G. H. Hovagimyan, USA
AUGMENTED REALITY – HOW I MAKE IT WORK

The artist is premiering an immersive stereo AR piece for the Split Festival of New Film.
He will hold a workshop that shows how he creates the work. The work is developed on the Mac platform and uses Qualcomm’s Vuforia, Unity, Xcode and iOS. He will also talk about AR and VR as potential art environments and their aesthetic parameters.
3 hours, in English.
(biography in New Media section)

Caroline Chomienne, France
FILM DIRECTING
The script as a basis, the virtue of rehearsing, working with actors of different categories, shooting script, flexibility, risk taking, commitment, and others questions.
Lecture in English.
(biography in Jury section)

Ana Peraica, Croatia
DISASTER IN THE BACKGROUND
Selfies as indirect reports of unsafe reality
Self-portraits, precursors of selfies, were commonly described in terms of impossibility and discontinuation of the self-perception and self-mediation (Derrida, Memoirs of the Blind, 1993), or a limited world set in front of the viewer, the mirror in which someone was perceiving the own self. Still, with mobile phone imaging technology with incorporated wide lenses and selfie sticks controls, much more space is depicted as – «the world behind a back» of a selfie-maker. Such a «world behind a back» reports on people dying in hospitals, suicidal people jumping from the bridge, or even bomb explosions and terrorist attacks, similarly to CNN’s live reports from disasters sites… Reality becomes yet another story, and at first, it seems that it does not make much of the difference if it is the Auschwitz or another tourist site behind. But, the second plane can be described in terms of the epistemology of the image, in which the world is becoming a secondary, mediated experience in general, a world whose direct perception become a painful experience. And the mediation of reality, clearly, is a quote from the mass media report.

Ana Peraica
A researcher and lecturer in visual culture and media arts. She is an author of Culture of the Selfie (Institute for Networked Cultures, Amsterdam, 2017) and Fotografija kao dokaz (Multimedijalni institut, Zagreb, 2017-in print). Besides, she is
an editor of readers made after large exhibition projects, such as; Machine Philosopher (Jan Van Eyck Akademie, Maastricht, 1999), Žena na raskrižju ideologija (HULU, Split, 2007), Victims Symptom – PTSD and Culture (Institute for Networked Cultures, Amsterdam, 2009), Smuggling Anthologies (Museum of Modern and Contemporary Arts, Rijeka, 2015). Her essays published in cultural magazines as Springerin, Pavilion, Art and Education Papers, and readers by Afterimage, Loecker Verlaag, P.A.R.A.S.I.T.E, were compiled in Sub/versions (Revolver, Split / Berlin, 2009). Peraica is a book reviewer for Leonardo Reviews and a member of Leonardo’s workgroup Artist and Scientist in Times of War. She teaches Media Art Politics and Methodologies of Interpretation in Media Arts at programs of MA Media Art Histories and MA Media Art Cultures, a program by ERASMUS MUNDUS, by University of Danube in Krems, Lower Austria. In addition, she runs a small photo-atelier opened by her grandfather, in Split, Croatia.

George Barber, UK
HARSH REALITY / POETIC REALITY
An artistic response to war
My last three works, THE FREESTONE DRONE, AKULA DREAM and DUDE DOWN reflect on war – in a poetic manner. DUDE DOWN was shown at the London Film Festival in 2017, THE FREESTONE DRONE and AKULA DREAM shown there (Split) in 2016. My talk is on the benefits of an artistic response to war. All of us can read the news or get informed professionals to help them understand but artists have just as much right to reflect and give perspective on a troubled situation. My argument is that a poetic mode of responding to war is equally as valid and perhaps more accurate – than the prism of military experts or professional news gathers.
(biography in Competition Shorts section)

Harry Triendl – kunst4life, Austria
PERFORMANCE ON MUSIC & MULTI MEDIA
Multimedia lecture and presentation on how to build a live setup for improvised music, including virtual guest musicians pre-recorded on video. Workflow of video and audio tools, learning how to process the material and synchronise it for the performance. Introduction of the instruments and tools used for the performance.
(biography in New Media section)