VIDA 8.0 Art & Artificial Life International Competition.
Arrived at ' eighth year the prize for works of art and artificial intelligence Vida continues to distribute funds for the purpose by the Spanish Fundación Telefonica. As in previous editions (such as the 4.0 , the 6.0 or 7.0 ), the jury this time formed by Sally Jane Norman, Chris Csikszentmihalyi , Daniel García Andújar, Daniel Canogar, José Carlos Mariátegui and Fiona Raby has awarded its 20,000 euro distributing them to the first three projects, and reporting a dozen honorary mentions. The first prize went to 'AP0201' by Martin Howse and Jonathan Kemp, installation of equipment that apparently seem weather stations but in reality are fed by solar energy, communicate with each other through wireless connections, listen to the surrounding sounds and change constantly their code. The second place went to 'LiveForm: Telekinetics (Lf: Tk)' by Michelle Teran and Jeff Mann, an extensive project that rethinks everyday objects such as 'conductors' of data streams audio, video and movement, gestures connecting to remote distances . The third prize, however, was intended to Erik Olofsen for his 'Divine Methods / Hidden Motives', a robotic arm holding a candle and make rapid and violent contortions, keeping the same candle making is not always straight and then never turn off in a mystical symbolism-inducing mechanical controversial interpretations. The audience chose 'Heartbeat' of Guillem Bayo Salvadó, a heart torn to a body (displayed on a screen), with blood around, surrounded by a white background, that when it senses the presence of a spectator goes back to throb. The honorary mentions, instead went to: '8520 SW27th Place 'Fernando David Orellana, an installation of six robots in a sort of incubator snap back and forth simulating the futility of decision-making;' Will.0.w1sp 'of Kirk Woolford, a software simulation of wisps and their developments; 'Construcciones / Neo-Bio (Constructs / Neo-Bio)' Rafael Suarez Ziegelmaier, stop-motion animation that reveals the production of creatures in motion, using everyday materials often not even noticed. 'Poultry Internet' of Shang Ping Lee, Adrian David Cheok and James Teh Keng Soon, a system that puts the sensors to a farm animal into a room and another allows a person to interact with it through force-feedback sensors, or electrical signals that return vision and movements of the animals themselves; 'Couch Potato Farm' by Andrew Senior, a provocative work on the continuous passive exposure to television and video surveillance, which uses an ecosystem made up of cellular automata and genetic algorithms; 'Computing Inspiration : i.plot 'by Naoko Tosa, a work that analyzes the words in their contexts connettendone meanings and automating the production consequent with the aim of producing narrative automatically. They then received incentives to increase production: 'With Llegaste La Brisa – 2 (You Came With The Breeze – 2)' Mariana Rondón, an installation that displays the production of genetic organisms generated by machines a kind of 'imaginary genetic ',' Balanza de cocina que se weigh you misma (Kitchen scales weights That itself) 'Roger Ibars, which explores a possible self-consciousness of the systems and their possible evolution without any kind of interaction with the user applied to a kitchen , 'Calor, Humedad, Vapor. Turner En El Siglo Xxi (Heat, Humidity, Steam. Turner In The Twenty-First Century) 'Marina Zerbarini the construction of an eco-system in the laboratory and is influenced by user interaction that various ambient light and the 'moisture, a
nd eventually self-regulate' LaFábricaDeCosasBonitas / Factory of Pretty Things' ANA project, an ironic plan to hold twenty-robot demonstrators during the G8 summit in the summer of 2007.