Migrating Reality Conference Coordinator and Moderation.

3D - impossibility of nothing

Nothing, which cannot be processed, exists. This epistemological constant is a primordial keyhole of the digital universe. As a newest chapter in a digital contract with reality, 3D not only revises the morphology of the “objective representation” but also foments the very method and politics of real. Process or processor based existence is always pre-processed and pre-contemplated therefore pre-conditioned for structure and system. In many cases it is hyper-real or preemptive to real, in some such as virtual reality and 2nd Life it could be seen as preventive. 3D reinforces the existing power structure because as a method it is fundamentally structurist and bound to reductionistic binarity of true, false and nothing else.

Zilvinas Lilas is currently a professor of 3D at the Academy of Media Arts Cologne. In 1991 he received a Diploma of Artist from the Vilnius Academy of Arts majoring in Painting. In 2004 he completed his Graduate Studies at the Ohio State University and was awarded a Master of Fine Arts in 3D animation
and painting.

Throughout his professional career Prof. Lilas served multiple positions ranging from Interactive Interface Designer to Chief Artist and a Technical Director for a number of start-up as well as internationally renowned companies such as Walt Disney Studios, Oddworld Inhabitants, Metrolight
Studios, Artist’s Inc., Eisenhower National Clearinghouse for Mathematics and Science Education, Wexner Center for the Arts and etc., and worked on a handful of animated feature films, games, publications and television projects including Treasure Planet, Chicken Little, Munch’s Odyssey.
Siegfried and Roy and others. His research interest include interactive art and design, simulated environments and scenarios, identity and technology and was involved with number of research projects such as Distance Learning project sponsored by the Battelle Endowment for Technology and Human Affairs (USA), Interaccess project supported by the Wexner Centre for the Arts, Art and Ecology project among others.

During last two years Prof. Lilas on a number of occasions was invited as a visiting faculty at the International School of New Media, Lübeck (Germany); Siauliu University, Siauliai (Lithuania); and Weimar University (Germany).

Zilvinas Lilas is a recipient of a Fellowship and Artist in Residency Award from the Banff Centre for the Arts, Banff (Canada) 1993, The Fergus-Gilmore Award, 1994, Soros Foundation Travel Grant 1994, Scholarship from the School of the Art Institute of Chicago 1991, among others.

Outside of his immediate academic appointment, Prof. Lilas is actively involved with administrative and curatorial tasks. In 2006-07 he organised a series of international guest speakers and a number of workshops at the KHM, also a symposium “Whale in Baltic” and curated 2 exhibitions.

http://www.khm.de/mg/index.php?action=details&id=164

“Music must be seen” Bertolt Brecht

Vision Mahler

The idea of presenting a symphonic work as a live and visually interactive concert performance was a media-artistic approach to create a new performance practice.

A complex computer cluster, designed by Ars Electronica Futurelab of Linz, was used to generate the real-time visualization of Mahler’s Symphony No. 2 by Johannes Deutsch. The cluster simultaneously processed and implemented any modulations picked up from the orchestra (the 56 instruments were fitted with microphones and individual soundtracks and linked by sensors directly to the computer cluster) as nuances of the live interpretation of the music, before translating these directly into visual variations.

The audience inside the Philharmonie concert hall - equipped with 3-D glasses - entered an all-embracing virtual world projected onto a curved panoramic screen.

Further information about Johannes Deutsch can be found at: www.johannes-deutsch.at

Johannes Deutsch was born 1960 in Linz, Austria. As a painter and researcher he is driven by the basic question of how technology, science and art can be linked together into a single whole - since he worked as a curator at the Sigmund Freud Museum in Vienna between 1984 and 1989.
Johannes Deutsch trained at the HTBLA (Höhere Lehranstalt und Meisterschule für Kunst und Design) in Linz, and the Städelschule Postgraduate Institute for New Media in Frankfurt.
Johannes Deutsch first started working with Ars Electronica Futurelab in Linz in 2001, when he designed computer wall/ceiling pictures for his interactive CAVE-Application: Gesichtsraum that represented a kind of »spatial face« which reacted to individual movements with changes of colour and formal composition, effectively visualising the emotional reactions of the observer. Further collaborations with Ars Electronica Futurelab also investigated the possibilities of computer-aided interaction (for example, between 2002 and 2004 a production of Richard Wagner’s Das Rheingold). Gradually music became increasingly important - a central role in his visualisation of Mahler’s »Resurrection Symphony«.

Still Life. 3D Animation.

In meditation we can see through the illusion of past, present and future - our experience becomes the continuity of nowness. The past is only an unreliable memory held in the present. The future is only a projection of our present conceptions. The present itself vanishes as soon as we try to grasp it. (HH Dilgo Khyentse Rinpoche)