Nature has gone estranged. Our link to it is more important than ever. Our home planet needs our care and love. This is what Ecophilia is about. And you cannot avoid it. Nature is all about your lifeworld. Where you live, how you live and how you love it.
Ecophilia reflects not only a necessity, but also a deep desire to connect with nature. But what is nature really? Except for some ecological dreamscapes?

Meta.Morf X – Digital Wild leaves the established narratives behind – instead bending and twisting our illusions about digital futures. The purposes of new technologies become twisted, and the obvious challenged. The rationale gets blurry, and we start to see the fascinating contour of a wild future we may be a part of. Outside of the accustomed perceptions, things quickly get wild and surreal – and kinky.

If we have arrived here today, in time and space, as a consequence of life having arisen by chance, as a beautiful accident, then is this still an accident happening, only now with man as its designer? In our apparent urge to reinvent ourselves, the trajectory itself seems just as interesting.
Are we prepared for being thrown out of Tellus’s cockpit as a result of our innovative nature? Seated in economy class, sipping on Piña Coladas listening to the Beach Boy blissfully sailing into the ultimate sunset?

On October 24, 1946, Earth was for the first time photographed from the boundary of outer space. 20 years later we yet again observed our planet through the eyes of Lunar Orbiter 1, and during the ’70s, the Moon missions’ observation of the blue planet finally laid the groundwork for the notion of our planet as part of an ecosystem in a universe of unimaginable proportions.

The perpetual processes of change that can be observed within all levels of the Universe, from micro to macro scale, from stardust to animate entities, are constantly generating new patterns, structures and forms, shaping all aspects of life.
With the assumption that the only true constant in the universe is change, we may indeed envision ourselves entrancingly lost in transition.

Life is impure, revealing itself as an open and complex system with porous boundaries, bringing forth an endless social and biological diversity. Every relational system operates on affect. Human and nonhuman actions and interactions are expressions of these networked relations.
What constitutes the connective behaviour from which networks, and finally form emerge? Is it an empathy-based interaction, or in other words, a matter of feeling?

Almost nothing on this planet has been left untouched by humankind and its actions. Sometimes as a side effect, but often as a conscious interference from trying to sculpt the world according to our dreams and fears.
Meta.Morf 2010 – the very first Trondheim international biennale for art and technology –  positions itself as a trans-disciplinary platform for artistic practices that presents, debate and investigates new models and concepts for how sustainable structures can emerge from complex and ‘messy’ interactions.

In a world where creativity equals consumption, and where marketing strategies take the form of art projects, Electroboutique (Alexei Shulgin, Aristarkh Chernyshev, Roman Minaev) argues that the current state of "creative capitalism" is leading media art to become the ultimate consumer commodity as the field increasingly develop and adopt new technologies.

From medieval mythologies we are familiar with hybrid creatures like the Centaur and the Griffon. The creation of these fantasy beings, denies in itself the very existence of species as we define the term today. The tendency to try to abolish the species and our body´s limitations, seem to be a recurring theme with mankind.

Nature can be defined as the physical world containing all natural phenomenas and living things, including the forces and mechanisms that collectively controls and run these processes independently of human volition or intervention. Mankind has tried to master and refine these mechanisms from its very beginning.

A machine can be defined as a mechanical device that transmits or modifies energy to perform or assist in the performance of tasks. A trending research area today is the possibility of recreating a synthetic version of the human mind – a cyborg. The mind refers to both intellect and consciousness, and is expressed through thought, feeling, will and imagination.

In 1905 Norway became an independent nation with freedom of speech as one of its ground pilars for the newborn democracy. Today one hundred years later, new communication technologies conveniently give us access to live information from all over the planet. At the same time offer these new technologies abilities to track and surveil our daily life in ways never seen before, and may radically change, or even extinguish, our accustomed privacy rights and privileges.

Public art installations are increasingly being subject to technological based art productions of various sorts. What can this entail regarding production and maintenance aspects, and can the development change our perception of art, as well as reality?

In 2002 Trondheim Electronic Arts Centre ran a series of seminars and workshops titled Trondheim Matchmaking. We continue the project with arranging Trondheim Matchmaking as a full bodied festival with the idea to create and maintain an international meeting place for sharing competence and resources within the field of electronic arts and new technologies.

“Trondheim Matchmaking” is a meeting point for presenting innovative ideas and artistic projects. A place to share knowledge and to make new connections within the field of new technologies and electronic arts. A place to tie together resources and expertise across various fields of art and technology.