windows in London, curated by Dunne & Raby. Ginsberg is Design Fellow on the international NSF/EPSRC-funded research project, Synthetic Aesthetics (www.syntheticaesthetics.org), at Stanford and Edinburgh Universities, exploring the shared territory between synthetic biology and design.

Prof. Hong Bo, Director, Institute of Neural Engineering, Tsinghua University (CN)

received his B.S. and Ph.D. degree in biomedical engineering from Tsinghua University, Beijing, China, in 1996 and 2001, respectively. During the year 1999 to 2000, he received research training in psychophysiology in the department of psychology, Chinese University of Hong Kong. He was a visiting faculty in the department of biomedical engineering and the center for neural engineering at Johns Hopkins University, Baltimore, USA. Since 2005, he has been associate professor with the department of Biomedical Engineering and Institute of Neural Engineering, School of Medicine, Tsinghua University, Beijing, China. Neural information decoding and te brain computer interface are his main research interests. He is currently associate editor of IEEE Trans. Neural Systems and Rehabilitation Engineering, and reviewer of several leading journals in the field of neural engineering and biomedical engineering, including Journal of Neural Engineering, Annals of Biomedical Engineering, Neuroscience Letters, Neurocomputing, etc.

Horst Hörtner, Director, Future Lab / Ars Electronica Linz (AT)

Horst Hörtner is a media artist and researcher. He is an expert in the design of Human Computer Interaction and holds several patents in this field. Hörtner is a founding member of the Ars Electronica Futurelab in 1996 and since then has directed this atelier/laboratory. He started to work in the field of media art in the 1980s and co-founded the media art group x-space in Graz/Austria in 1990. Hörtner works in the nexus of art and science and lectures at numerous international conferences and universities.

Prof. Jeffrey Huang, Director, Media x Design Lab | EPFL (CH)

Prof. Dr. Jeffrey Huang heads the Media x Design Lab at the Swiss Federal Institute of Technology in Lausanne (EPFL) where he is a Full Professor in the Department of Architecture and in the Faculty of Computer and Communication Sciences. His research examines the convergence of physical and virtual architecture. Recent projects include “Superstudio,” an investigation of authorship, versioning, and representation issues in digital design platforms; “Organicity,” an exploration of novel, code-driven design methods; and “Cityrank,” an experiment with bottom-up/crowd-sourced rankings. He is also co-founder and principal of Convergeo (www.convergeo.com), an international, strategic design firm, Eversitas (www.eversitas.com), a software development company, and Thinkstudio (www.thinkstudio.com), a Geneva-based think tank of the many. Before establishing the Media x Design Lab at EPFL, Huang was a Professor of Architecture at Harvard’s Graduate School of Design, Visiting Faculty at Stanford University, and a Researcher at MIT’s Sloan School of Management. A native of Rome and a Swiss citizen of Chinese origin, Huang received his DiplArch from the ETHZ, and his Masters and Doctoral Degrees from Harvard University, where he was awarded the Gerald McCue medal.

Marnix de Nijs, Media Artist (NL)

Marnix de Nijs is a Rotterdam based artist who explores the dynamic clash between bodies, machines and other media. His works include mainly interactively experienced machines that play with the perception and control of image and sound, but also, radical and humorous pieces such as his bullet proof tent and bullet proof lingerie. De Nijs has presented his works at several national and international media festivals and worked with Time’s Up_org, Edwin van der Heide, Montevideo_lab, V2_lab, ZKM and the Krisztina de Châtel Dance Company. He won prices with his installations in Madrid, Linz, Berlin and Taipei. In 2005 he won the Witteveen & Bos Art and Technology Price for his complete oeuvre.

Prof. Chris Salter, Principle Investigator, Hexagram Montreal (CA)

Chris Salter is an artist, Associate Professor for Computation Arts at Concordia University and researcher at the Hexagram Institute in Montreal. He collaborated with Peter Sellarsand William Forsythe and co-founded the collective Sponge, whose works stretched between artistic production, theoretical reflection and scientific research. Salter’s performances, installations, research and publications have been presented at numerous festivals and conferences around the world, including the Venice Architecture Biennale, Ars Electronica, EMPAC, Exit Festival-MAC Creteil, V2-Rotterdam, Elektra Festival-Montreal, Dance Theater Workshop, Transmediale, Attakkalari India Biennial and many others. He is the author of numerous publications including the recent book Entangled: Technology and the Transformation of Performance (MIT Press, 2010).

Roddy Schrock, Program Director, Eyebeam Art and Technology Center (US)

A California transplant, Roddy Schrock joined Eyebeam in December of 2008 bringing experience in arts administration and education with a specialty in digital media. His work in audio software design has been used by award-winning composers. As a sound artist, his live performances, music and installations, have been presented internationally. As an educator he has taught summer workshops on SuperCollider software at STEIM (Netherlands) and De Anza College (California). He received his MFA from Mills College and completed post-graduate work at the Royal Conservatory of the Hague. He now oversees the Residency and Fellowship programs at Eyebeam in New York.

Prof. SHI Yuanchun, Director, Pervasive Computing Lab | Tsinghua University (CN)

SHI Yuanchun is a professor of the Department of Computer Science, the director of Institute of Human Computer Interaction & Media Integration of Tsinghua University, and the director of Pervasive Computing Division of Tsinghua National Lab of Information Science and Technology, China. She received her PhD, MS and BS in Computer Science from Tsinghua University. She was a senior visiting scholar at MIT AI lab during 2001-2002. She is an IEEE senior member. Her research interests include pervasive computing, human computer interaction, network multimedia and elearning technology. Shi is the Chairperson of the Technical Committee of Pervasive Computing, China Computer Federation. Shi has been guiding Smart Space, Multimodal Interface, Pervasive Computing and Network Multimedia projects.

Nick Tandavanitj, Founding Member, Blast Theory (UK)

Nick Tandavanitj has worked with Blast Theory since 1994. In this time, Nick has focused on creative approaches to computing; contributing to the group’s unique mix of skills in structuring interactivity and narrative. This has led to particular skills in 3D modelling, technical design & programming for interactive installations and web based artwork.

Nick studied Art & Social Context at Dartington College of Arts from 1990-1993; collaborating for 2 years with Alison Cannon on a number of videos and performances. Following college, Nick became a friend and hanger on of the artists at Jamaica Street Studios in Bristol, occasionally working for Oil Experts and Stoloff & Hopkinson™ as well as working with Bristol based artists Sophie Warren and Charlotte Crewe.

In 2003, Nick became an Arts and Humanities Research Council Research Fellow at the University of Nottingham undertaking a nine month programme of research into artistic, social and gaming applications which use mobile technology. Nick also teaches as part of Blast Theory’s programme of Performance and New Technologies workshops. This work incorporates introductions to a variety of tools from cameras & projection systems, to multimedia software including Adobe Director and to developing concepts & techniques for generating interactivity. Nick has also contributed to a number of academic papers for with the Mixed Reality Lab.

Jose Luis de Vicente, Medialab Prado, Madrid

José Luis de Vicente is a cultural researcher, curator and writer working around the edges of new media, digital creativity and innovation in design and culture. He is the director of the Visualizar program on information visualization at Medialab Prado, Madrid, and one of the founders of zzzinc, a cultural innovation consultancy in Barcelona.

He has previously worked as a curator for new media festivals including Sónar, ArtFutura and OFFF. Recent projects include the exhibitions Arcadia (Laboral, Gijón), Machine and Souls (Reina Sofia, Madrid), and the Atlas of Electromagnetic Space (AV Festival Newcastle-CCCB Barcelona). He teaches, lectures, and writes about new media for different Spanish organizations.

WU Juehui, Artist (CN)

YMA: China, Japan, and Korea

TASML organized the Chinese young media artists’ participation in the exhibition SENSE SENSES at Incheon International Media Art Festival, which brings together and showcases (YMA) Young Media Artists from China, Japan and Korea. The Festival ran from September 1 to September 30 2010 in Tomorrow City, Incheon, Republic of Korea.

Sense Exercise
Curated by ZHANG Ga

The development of digital technologies has unequivocally expanded the horizons of technical media of expression to engage our entire sensorial faculties as sites of artistic inquiry, at the same time reinforcing our perceptual encounters with the external world with an augmented intensity. Sensing technologies along with other digitally enabled tools are therefore at the core of our relationship with the extended body space and the mediated human sphere.

Through an exemplary body of works that appropriate as well as question various types of sensing systems and feedback mechanisms and investigate the materiality of digital media and its multiple manifestations, this exhibition examines the ways in which young media artists seek to reevaluate a spatial / temporal duality and to examine the reconfiguration of our social relationships and behavioral patterns in a pervasively technological society.

These sensitive devices and systems embodied in objects and insinuated into responsive environments or experienced in ephemeral and temporal settings conjure our sensorium through haptic and physiological manipulation as seen in WU Juehui’s performative works USB Organs and Countdown. TIAN Li and ZHANG Liaoyuan’s explorations into the two sides of the digital psyche reveal psychological and perceptual intrigue. Misalignment explores media’s capacity to render parallel and evocative memories implied in surveillance-style recycling of live captured images and 0-255 strips to its barebones digital coloration by isolating and illuminating one single pixel in the RGB spectrum extracted from an entire feature length film. GUO Xi, on the contrary, imbues a Duchampian sense of irony and humor in his frantic rhyme of electronic tap dance (I Would Like To Satisfy Your Foot Fetishism In Such A Way, Even) while LU Yang plunges our senses into an uneasiness that is both visceral and concealed by transcribing a hair-raising neuronal operation equipped with fantastical machinery into harmless two-dimensional printouts, suggesting as well as erasing the technological cruelty. SHI Chuan invites us to venture into the many possibilities of digital hallucination, twisting our tactile and perceptive faculties. Finally, in Breathing Series, WANG Yuyang sets out to make alive the inorganic with puffed hopes and measured inhaling, a desire that has long been man’s fantasy that seems to have claimed legitimacy as our senses expand and as advancement of technology consistently reshuffles our understanding of reality and our relationship with the physical and the fantastical.

The Chinese component of this exhibition features works by artists between the ages of 24 and 30, most of whom are recent graduates, alumni and young faculty members from two media art programs in China: the Information Art and Design of the Academy of Arts and Design, Tsinghua University and the New Media Art Department of China Academy of Fine Art. The works are fresh and ample with wit and intellect, imaginative and inspiring.

Although seemingly unanimously congenial in their technological appearances, the works in this exhibition, selected from artists in China, Japan and Korea, unveil their distinct sensibilities and modes of thinking, making the “sense exercise” simultaneously many senses, a way to understand differences, and in differences there are multiplicities and possibilities.

USB Organs
2010
Performance with Media: Mask, HMD, USB Camera, USB Mic.
By WU Juehui

A person whose organs have evolved into USB Organs (sockets) is connected to cameras, microphones and speakers as sensory substitutes to feel his existence. If a future human being may not need a corporal body, at least his / her organs can be exchanged with electronic devices. We anticipate our body as a universal plug / sockets that can be utilized at any moment and at any place.

The performer wears a helmet that is equipped with a head mounted display and a microphone. A USB camera and microphone are also connected to the helmet, which function as tentacles to sense the external world. The performer experiences temporal and spatial dislocation via a pre-configured duration of time-lapse which determines the time difference caused by the two time streams: time obtained through the audio-visual senses within the helmet and the time projected from outside the helmet.

Countdown (5 min. Ostrich)
2009-2010
A time based experience / installation
By WU Juehui

This is a time-experience machine that restricts the participant through a mandatory rule of the game: time lock. A participant inserts his / her head into the cutout hole which is constructed to be a semi-soundproofed dark space, the countdown timer starts immediately and the red digital countdown signal ticks every second until it reaches a duration of 5 minutes, the time locker then releases itself to free the participant. During the countdown time, the participant cannot interrupt the program, unless by pressing the emergency button to escape.

People

Administration

TASML’s administrative office will be located within the Academy of Arts and Design of Tsinghua University in its Haidian campus in northwest Beijing. Research-based artists in residence and related activities will be coordinated through its partnership within the Tsinghua campus and its affiliations in Shanghai, Rotterdam, New York and other locations as research requirements increase.

TASML will be under the supervision of the Art and Science Research Center of Tsinghua University and directed by Prof. Zhang Ga.

Zhang Ga is a media art curator, professor of Media Art at Academy of Arts and Design, Tsinghua University (Beijing), and associate professor of Media Design at the School of Art, Media and Technology at Parsons The New School for Design (New York). He also holds appointments as Consulting Curator of Media Art at the National Art Museum of China, Senior Researcher at the Media x Design Lab of EPFL | Swiss Federal Institute of Technology Lausanne and Visiting Scientist at the MIT Media Lab in the U.S. He was Artistic Director / Curator of Synthetic Times: Media Art China 2008, International New Media Art Exhibition, a Beijing Olympics Cultural Project organized by the National Art Museum of China in 2008 (catalogue by the MIT Press), among numerous other curatorial projects. He has been on many jury and consultation committees including the (former) World Trade Center Artist Residency Program (New York), Franklinfurnace’s Future of the Present Performing Funds (New York), Rockefeller New Media Fellowship National Nomination Committee (New York), Prix Ars Electronica (Linz), Vida (Madrid), and others. He organized and curated the First, Second and Third Beijing International New Media Art Exhibitions and Symposiums, extending the global new media art discourse into mainland China. He has lectured widely around the world, in 2009 he was a keynote speaker at Re:Live09, 3rd International Conference on the Histories of Media Art, Science and Technology (Melbourne). Currently he is the Artistic Director/Curator of TransLife, International Triennial of New Media Art organized by the National Art Museum of China, which is slated to open on July 26, 2011 at the National Art Museum of China.

International Advisory Board

Alex Adriaansens

Alex Adriaansens is one of the founders of V2_, of which he is the general and artistic director. Curiosity in general, and art and science specifically, and how they critique, reflect and shape the realities we live in is a leading thread for him.

Adriaansens is a member of the advisory board of the Transmediale festival, Berlin; the Franck Mohr Institute – a mastersprogram in the field of Media Art; international advisory board for the eArts festival in Shanghai; Theatre in Motion in Beijing; He has been an advisor for different art institutes and art organisations, as well as policy organisations in a.o. Netherlands, Spain, Korea, Japan. Taiwan, Germany, Canada, Norway and China. He has been a member of different juries for international art festivals and price awards a.o. eArts festival in Shanghai, Ars Electronica (Austria), Transmediale (Germany), Share (Italy), Laboral (Spain); WRO festival (PL); Nova Luz (Sao Paulo). He is a regular commission member for funding bodies (nationally and internationally) like the Mondriaan Foundation (NL), Flemish Audio Visual Fund (B); Fund for Visual Arts, Design and Architecture (NL) a.o. His (co)curatorial work at V2_ – mostly in collaboration with the V2_ team and guest curators – is a.o.: The Body in Ruin (1993), Generated Nature (1994), Digital Territories (1996), The Art of the Accident (1998), Machine Times (2000), Information is Alive (2003), The Art of Open Systems / Feelings are always Local (2004); Interact or Die! (2007). V2_Zone (Taipe,2007); Life&Art (2009 – ongoing)

Co-curator of Millennium Dialogue – exhibitions, conferences and workshops – Beijing (Millennium Museum, Tsinghua University, National Art Museum Of China and local arts organisations – in 2004, 2005, 2006, 2008); Metamorf 2010 festival in Trondheim (N); 3rd I exhibition – official side program World Expo2010 Shanghai

Ute Meta Bauer

Ute Meta Bauer is an Associate Professor and the Founding Director of the recently inaugurated MIT Program in Art, Culture and Technology at the School of Architecture and Planning, at the Massachusetts Institute of Technology, Cambridge/USA where she served as Director of the MIT Visual Arts Program from 2005 – 2009. From 1996 to 2006, she held an appointment at the Academy of Fine Arts Vienna as a Professor of Theory and Practice of Contemporary Art. Educated as an artist for more than two decades Bauer has worked as a curator of exhibitions and presentations on contemporary art, film, video and sound, with a focus on transdisciplinary formats. She was a Co-curator of Documenta11 (2001-2002) in the team of Okwui Enwezor, has been the Artistic Director of the 3rd berlin biennial for contemporary art (2004) and in 2005 curated the Mobile_Transborder Archive for InSite05, Tijuana (MEX)/San Diego (USA). Furthermore Bauer has been the Founding Director of the Office For Contemporary Art Norway (OCA) and was the editor of numerous publications in the field of contemporary art, including: “What’s left…What remains? SITAC VI” (Mexico City 2009), “Education, Information, Entertainment. New Approaches in Higher Artistic Education” (Vienna, 2001) META 1 – 4 (Stuttgart, 1992-94), case(Barcelona, 2001; Porto, 2002) and Verksted # 1- 6 (Oslo, 2003-2006). Bauer is an advisor for a number of cultural institutions such as the MIT List Visual Arts Center, is a member of the administrative board of nbk – Neuer Berliner Kunstverein/Germany and serves on the Scientific Advisory Boards of the Bauhaus Dessau Foundation, Germany and LABoral Center for the Arts and Industrial Creation in Gijon, Spain. Her guilty pleasure is the collaboration with apparatjik, a collective project she joins as artistic director on special occasions.

Oron Catts

Oron Catts is an artist, researcher and curator whose work with the Tissue Culture and Art Project (which he founded in 1996) is part of the NY MoMA design collection and has been exhibited and presented internationally. In 2000 he co-founded SymbioticA, an artistic research laboratory housed within the School of Anatomy and Human Biology, The University of Western Australia. Under Catts’s leadership, SymbioticA has gone on to win the Prix Ars Electronica Golden Nica in Hybrid Art (2007) and became a Centre for Excellence in 2008. In 2009 Catts was recognised by Thames & Hudson’s 60 Innovators Shaping our Creative Future book as one of five in the category “Beyond Design,” and by Icon Magazine (UK) as one of the top 20 Designers “making the future and transforming the way we work.”

Catts was a Research Fellow at Harvard Medical School and a visiting Scholar at the Department of Art and Art History, Stanford University. He is also Visiting Professor of Design Interaction, Royal College of Arts, London.

Amanda McDonald Crowley

Amanda McDonald Crowley is Executive Director, Eyebeam Art and Technology Center, NYC. She is a cultural worker, curator, facilitator specializing in creating new media and contemporary art programs that encourage cross-disciplinary practice, collaboration, exchange and participation. Amanda was previously executive producer ISEA2004, International Symposium for Electronic Arts, in Tallinn, Estonia and Helsinki, Finland, and on a cruiser ferry in the Baltic sea. She was Associate Director, Adelaide Festival 2002 and co-Chair of the working group that curated the exhibition and symposium ‘conVerge: where art and science meet’. As Director of the Australian Network for Art & Technology (1995-2000) she made significant links with science and industry developing residencies for artists in settings such as science organizations, contemporary art spaces and virtual residencies online; cross-disciplinary masterclasses for artists and curators; and began to establish links with media artists and organizations in Asia. She previously worked with the Australia Council for the Arts, Arts Training Australia, and the Australian International Video Festival. She’s done residencies in Berlin, Germany, Banff Centre for the Arts, Canada, and at Sarai in Delhi, India, regularly speaks at international conferences and festivals, and occasionally writes for journals such as Artlink, RealTime, the Sarai Reader, Art Asia Pacific.

Christopher Csikszentmihalyi

Chris Csikszentmihályi cofounded and directs the MIT Center for Future Civic Media (C4), dedicated to developing technologies that strengthen communities. He also founded the MIT Media Lab’s Computing Culture group, which works to create unique media technologies for cultural and political applications. Trained as an artist, he has worked in the intersection of new technologies, media, and the arts for 16 years, lecturing, showing new media work, and presenting installations on five continents and one subcontinent. He was a 2005 Rockefeller New Media Fellow, and a 2007-2008 fellow at Harvard’s Radcliffe Institute for Advanced Study, and has taught at the University of California at San Diego, Rensselaer Polytechnic Institute, and at Turku University.

HONG Bo

HONG Bo rceived his B.S. and Ph.D. degree in biomedical engineering from Tsinghua University, Beijing, China, in 1996 and 2001, respectively. During the year 1999 to 2000, he received research training in psychophysiology in the department of psychology, Chinese University of Hong Kong. He was a visiting faculty in the department of biomedical engineering and the center for neural engineering at Johns Hopkins University, Baltimore, USA. Since 2005, he has been associate professor with the department of Biomedical Engineering and Institute of Neural Engineering, School of Medicine, Tsinghua University, Beijing, China. Neural information decoding and te brain computer interface are his main research interests. He is currently associate editor of IEEE Trans. Neural Systems and Rehabilitation Engineering, and reviewer of several leading journals in the field of neural engineering and biomedical engineering, including Journal of Neural Engineering, Annals of Biomedical Engineering, Neuroscience Letters, Neurocomputing, etc.

Jeffrey Huang

Prof. Dr. Jeffrey Huang heads the Media x Design Lab at the Swiss Federal Institute of Technology in Lausanne (EPFL) where he is a Full Professor in the Department ofArchitecture and in the Faculty of Computer and Communication Sciences. His research examines the convergence of physical and virtual architecture. Recent projects include “Superstudio,” an investigation of authorship, versioning, representation issues in digital design platforms; “Organicity,” an exploration of novel, code-driven design methods; and “Cityrank,” an experiment with bottom-up/crowdsourced rankings. He is also co-founder and principal of Convergeo (www.convergeo.com), an international, strategic design firm, Eversitas (www.eversitas.com), a software development company, and Thinkstudio (www.thinkstudio.com), a Geneva-based think tank of the many. Before establishing the Media x Design Lab at EPFL, Huang was a Professor of Architecture at Harvard’s Graduate School of Design, Visiting Faculty at Stanford University’s d.school, and a Researcher at MIT’s Sloan School of Management. A native of Rome and a Swiss citizen of Chinese origin, Huang received his DiplArch from the ETHZ, and his Masters and Doctoral Degrees from Harvard University, where he was awarded the Gerald McCue medal.

Roger Malina

Roger Malina is an astrophysicist and editor. He was formerly director of the Laboratoire d’Astrophysique de Marseille and the Center for EUV Astrophysics at the University of California, Berkeley. He is a co-investigator for the Supernova Acceleration Probe Mission which seeks to understand the nature of dark energy in the universe, and a member of the science team of the Galaxy Evolution Explorer which is mapping the sky in the far ultraviold to understand the evolution of galaxies over 80% of the age of the universe. See http://www.oamp.fr

Roger Malina also serves as chairman of the board of Leonardo, The International Society for the Arts, Sciences and Technology and president of the Observatoire Leonardo des Arts et Technosciences; and serves as Executive Editor of the Leonardo PUBLICATIONSs. He is co-chair of the International Advisory Board of the Inter-Society for the Electronic Arts and a member of the International Academy of Astronuatics.

Soh-Yeong Roh

Soh-Yeong Roh is the founder and Director of Art Center Nabi, South Korea. She founded Art Center Nabi in 2000, transforming a contemporary art museum into a new media art center. Nabi brings together art, technology, humanities, and industry, to create new art and cultural artifacts. As the main venue for new media art production in Korea, Nabi promotes cross-disciplinary collaboration. Apart from directing Nabi, she gives lectures around the world and is a visiting professor at Graduate School of Convergence, Science and Technology at Seoul National University. She is also a well-known columnist in one of the major newspapers of Korea.

SHI Yuanchun

SHI Yuanchun is a professor of the Department of Computer Science, the director of Institute of Human Computer Interaction & Media Integration of Tsinghua University, and the director of Pervasive Computing Division of Tsinghua National Lab of Information Science and Technology, China. She received her PhD, MS and BS in Computer Science from Tsinghua University. She was a senior visiting scholar at MIT AI lab during 2001-2002. She is an IEEE senior member. Her research interests include pervasive computing, human computer interaction, network multimedia and elearning technology. Shi is the Chairperson of the Technical Committee of Pervasive Computing, China Computer Federation. Shi has been guiding Smart Space, Multimodal Interface, Pervasive Computing and Network Multimedia projects.

Yukiko Shikata

Yukiko Shikata is a media art curator & critic based in Tokyo, specially-assigned professor at Tokyo Zokei University, guest professor at Tama Art University and the lecturer at IAMAS. She has been curating many challenging projects at Canon ARTLAB (Curator, 1990-2001), Mori Art Museum (Associate Curator, 2002-04), NTT InterCommunication Center[ICC] (Senior Curator, 2004-2010) and independently “Power of Codes” by Mischa Kuball (Tokyo National Museum, 1999), “Amodal Suspension” by Rafael Lozano-Hemmer (YCAM, 2003), “MobLab” (2005), etc. Selected exhibitions at ICC are “open nature” (2005), “Connecting Worlds” (2006), “Light InSight” (2008), and “Mission G: sensing the earth” (2009), “COOP HIMMELB(L)AU: FUTURE REVISITED” (2009), and directed the festival “Interferenze Seeds Tokyo (IST2010)” (2010). She is jury of Japan Media Arts Festival, and has worked as jury in many International competitions including Prix Ars Electronica, UNESCO Digi-Art Prize, Nam June Paik Award.

Joel Slayton

Joel took the helm of ZER01 in June of 2008 after serving as a both a board member for the organization and chairperson of ISEA2006, which was held in conjunction with the inaugural 01SJ Biennial. An artist, writer and researcher, Joel is a full tenured professor at San Jose State University where he is Director of the CADRE Laboratory for New Media, an interdisciplinary academic program in the School of Art and Design dedicated to the development of experimental applications involving information technology and art. Established in 1984 CADRE is one of the oldest and most prestigious media art centers in the United States. To fulfill his role with ZER01, Joel has taken professional leave from SJSU.

Joel also serves on the Board of Directors of Leonardo/ISAST (International Society for Art, Science and Technology), and was Editor and Chief of the Leonardo-MIT Press Book Series from 1999-2005.

From 1998-2007 Joel was president and founder of C5 Corporation. C5 is a hybrid form of authorship intersecting research, corporate culture and artistic enterprise. C5 research explores issues of visualization involving large data sets and social networks. Begun in 1996, C5 projects have been featured at SF Camerawork, Museo de BelleArtes, II International Bienale Buenos-Aires, Walker Art Center, the Cantor Center for the Arts, Transmediale, Ars Electronica, The New Museum, San Jose Museum of Art, ASU Center for Creative Inquiry and at AUT in New Zealand.

Sven Travis

Professor, Dean, School of Art, Media and Technology, Parsons the New School for Design. Sven Travis founded the BFA and MFA programs in Design and Technology, within which he currently (very happily) teaches. Travis is spearheading several current AMT research projects, including ENGINE (a social technology platform), SALTED/UNSALTED (a virtual fabrication laboratory built on game consoles), the Tsinghua University connection in Beijing, China, YACHT CLUB (a new media collaboration), FASHIONABLE TECHNOLOGY (athletic, wearable and textile digital interfaces), and SpyLab, a research collective focused on international data collection (recently presented in Beijing and Rotterdam; see a.parsons.edu/~spylab). In addition, Travis is the mastermind behind the annual CDT Ski Trip.

Joachim Sauter

After graduating from the academy of fine arts in Berlin, Joachim Sauter studied at the ‘German Academy for Film and Television’, Berlin. Since the early 1980s, he has been working as a media artist and designer. From the beginning, Joachim Sauter has focussed on digital technologies and is experimenting how they can be used to express content, form, and narration. Fuelled by this interest, he founded ART+COM in 1988 together with other artists, designers, scientists and technologists.Their goal was to practically research this new up-and-coming medium in the realm of art and design. Until now, he is leading this interdisciplinary group.
In the course of his work he was invited to participate on many exhibitions. Beside others he showed his work at ‘Centre Pompidou’ Paris, ‘Stejdilik Museum’ Amsterdam, ‘Museum for Contemporary Art’ Sidney, ‘Deichtorhallen Hamburg’ , Kunsthalle Wien, ‘Venice Biennial’,'ICC’ Tokyo, ‘Getty Center’ Los Angeles, MAXXI Rom.
He received several awards like the ‘Golden Lion, Cannes’, the ‘D&AD Black Pencil’, the ‘Ars Electronica Interactive Award’, the ‘British Academy for Film and Television Interactive Award’, ADC New York and ADC Germany Gold, the ‘Grand Clio’, the ‘Red Dot Grand Prix’, the “Designaward of the Federal Republic of Gemany” and many other national and international awards’.
Since 1991 he is full professor for “New Media Art and Design” at the ‘University of the Arts’ Berlin and since 2001 adjunct professor at UCLA, Los Angeles.

Honorary Board Memeber

Peter Weibel

Chairman and CEO, ZKM | Center for Art and Media Karlsruhe

Peter Weibel studied literature, medicine, logic, philosophy and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist and curator. Since 1984 he is professor at the University of Applied Arts Vienna, from 1984 to 1989 he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt-on-Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz, he commissioned the Austrian pavilions at the Venice Biennale from 1993 to 1999. From 1993 to 1998 he was chief curator at the Neue Galerie Graz, Austria, and since 1999 he is Chairman and CEO of the ZKM | Center for Art and Media, Karlsruhe. In 2007 he was awarded the Honorary Doctorate by the University of Art and Design Helsinki and in 2008 he was awarded with the French Order “Officier dans l’Ordre des Arts et des Lettres” (Order of Arts and Literature). Also in 2008 he was the Artistic Director of the Biennial of Sevilla (Biacs3). In 2009 he was awarded with the “Friedlieb Ferdinand Runge-Preis fuer unkonventionelle Kunstvermittlung” of Stiftung Preußische Seehandlung and with the “Verdienstmedaille des Landes Baden-Wuerttemberg”. Also in 2009 he has been appointed as full member of the Bavarian Academy of Fine Arts Munich and from 2009 to 2012 he is Visiting Professor at the University of New South Wales, Sydney, Australia.

Support

Overview

As the first experimental research institute intersecting art, technology and sciences in one of the top tear research universities in China, TASML’s funding model can be seen as a test bed for a new kind of support mechanism. TASML is conceived with two types of funding for operations: institutional support from the University and external funding through grants and research initiatives. Sponsoring entities may seek the potential gains of innovative technologies envisioned and developed by talents from both the artistic and scientific communities within a very competitive academic and research institution with considerable global visibility. An annual sponsorship subscription scheme will be considered a privileged form of sponsorship, which honors the sponsor with named titles.

Global Network

contact us

Tsinghua Art & Science Media Laboratory
Academy of Arts and Design, Tsinghua University
北京市海淀区清华大学美术学院
Beijing, 100084, P. R. CHINA
tasml.tsinghua @ gmail.com

TASML | Tsinghua Art & Science Research Center Media Laboratory
Room C211A, Academy of Art & Design, Tsinghua University, Haidian District, Beijing,

  1. R. China, 100084
  2. TASML | 清华大学艺术与科学研究中心媒体实验室
北京市海淀区清华大学美术学院C211A
Tel: +86-10-62795967
Fax:+86-10-62795321

News

Call for CAC | TASML Research & Creation Fellowship Proposals
May 26, 2020
This 12-month fellowship program is designed to host international artists and researchers of extraordinary talent working in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC) in Shanghai。The Research and Creation Fellowship is a joint program between CAC and TASML. Fellowship award money: US$30,000

Joanna Cheung awarded the TASML | Carroll / Fletcher@Eyebeam: Young Chinese Artist Talent Award 2020
February 1, 2020
TASML is pleased to announce Joanna Cheung as the recipient of the TASML | Carroll / Fletcher@Eyebeam: Young Chinese Artist Talent Award. Joanna Cheung was chosen by an international jury among a competitive list of candidates. She will begin a three-month long residency at Eyebeam in New York City in the spring of 2020. The residency is sponsored jointly by Carroll/Fletcher Gallery and Eyebeam.

TASML | Carroll / Fletcher@Eyebeam: Young Chinese Artist Talent Award
November 18, 2019
TASML and Eyebeam are pleased to announce a new prize for emerging Chinese media artists RESIDENCY BEGINS: April 2020 AND RUNS THROUGH July 2020 (3 MONTHS) APPLICATION DEADLINE: January 10, 2020 at 12 AM (Beijing Time, midnight) and 12PM (New York Time, noon). Applicants will be informed of their application status by January 15, 2019.

Announcing the Inaugural Prix Net Art Awardees: JODI & Kari Altmann
October 30, 2019
The Prix Net Art jury is proud to announce that inaugural $10,000 Prix Net Art is awarded to artist duo JODI, with a $5,000 Award of Distinction granted to Kari Altmann. For detailed information about Prix Net Art, visit prixnetart.org.

“Media Art Net” on Shelf – 1st Volume of Media Art Translation Series
July 21, 2019
"The most comprehensive publication on media art in the Chinese speaking world." GAO Shiming "Essential to the global future of media art is the understanding and appreciation of its rich history, and this seminal book gathers some of the most important and inspiring examples from this history." Jeffrey SHAW

qwanturank
qwanturank qwant seo

Announcing Prix Net Art
July 18, 2019
TASML, Rhizome and Center for Art and Technology / CCIA announce Prix Net Art, a substantial new prize for internet art. PNA celebrates the current moment of internet art and looks ahead to its future. This prize (US$10,000, and US$5000) gives a boost to those who continue to make art on the internet, and emphasizes the unique cultural importance of such work.

TASML Director ZHANG Ga Curates thingworld: International Triennial of New Media Art 2019
June 19, 2019
June 10 2019, thingworld: International Triennial of New Media Art 2019 curated by TASML Director Prof. ZHANG Ga opened at the National Art Musuem of China (NAMOC). This is ZHANG’s third appointment for this signature project by NAMOC. He was Artistic Director / Curator of Synthetic Times 2008 and translife 2011 respectively. information about thingworld can be accessed online

qwant qwanturank

Global Telematic Handshake
May 8, 2019
Karen Lancel and Hermen Maat Maat are TASML artists in residence 2019, for creating their new work: ‘Global Telematic Handshake’. It is a performance installation and a prototype for an intuitive augmented, haptic interface – based on the universal ritual of a handshake.

WU Juehui exhibits at Eyebeam Annual Showcase and Reviewed by SciArt America
January 21, 2019
TASML | Carroll Fletcher Residency Award recipient WU Juehui began his Eyebeam residency with his work in progress Organs Project debuted in the Eyebeam's Annual Showcase. WU Juehui will continue to develop the project in his six weeks long stay as an Eyebeam resident artist.

WU Juehui awarded TASML | Carroll Fletcher Residency @Eyebeam
October 16, 2013
An international jury has selected WU Juehui, among a competitive pool of candidates, for his proposal “ Beak Proejct” as the resident artist to begin a 4 -6 week-long exploratory research program at Eyebeam | Center for Art and Technology in New York City between Winter of 2013 and Spring of 2019.