Political art is at times ironic, not as often it is also useful. Golan Levin‘s Infoviz Graffiti kit manages to be a perfect balance of DIY aesthetics, street smarts, and media critique. - Nicola Bozzi, AlmostNothing.com
Golan Levin
Golan Levin is an artist and engineer interested in exploring new modes of reactive expression. Through performances, digital artifacts, and virtual environments, Golan applies creative twists to digital technologies that highlight our relationship with machines, make visible our ways of interacting with each other, and explore the intersection of non-verbal communication and interactivity. Golan has exhibited and performed widely in Europe, the Americas and Asia.
As an educator, Golan's pedagogy is concerned with reclaiming computation as a medium of personal expression. At Carnegie Mellon University, Golan is presently Associate Professor of Computation Arts, with courtesy appointments in the School of Computer Science and the School of Design. There, he teaches "studio art courses in computer science," on themes like interactive art, generative form, digital fabrication, information visualization, and audiovisual performance.
At CMU, Golan also serves as Director of the STUDIO for Creative Inquiry, a laboratory dedicated to the support of atypical and anti-disciplinary research projects at the intersection of arts, science, technology and culture. Golan has spent half his life as an artist embedded within technological research environments, in places like the MIT Media Laboratory, the Ars Electronica Futurelab, and the former Interval Research Corporation in Palo Alto.
As an educator, Golan's pedagogy is concerned with reclaiming computation as a medium of personal expression. At Carnegie Mellon University, Golan is presently Associate Professor of Computation Arts, with courtesy appointments in the School of Computer Science and the School of Design. There, he teaches "studio art courses in computer science," on themes like interactive art, generative form, digital fabrication, information visualization, and audiovisual performance.
At CMU, Golan also serves as Director of the STUDIO for Creative Inquiry, a laboratory dedicated to the support of atypical and anti-disciplinary research projects at the intersection of arts, science, technology and culture. Golan has spent half his life as an artist embedded within technological research environments, in places like the MIT Media Laboratory, the Ars Electronica Futurelab, and the former Interval Research Corporation in Palo Alto.
Workshop: An Introduction to Signal Processing for Creative Technologists
Separate registration is required for each pre-conference workshop. Details on the Eyeo registration page.
Many new-media projects must make sense from noisy signals, such as real-time sensor data, internet traffic, histograms, timelines, and other audiovisual streams. Although "high-level understanding" techniques (such as speech-to-text or face analysis) remain active areas for expert research, there exist a slew of powerful "low-level" heuristics that can extract interesting and useful information from signals in much simpler ways. This workshop will present an overview of these techniques -- supported by intuitive, visually-oriented examples and code fragments written for popular arts-engineering toolkits -- that cuts through technical jargon to focus on what's really useful for artists and designers.
Of course, in case you like jargon, then you'll want to know that the workshop will present a smorgasbord of useful artistic tools, such as de-nonlinearization, contrast enhancement, periodicity detection, noise removal, convolution filtering, curve-fitting, statistical measures of central tendency, distribution characterization, and frequency-domain analysis of 1D and 2D signals.
Attendees should have a laptop with Processing v.2.0a4 or better installed, and bring a mini LED flashlight. (Golan will be assisted by Kyle McDonald)
Panel: Performance and Data
Performance and Data - Embodied, Rehearsed, Theatrical practices of Data Representation
When we think about data representation, we often think inside the boundaries of print and screen-based communication. But, what about performance? Panelists will discuss their experiences with incorporating data into performative acts, both musical and theatrical.
