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Introduction: Céline Berthoumieux (FR), Chroniques (FR)
Co-director of <a href="https://chroniques.org/en/">CHRONIQUES</a>, who holds the Biennale des Imaginaires Numériques (Biennal of Digital Imaginaries). CHRONIQUES, an incubator for digital imagination, has been working for many years in the fields of creation and production of digital arts and practices.
Déléguée générale de <a href="https://hacnum.org/">HACNUM</a>, the National network for hybrid arts and digital cultures. HACNUM aims to support transformations in the cultural sector and act as a catalyst in local areas, bringing culture into the digital transition paradigm.
CHRONIQUES was the initiator of the DIGITAL INTER/SECTION Consortium.
Moderation: Anna Desponds (PL), THE CATALYSTS (DE)
<a href="https://www.catalysts.agency/">THE CATALYSTS</a> are a boutique consultancy boosting the development of innovative &amp; creative players in digital tech, media, film, music, design &amp; the arts. Anna Desponds has over ten years of experience in conceiving award-winning events at the intersection of audiovisual arts and digital technology. As an anthropologist with an MA in interdisciplinary humanities and a research background, she has a passion for bringing remote concepts and people together. At THE CATALYSTS, Desponds draws from this broad experience to enable research, event curation &amp; business development for clients. As part of THE CATALYSTS Anna was one of the people behind the presented research.
Speaker:  Luke Kemp, Barbican immersive (UK)
Luke Kemp is currently Co-Head of <a href="https://www.barbican.org.uk/hire/barbican-immersive-exhibitions">Barbican Immersive</a> and Curator at the Barbican, in London. Immersive has developed some of the most challenging and successful exhibitions in Barbican Centre&#8217;s history, launching in the UK and then touring internationally. Kemp’s most recent productions at Barbican include leading on the co-curation and development of Our Time on Earth (2022) and AI: More than Human (2019) and their tours. Prior to the Barbican, Kemp has worked with galleries and organizations across the world, such as the Venice Biennale and The Armory Art Fair. Luke Kemp has studied at Goldsmiths College and Central St Martins School of Arts, UAL and regularly participates in Juries and panel discussions around immersive and technology in art. His focus is the increasingly entwined relationship of humans with technology and the creation of content and experiences that enable audiences to process our rapidly changing world.
Luke was one of the interviewees of the research.
Speaker: Natasha Greenhalgh (UK), NXT Museum (NL)
Natasha Greenhalgh is the Co-Founder and Creative Director of Amsterdam’s <a href="https://nxtmuseum.com/">Nxt Museum</a>, the home for new media art in the Netherlands, uniting her passion for art, technology and sound. Driven by creating new realities, Natasha is obsessed with exploring and prototyping new creative tools, narratives and collaborations.
Having studied at Chelsea Art College, Natasha is trained in Spatial Design &amp; this is what drives Natasha’s interest in how Nxt can most effectively use its dynamic space to communicate its obsession with the future, constantly looking for opportunity &amp; innovation. Natasha is devoted to ensuring Nxt is a place for the many, not just a few, opening up conversations to those who might have previously felt excluded. In addition, Natasha is driving the development of Nxt Lab, an educational space for experimentation, research, development &amp; failure, designed to empower &amp; inspire the pioneers of tomorrow.

Don’t cringe: in this session we’ll talk about business for digital arts. Based on the expertise of over 60+ digital art organizations across the globe, we will be debunking existing misconceptions about financing digital arts, while looking at new, sustainable business models for the future of the digital arts ecosystem.
In the last year <a href="https://www.catalysts.agency/">THE CATALYSTS</a>, together with <a href="https://www.digitalintersection.eu">Digital Inter/Section (DI/S)</a> consortium partners, conducted an extensive study of existing ecosystems and business models in the digital arts industry. Based on a comprehensive survey, micro-case studies and expert interviews, they investigated the monetization trends that keep the art world excited. How to build a resilient financial future? Join us for a preview of key findings of the report and for a conversation with digital organizations representatives.
The full reports can be found here: <a href="https://www.digitalintersection.eu/#publication-rapport-guide">https://www.digitalintersection.eu/#publication-rapport-guide</a>
The presented study is part of Digital Inter/Section (DI/S), a project funded by the European Commission within the framework of the Creative Europe program. DI/S aims at diversifying the sources of income and business models for digital arts &amp; culture organizations, while promoting sustainable, ethical and inclusive economic development. It is an initiative of Chroniques (France), Chromatic (Canada), Kikk (Belgium), Kontejner (Croatia), Signal (Czech Republic) and THE CATALYSTS (Germany). In a next step, based on the research, the partners will develop and test innovative new business models and create a toolkit to increase economic resilience. The toolkit will be broadly available to the whole ecosystem to accelerate new ways of doing business.

How to make money with new media art ? The Starving Artist Myth and other misconceptions

Theatre - Friends room

Digital Inter/Section (DI/S)

The <a href="https://effetquebec.ca/entreprises/societe-des-arts-technologiques-sat/">SAT</a>, <a href="https://effetquebec.ca/entreprises/mutek/">MUTEK</a>, <a href="https://effetquebec.ca/entreprises/ottomata/">OTTOMATA</a> and <a href="https://effetquebec.ca/entreprises/transversal/">Transversal Studio</a> will be discussing transdisciplinary practices and cooperation in the digital and immersive arts. Presented by <a href="https://fisheyeimmersive.com/">Fisheye Immersive</a>.
Valentin Ducros is a curator and organiser of digital art festivals and exhibitions for Fisheye Immersive (<a href="https://www.grandpalais.fr/fr/evenement/palais-augmente-3">Palais Augmenté</a>, <a href="https://www.rencontres-arles.com/fr/expositions/view/1504/habeas-corpus">Rencontres d&#8217;Arles</a>, Résidence d&#8217;écriture VR Arles&#8230;). It strives to offer the public meaningful works, through original commissions and creative challenges to contemporary artists (AR, VR, interactive projections, installations, olfactory or multisensory immersion).
Fisheye Immersive is <a href="https://fisheyemanufacture.com/">Fisheye Magazine</a>&#8216;s entity dedicated to digital creativity and new media.

L'Effet Québec

L’effet Québec : immersive installations & large scale public projects

L’Effet Québec : immersive installations & large scale public projects

La Bourse - Rops

L’Effet Québec

<a href="http://portablepalace.com">Dmitry Gelfand</a> (b.1974, St. Petersburg, Russia) and <a href="http://portablepalace.com">Evelina Domnitch</a> (b. 1972, Minsk, Belarus) create installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness.
Having dismissed the use of recording and fixative media, Domnitch and Gelfand&#8217;s installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer&#8217;s sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.
To trace the liquid crystal’s light-propelled flow, hollow glass microspheres are suspended in the solution. These tiny lenses also serve to expand the liquid crystal’s sensitivity to brightness and color. During the laser beam’s self-shaping journey, it creates a projection that magnifies microscopic landscapes in the liquid’s depths.
<a href="https://www.unamur.be/en/research/narc/fellows/yoann-olivier">Yoann Olivier</a> obtained a Ph.D. from the University of Mons in 2008. From 2009 to 2013, he held a postdoctoral fellowship from Belgian National Fund for Scientific Research (FNRS) and went on postdoctoral stays with Prof. Claudio Zannoni at the University of Bologna and Prof. Henning Sirringhaus at the University of Cambridge.
From 2013 to 2019, he was a research associate at the University of Mons and recently joined in July 2019 the Chemistry and Physics departments of the University of Namur as a lecturer.
His research interests deal with the understanding of electronic processes in organic conjugated (small molecule and polymers) and 2D materials, using a multiscale approach combining quantum-chemical methods, Monte Carlo approach and molecular dynamics simulations. Recently, he developed an interest in a new class of materials for organic light-emitting diodes exhibiting thermally activated delayed fluorescence, focusing on their electronic structure and their energy transport properties.
Moderator : <a href="https://bureaudoove.com/">Edith Doove</a>
Organisation : <a href="http://www.ademlabo.eu/">Alexandra Dementieva</a>
Supported by 
FÉDÉRATION WALLONIE-BRUXELLES 
CULTURE.BE 
CYLAND 
ADEM

Laser Talks Brussels

In an innovative project titled &#8220;Lemniscate Cascade&#8221;, artists and scientists join forces to unravel the secrets of light-sensitive liquid crystals. This enigmatic material is more than just the stuff of digital displays, but holds the key to the fundamental dialogue between light and soft matter that sparked life on Earth. The artists behind &#8220;Lemniscate Cascade&#8221; employ laser beams to traverse light-sensitive liquid crystals, setting off a mesmerizing chain of transformations along the beam&#8217;s path.
It&#8217;s fascinating how the very materials featured in &#8216;Lemniscate Cascade&#8217; could draw parallels to elucidate the materials and intricate physical processes at the core of this scientific research. The dual-phase nature of liquid crystals and their intriguing response to light might find intriguing correlations with the dual-state duality of singlets and triplets in the realm of OLEDs.
Yoann Olivier researches the future of Organic Light-Emitting Diodes (OLEDs). OLEDs are at the forefront of lighting and display technologies, but there&#8217;s always room for improvement. This project delves into the world of TADF (Thermally Activated Delayed Fluorescence) to boost OLEDs&#8217; efficiency to an astounding 100%. It&#8217;s a quest to understand the intricacies of singlet and triplet states, influenced by magnetic field effects (MFEs) such as spin-orbit coupling, hyperfine interaction, and the delta g mechanism. Olivier&#8217;s multi-scale approach tackles these challenges, offering new perspectives for material design.