caterina antonopoulou
Caterina Antonopoulou (a.k.a peqpez) is an engineer, a new media artist and researcher. Her artistic practice combines interactive installations and performances, real-time audiovisual generation, algorithmic video and urban interventions.
Caterina holds a PhD in Digital Arts (University of the Aegean, 2021), a master’s degree in Digital Arts (Pompeu Fabra University of Barcelona, 2009) and a diploma in Electrical & Computer Engineering (National Technical University of Athens, 2006). Since 2019 she is an adjunct lecturer of digital and interactive arts at the department of Digital Arts & Cinema of the National & Kapodistrian University of Athens. Previously, she has been an adjunct lecturer of interactive art at the Master in Digital Arts and the Multimedia, Hypermedia and VideoArt Lab of Athens School of Fine Arts. Moreover, she was instructor of several lectures and workshops, including lectures at the National Technical University of Athens and the Technical Educational Institute of Athens.
Caterina was member of the curatorial team of Athens Digital Arts Festival, curating the performance section of the 11th and 12th edition of the festival. She is also a co-founder of the art and technology collective ‘Once upon a Byte’ based in Barcelona, and the B-planet creative workshop for children.
Her professional collaborations include the research institute ‘CTI Diophantus’, the Image, Video and Multimedia Systems Lab of the National Technical University of Athens, the Phonos Foundation of the Pompeu Fabra University of Barcelona, the Center for Research & Technology Hellas, the Multimedia, Hypermedia and VideoArt Lab of the Athens School of Fine Arts, and artistic groups such as the amorphy.org, Loop Lab, ElectrOperators, and more.
Caterina's work has been presented at international conferences, festivals and venues, such as the: Pochen Biennale 2020, Thebes Biennale 2021, Sónar,19th International Festival of Advanced Music and New Media Art, The Art Foundation (TAF), Phonos Foundation, Pavilion of Knowledge of Lisbon, Onassis Cultural Centre, Athens & Epidavrus Festival, Fournos Center for Digital Culture, Espaço do Tempo. OFF Europes Festival, Golferichs Cultural Center, Fabra i Coats Art Factory, Athens Video Art Festival, and more.
More info @ www.peqpez.net
Address: www.peqpez.net
Caterina holds a PhD in Digital Arts (University of the Aegean, 2021), a master’s degree in Digital Arts (Pompeu Fabra University of Barcelona, 2009) and a diploma in Electrical & Computer Engineering (National Technical University of Athens, 2006). Since 2019 she is an adjunct lecturer of digital and interactive arts at the department of Digital Arts & Cinema of the National & Kapodistrian University of Athens. Previously, she has been an adjunct lecturer of interactive art at the Master in Digital Arts and the Multimedia, Hypermedia and VideoArt Lab of Athens School of Fine Arts. Moreover, she was instructor of several lectures and workshops, including lectures at the National Technical University of Athens and the Technical Educational Institute of Athens.
Caterina was member of the curatorial team of Athens Digital Arts Festival, curating the performance section of the 11th and 12th edition of the festival. She is also a co-founder of the art and technology collective ‘Once upon a Byte’ based in Barcelona, and the B-planet creative workshop for children.
Her professional collaborations include the research institute ‘CTI Diophantus’, the Image, Video and Multimedia Systems Lab of the National Technical University of Athens, the Phonos Foundation of the Pompeu Fabra University of Barcelona, the Center for Research & Technology Hellas, the Multimedia, Hypermedia and VideoArt Lab of the Athens School of Fine Arts, and artistic groups such as the amorphy.org, Loop Lab, ElectrOperators, and more.
Caterina's work has been presented at international conferences, festivals and venues, such as the: Pochen Biennale 2020, Thebes Biennale 2021, Sónar,19th International Festival of Advanced Music and New Media Art, The Art Foundation (TAF), Phonos Foundation, Pavilion of Knowledge of Lisbon, Onassis Cultural Centre, Athens & Epidavrus Festival, Fournos Center for Digital Culture, Espaço do Tempo. OFF Europes Festival, Golferichs Cultural Center, Fabra i Coats Art Factory, Athens Video Art Festival, and more.
More info @ www.peqpez.net
Address: www.peqpez.net
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Papers by caterina antonopoulou
The project was developed under the context of Traces of commerce, an institutional frameworked initiative, which aimed to restore a state of activity at a stagnant communal space in Athens, through the establishment of a productive platform that opened up to the city. Twelve operations generated an open laboratory of participatory activities at the Gallery of Merchants and the abandoned building situated there, belonging to the social security fund for the merchants. A group of artists, students, architects and engineers collaborated for the Arcade deArchived project. They focused on the interventional character of collective acts, while they remained critical towards any notion of gentrification.
During the development of the project, a series of DIWO (Do-It-With-Others) live activities resulted in the creation of a site-specific installation. Recycled objects were augmented with opensource technologies and used as interactive, dialogical interfaces of the installation. The space of the gallery was also augmented with a digital layer of projections mapped on physical surfaces and multiple sound sources of memorial material. Part of the audiovisual content consisted of the digitalized archive of the social security fund. The visitors, through their relational interaction with the installation, could explore and recompose narrative fragments, in order to articulate new plural narratives. They were also engaged in performative enactments, thus contributing to the composition of a new, dynamic, open (an)archive.
archival material. The interactive interface allows the establishment of new
associations between phygital (physical/digital) elements and the articula-
tion of plural narratives, through tangible and embodied interaction. It introduces
the interactive installation and performance Memory Containers,
where digital footage and physical objects merge into an augmented inter-
active space. Visuals are mapped on found objects and follow their movement,
through a custom opensource real-time projection-mapping softw
are. Thus, the users can rearrange the objects and build physical
structures, while they create new links between the digital images. The
project was a result of the collaboration between interdisciplinary artists
and local community agents. The paper describes the D.I.W.O. (Do It With
Others) practices applied, and the technical solutions adopted. It also discusses
the ways that interactive visualizations of archives provide opportunities
for broader access to archival material, forging a revisiting, reappropri
ation, and reframing of (hi)stories.
The web platform facilitates the first level of user engagement. It provides an environment that encourages multiple authors to produce and contribute narrative fragments to a shared database. The second level of user engagement is achieved through the interactive installation, which forges interactions between viewers and the available content, allowing the dynamic exploration and articulation of the narrative.
During both levels of engagement, the audience is prompted to abandon the role of passive consumer and to become either a producer of digital content or an active viewer that influences the projected narrative.
It also discusses cases of multi-author, multi-perspectival and interactive narratives in ‘old’ media art and the added value of new media in creating new opportunities for more decentralized and non-hierarchical models of storytelling production.
Thesis by caterina antonopoulou
The material object of everyday use is examined from an interdisciplinary perspective, considering it as an artistic, social, and technological entity. Following this interdisciplinary approach, artistic practices are examined first through the lens of arts history and theory, investigating the incorporation of everyday objects into sociopolitical media artworks of the 20th century, emphasizing the continuity between older and newer practices. Then the artistic practices are examined in dialogue with a body of social, anthropological, and philosophical theories. These theories provide various conceptualizations of the concepts “object” and “thing”, focusing on their agency, hybridity, and interconnectivity. Furthermore, the artistic practices are examined in relation to digital media and technologies that artists embed in the objects, transforming them into hybrid, interactive, and networked artifacts, such as embedded systems, physical & ubiquitous computing, human-computer interactive interfaces (e.g. tangible user interfaces), and network technologies (e.g. the Internet of Things). A special emphasis is placed on practices and communities that potentially empower artists and enable them to use these technologies critically, such as the Do-It-Yourself (DIY) and Do-It-With-Others (DIWO) practices, opensource technologies, digital fabrication technologies, collaborative practices through peer-to-peer platforms, and practices that support the digital Commons.
The application of artistic practices and the transformative role of everyday objects are examined through the study of selected media artworks (case studies). The case studies include original artworks by the researcher, as well as existing artworks by other media artists that take a critical, socially engaged, or tactical approach to sociopolitical issues. Through the study of the selected media artworks, the networks of relationships articulated around the objects of everyday use are defined, as well as the transformations of these networks, caused by the action of the objects and their interaction with multiple, heterogeneous, human and non-human entities.
The project was developed under the context of Traces of commerce, an institutional frameworked initiative, which aimed to restore a state of activity at a stagnant communal space in Athens, through the establishment of a productive platform that opened up to the city. Twelve operations generated an open laboratory of participatory activities at the Gallery of Merchants and the abandoned building situated there, belonging to the social security fund for the merchants. A group of artists, students, architects and engineers collaborated for the Arcade deArchived project. They focused on the interventional character of collective acts, while they remained critical towards any notion of gentrification.
During the development of the project, a series of DIWO (Do-It-With-Others) live activities resulted in the creation of a site-specific installation. Recycled objects were augmented with opensource technologies and used as interactive, dialogical interfaces of the installation. The space of the gallery was also augmented with a digital layer of projections mapped on physical surfaces and multiple sound sources of memorial material. Part of the audiovisual content consisted of the digitalized archive of the social security fund. The visitors, through their relational interaction with the installation, could explore and recompose narrative fragments, in order to articulate new plural narratives. They were also engaged in performative enactments, thus contributing to the composition of a new, dynamic, open (an)archive.
archival material. The interactive interface allows the establishment of new
associations between phygital (physical/digital) elements and the articula-
tion of plural narratives, through tangible and embodied interaction. It introduces
the interactive installation and performance Memory Containers,
where digital footage and physical objects merge into an augmented inter-
active space. Visuals are mapped on found objects and follow their movement,
through a custom opensource real-time projection-mapping softw
are. Thus, the users can rearrange the objects and build physical
structures, while they create new links between the digital images. The
project was a result of the collaboration between interdisciplinary artists
and local community agents. The paper describes the D.I.W.O. (Do It With
Others) practices applied, and the technical solutions adopted. It also discusses
the ways that interactive visualizations of archives provide opportunities
for broader access to archival material, forging a revisiting, reappropri
ation, and reframing of (hi)stories.
The web platform facilitates the first level of user engagement. It provides an environment that encourages multiple authors to produce and contribute narrative fragments to a shared database. The second level of user engagement is achieved through the interactive installation, which forges interactions between viewers and the available content, allowing the dynamic exploration and articulation of the narrative.
During both levels of engagement, the audience is prompted to abandon the role of passive consumer and to become either a producer of digital content or an active viewer that influences the projected narrative.
It also discusses cases of multi-author, multi-perspectival and interactive narratives in ‘old’ media art and the added value of new media in creating new opportunities for more decentralized and non-hierarchical models of storytelling production.
The material object of everyday use is examined from an interdisciplinary perspective, considering it as an artistic, social, and technological entity. Following this interdisciplinary approach, artistic practices are examined first through the lens of arts history and theory, investigating the incorporation of everyday objects into sociopolitical media artworks of the 20th century, emphasizing the continuity between older and newer practices. Then the artistic practices are examined in dialogue with a body of social, anthropological, and philosophical theories. These theories provide various conceptualizations of the concepts “object” and “thing”, focusing on their agency, hybridity, and interconnectivity. Furthermore, the artistic practices are examined in relation to digital media and technologies that artists embed in the objects, transforming them into hybrid, interactive, and networked artifacts, such as embedded systems, physical & ubiquitous computing, human-computer interactive interfaces (e.g. tangible user interfaces), and network technologies (e.g. the Internet of Things). A special emphasis is placed on practices and communities that potentially empower artists and enable them to use these technologies critically, such as the Do-It-Yourself (DIY) and Do-It-With-Others (DIWO) practices, opensource technologies, digital fabrication technologies, collaborative practices through peer-to-peer platforms, and practices that support the digital Commons.
The application of artistic practices and the transformative role of everyday objects are examined through the study of selected media artworks (case studies). The case studies include original artworks by the researcher, as well as existing artworks by other media artists that take a critical, socially engaged, or tactical approach to sociopolitical issues. Through the study of the selected media artworks, the networks of relationships articulated around the objects of everyday use are defined, as well as the transformations of these networks, caused by the action of the objects and their interaction with multiple, heterogeneous, human and non-human entities.