Featuring: Natasha Vita-More: Body by design – An iteration for life ; Catherine Kerr: Mindfulness Starts With the Body – A View from the Brain ; Max More – Transhumanism and the Singularity ; Kevin Warwick – Cyborg Interfaces ; Miguel Nicolelis: Brain-to-brain communication has arrived. How we did it ; Aubrey de Grey: Seeking immortality
Featuring Ramesh Raskar: Imaging at a trillion frames per second; Olafur Eliasson: Playing with space and light; Harald Haas: Wireless data from every light; Ed Boyden: A light switch for neurons bulb; Rogier van der Heide: Why light needs darkness
Light Motif, by Frederic Bonpapa, is conceived as a synaesthetic experience based on a visual transposition of Music for 18 Musicians – Section II, by the American composer Steve Reich. The ambition of the film is to cinematically capture the extraordinary life force that animates this essential work of contemporary music by offering a truly hypnotic experience where music can be “seen”.
Over the last 40 years James Turrell has created extraordinary works that allow the viewer to apprehend perception. Through the probing of these works, aspects of “seeing” are revealed, from the physiological to the sublime. The subject and material for these works are light, space and time.
Edia, by Willy Le Maitre, is a screen based presentation depicting a cosmology of digital space. Here space is neither interior or exterior, but infinite and creative, a metaphysics of interior human space as an exploded view of the self. A self no longer confined to an individualist notion
Shot in August 1965, ‘Outer and Inner Space’ is Andy Warhol’s first double-screen film and an important transitional work, since the double-screen format was very important in his later cinema. First exhibited by Warhol at the Filmmakers Cinematheque in New York City in January 1966, it was screened on only a few other occasions in the 1960s. Outer and Inner Space had not been seen in over 30 years until it was restored by The Museum of Modern Art in New York in 1998 and premiered as an installation at the Whitney Museum of American Art in October 1998.