Art Events Data Table

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Symposium	Title	Category	Venue	Artist	Artist Statement	Technical Info	Contributors	Sponsors	Medium	Website	Keywords

ISEA2013: 19th International Symposium on Electronic Art	#hererealnow		The Portals		#hererealnow: Darwin Community Arts will present an extended program exploring digital culture and connectivity in the Northern Territory. #hererealnow will bring together a range of digital arts activities, including works from The Portals, focusing on NT artists presenting, engaging, and developing skills and new ideas. There will be workshops, presentations and opportunities to play and learn. The Chan Contemporary Art Space, Darwin, AU.					http://www.darwincommunityarts.org.au/
ISEA2015: 21st International Symposium on Electronic Art	#iHeartRobotMusic		Simon Fraser University	Steven A. Bjornson	#iHeartRobotMusic is an interactive robotic musical instrument. Images uploaded through Instagram are transformed into compositions which are played through robotic actuators hitting everyday household items. The work examines how new technologies can be understood as connecting individuals in alternate, emergent ways that run counter to common expectations.				Robotics and Sound Waves	https://oss.adm.ntu.edu.sg/kamarulz002/2015/08/18/iheartrobotmusic-by-steve-a-bjornson/
ISEA2013: 19th International Symposium on Electronic Art	#NewAestheticVideo (2012)		The Concourse	Mark Amerika	This mock trailer for a movie that was never made, but lives on the Web as a distributed narrative, refers to an eponymous artist whose artistic presence and remixed persona is a mash-up of mobile phone videos, animated gifs, Google Earth glitch imagery, and the corrupting presence of a literary voice summoned from the digital-beyond.
ISEA2014: 20th International Symposium on Electronic Art	(+/-) Pendulum		American University of Sharjah	Raphael Arar	(+/-) Pendulum is an electro-mechanically driven kinetic sculpture based on the mechanics of a subverted Foucault Pendulum, which seeks to reflect on the current state of our digital lives.
ISEA2013: 19th International Symposium on Electronic Art	04302011 (2011)		The Concourse	Sophie Kahn	Laser portraits that appear incomplete and fragmented as a result of disruptions, caused by the models’ movement and breathing during the scanning process, suggest a metaphor of instability in our digitally mediated identities					http://SophieKahn.net/
ISEA2002: 11th International Symposium on Electronic Art	0pening Live		Nagoya Citizens' Gallery Yada		Musician Company. The 9 girls are performing Hawaiian Music.
ISEA2022: 27th International Symposium on Electronic Art	13 Eyes		CCCB: Centre de Cultura Contemporània de Barcelona		13 Eyes is an interactive installation that dynamically assembles monumental portraits of visitors by fusing together fragments of their respective faces. The resulting triptych conjures up imaginary beings at the intersection of familiarity and alterity. By sharing the microsocial space of the installation, (v)users’ self-representations blur with others in an uncanny fashion. Thus, the installation is an invitation to discuss the mediation of our self-image by technology and society and by our own vanity and fear. The installation itself is a sculptural assembly of 13 obsolete, but fully working, iPhones. The devices are controlled by a hidden master charged with surreptitiously taking pictures, remotely manipulating them, and displaying the results. By invoking the ubiquity and cultural significance of the iPhone, the installation questions our relation to status and obsolescence, but also to surveillance and self-representation. This artwork creates dynamic composite visuals that are neither fully generative nor entirely representative. Instead, the dynamic hybrid portraits inhabit a liminal space between familiarity and alterity. Visitors can recognize portions of their own corporality forcibly being merged with that of others. This creates a malaise that invites them to consider the human beings around them and the ways by which they are being collectively (mis)represented. Who is it that I am sharing a face with? This performative quality of the installation extends the actual artwork beyond the interactive device to include the whole physical space and, more to the point, the visitors inside it. This creates a forum for the interactors to consider the ways through which technology mediates both the representation of self and of others. By using a cultural icon such as the iPhone, I hope to kickstart a necessary discussion about technology, about how it surreptitiously permeates and overtakes our human interactions and about how we hastily dispose of it when fashionably obsolete. In other words, this artwork’s strength not only lies in its aesthetic qualities but perhaps even more in its ability to bring about a shared discursive space.						alterity, obsolescence, mediation, technology2, and self-representation
ISEA2016: 22nd International Symposium on Electronic Art	25 Minutes Older			Kingsley Siu King Ng	Mobile camera obscura as a form of expanded cinema. Location: Tram between Sheung Wan and Causeway Bay. Twenty-Five Minutes Older departs from a number of sources. It takes the form of a camera obscura, an optical phenomenon considered by many as a metaphor for perception. The title pays tribute to Ten Minutes Older, a 1978 film directed by Latvian filmmaker Herz Frank, about the emotional journey of small children watching a 10-minute film. A fragmentary narrative was borrowed from Liu Yichang’s Tête-bêche. The novella’s title refers to a pair of joined stamps in head-to-toe print; in a stream of consciousness, a chiasmus unfolds as the stories of two strangers intertwine. Weaving together these threads, the twenty-five minute tram ride invites the audience to become passengers. In a contemplative time capsule, punctuated by the rocking of the tram, alongside non-stop traffic, they travel through the city and see its scenery in reverse. At times, reality of the present overlaps with the past in fiction: “next to a trendy boutique is a gas company; next to the gas company is a gold shop; next to the gold shop is a gold shop…” A prototype of the work was made together with HKBU MVA Alumni for detour 2013. The first rendition of the work was commissioned by Hong Kong Arts Development Council in 2016. With excerpts from Tête-bêche by Mr. Liu Yichang Editing and Translation by Stephanie Cheung Music Composition by Steve Hui Music Performed by the Hong Kong New Music Ensemble and Steve Hui Voice-over by AMA, Chiara Kung Technical design by Jason Wong Software design by Cheuk Wing Nam Sound Engineering by Anthony Yeung and Thomas Wenzl Technical support by Cheung Wing Yan Rivian and Lee Chi Wai Technical Production by Stage Tech Limited Supported by Art Basel, MGM Arts and Culture, The Pawn, Osage Art Foundation, HKBU Academy of Visual Arts, and Hong Kong Tramways [source: kingsleyng.com/wp3/portfolio_page/twenty-five-minutes-older-art-basel-hk-edition]
ISEA2023: 28th International Symposium on Electronic Art	3.5		Musées de Soissons	Kim KototamaLune, Jean-Benoist Sallé, and Stéphane Baz	3.5 offers an immersion into a fascinating world. Its mediums are glass, video projection, drop shadows and sound, with their singular, ethereal materiality. The forms exhibited, oscillating between the mathematical abstraction of perfect polygons and the organic abundance of Kim KototamaLune’s “microcosms”, serve as a metaphor for our society – liquid, virtual, ephemeral – and its paradoxes with the body and physicality. Glass, which the artist works with amazing virtuosity by spinning it into delicate networks, also appears to be an eloquent metaphor for our society. Firstly, through its material, silica, which it shares with the silicon used for most of the computer chips that flood our planet. By its transparency too, which responds to the ideology of our time and the glassy architecture of places of power. By its fragile strength, too. Solid, but brittle, like a system that is out of breath and that, every day, gives the feeling that it is in danger of breaking. And finally, by its virtuality. Why 3.5? Because our bodies evolve in a three-dimensional space. And yet, the world is saturated with surfaces that overwhelm them. Screens, mixed, augmented or virtual realities add a layer of information to this three-dimensionality which, from then on, seems a little more. 3.5 is therefore a way of rendering virtuality, in all the thickness that the term has gained since the internet: the virtual as what is, but on the verge of not being; the virtual as a field of possibilities; the virtual as cyberspace. Here is 3.5, an experience in the limbo of lesser existences, the mystical attempt to touch what is beyond our senses. 3.5 is the aesthetic response to a profoundly virtual society; it is the spirit of time encapsulated in the fragile transparency of glass, in the immateriality of the projected image and the shadows cast; so many fleeting, precarious moments that hold on to nothing. 3.5 is a microcosm, populated by organisms that seem to be aquatic, a small intra-uterine theatre, the interior of the body glitched by geometries too perfect to be natural.
ISEA2023: 28th International Symposium on Electronic Art	3600 seconds of light / N43 C47 (3600 secondes de lumière / N43 C47)		Topographie de l’art	Thibault Brunet	Fusion of the Possible, Topographie de l’art, April 15 – June 15 Inkjet print on paper, 50 x 50 cm. Courtesy of Binome gallery and Adagp, Paris. With “3600 secondes de lumière” Thibault Brunet captures the ephemeral beauty of clouds by utilizing a virtual space created in a video game. He observes the effect of the passage of time on the colors of the skies by creating a cycle of virtual sunrise and sunset. He creates a series of 3D-modeled cloud portraits, illuminated by this virtual sun, taking on different hues depending on the time of day. Thibault Brunet thus compiles a catalog of clouds, a typology of their shapes and changing colors. The images created by this project blur the distinction between painting and photography. The clouds appear to us as paintings. As we approach, we realize that these images are simulacra created by a video game engine. The impermanence, or rather its fantasized disappearance by our contemporary world, which is sinking into materialism and the utopia of immortality, is at the heart of a new series by Brunet. It takes the form of a collection of clouds, or more precisely, virtual clouds designed for use by video game creators. Brunet has acquired around sixty of these fixed forms – a contradiction in terms, as cumulus clouds are inherently fleeting – which he has imported into a virtual space created for this purpose. Unlike our own ever-expanding world, «augmented» by the tools at our disposal, Brunet’s fictitious space is reduced to the extreme. It consists only of two elements, clouds and light, with the addition of one dimension, that of time. This opens up an immense field of possibilities from which Brunet makes selections. The title «3600 seconds of light» refers to as many potential outcomes chosen from the infinite latency, comprising 60 states of light playing on 60 cloud models, within a span of 12 hours (12 minutes in the accelerated time of the game). The contemporary obsession with total(itarian) recording of the world, with omniscience, is transformed into a poetic gesture as trivial as it is magnificent. Brunet’s clouds are both simulacra and artifacts. They are pure signs, with no other function than their own appearance – and perhaps their imminent disappearance. Because in the grip, emphasized by Brunet, of technology over these gentle billows of our childhood, one senses an unease, reinforced by the exhibition’s title: «Just a bit more») – of dream and mystery before they vanish, and us with them?					https://thibaultbrunet.fr/media/pages/projets/3600-secondes-de-lumiere/e47a9bdc3a-1695906739/3600s_en-2.pdf
ISEA2023: 28th International Symposium on Electronic Art	40% of Food in the US is Wasted (How the Hell is That Progress, Man?) 2022		Forum des Images	Mimi Ọnụọha	Exhibition Symbiosis, artport x ISEA. Forum des Images, May 16 – 21 4 identical archival images each in their own quadrant of men working in a field, next to a conveyer belt carrying vegetables. Mimi Ọnụọha’s 40% of Food in the US is Wasted (How the Hell is That Progress, Man?) is an interactive video composed of archival video clips from the 1950s–1980s, drawn from the Prelinger Archives and the United States Department of Agriculture (USDA). Advertising the technological optimism of big agriculture, the sampled footage and audio betray a narrative of agricultural systems geared towards ever-increasing production and yield rather than equitable distribution. The artwork’s title emphasizes the reality of food waste, referencing the USDA’s own estimates of 30–40% of food waste and questioning the message of its promotional videos. The presentation of the video clips in a repetitive grid formation that can be advanced by viewers through continuous clicking amplifies the redundancies built into the process of automation. Jules Faife’s accompanying music drives the narrative and pulls the viewer into it, but Ọnụọha also works against the score and archival audio, breaking up their momentum by inserting the question “How the Hell is That Progress, Man?” Retrospectively, the archival videos function as a reality check to the solutions they proclaim, revealing practices that would be considered problematic by today’s standards. Documenting the demographics of the people working in the fields, at the conveyor belts, and in roles of oversight, the footage openly displays systemic conditions of production and labor. 40% of Food in the US is Wasted (How the Hell is That Progress, Man?) continues Ọnụọha’s practice of interrogating and exposing the internal logics of technology-driven progress.					https://whitney.org/exhibitions/40-percent-wasted
ISEA2014: 20th International Symposium on Electronic Art	42		New York University Abu Dhabi	Khadija Fikri	The project tries to show the magnificent changes occurred on Dubai landscape and architecture in less than 50 years.
ISEA2013: 19th International Symposium on Electronic Art	50 Beats		Campbelltown Arts Centre	Linda Dement and Kelly Doley	A half tonne explosives bag, strung up and sagging, leaks black fluid, its half dead presence bleeding out onto the floor. A minuscule screen flashes text of warning and outrage, a furious energy reduced to a micro scale easily overlooked. Helen Reddy’s optimistic anthem “I Am Woman” slowed to 50 beats per minute wavers around them, stretched and dragged under. [source: lindadement.com/fifty-bpm.htm]				Explosives bag, black fluid, sound
ISEA2002: 11th International Symposium on Electronic Art	710.beppo Live Visual Performance Nov 1		Diamond Hall
ISEA2016: 22nd International Symposium on Electronic Art	818 Cubed		International Commerce Center (ICC) Tower	Peter Williams	818 Cubed uses morphing to change the apparent shape of the ICC into other internationally iconic skyscrapers. The sequence begins by highlighting the natural shape of the ICC. This is next “morphed” into a contour shape representing Taipei 101 (Taiwan). Nine structures are represented in the sequence. Various formal strategies are used for structures that do not conform to the slender, singular shape of ICC. In terms of sequencing, 818 Cubed relates the formal qualities of each structure as well as global economic and political contexts. Accompanying audio comes from airports of various cities where the towers are located.				Projection Mapping Installation
ISEA2002: 11th International Symposium on Electronic Art	@port 02 Artworks		Tsukijiguchi-Port of Nagoya Area / KIGUTSU	Kaoru Arima, Akiko Ikeda, Yoko Kawarada, Kyoko Sawanobori, Kazutaka Shioda, Mitsuaki Shigemori, Liustra Novaia, Kazunari Horiguchi, Pius Sigit Kuncoro, Satom Saki, Masato Wakabayashi, Isamu Muto, Hjorth Larissa, Masao Yahagi, Keiichi Miyagawa, Arisa Wakami, Go Watanabe, Hikari Yoshida, and Vincensius Venzha Christiawan	Group show: We are surrounded by plenty of phenomenon scientifically unverifiable and numerous hidden amazing occurrences existing behind our everyday life. We sometimes feel the casual presence of culture, history on things we run into, and suddenly realize the beauty in things on your way to school. Arts always make us realize the presence of ordinary occurrences and the casual presence of culture. For this event, we had video art projected on the wall of shopping mall, and works printed out gigantically with large format printer in the center of the port at night.				video projection and large 2d prints
ISEA2023: 28th International Symposium on Electronic Art	A Bestiary of Anthropocene		Le Cube Garges		Exhibition. Le Cube Garges, April 27 – May 18 Inspired by medieval bestiaries, The Anthropocene Bestiary is a compilation of different hybrid creatures produced by our time. Presented on occasion in the form of an installation inspired by the cabinets of curiosities and showcases of natural history museums, these hybrid titles help us to observe, navigate and orient ourselves in the fabric increasingly artificial world. Plastiglomerates, surveillance robot dogs, antenna trees, Sars-Covid – 2, eagles fighting drones, standardized bananas… each of these symptomatic specimens of the post-natural era in which we live allow us to glimpse the future of the beings that will eventually populate our planet.			This project received funding from the MASC-RISE program under grant agreement no. 101007915.	Installation - Book	https://www.bestiaryanthropocene.com/
ISEA2014: 20th International Symposium on Electronic Art	A Box Full Of Memories			Khawla Ali Al Marzouqi
ISEA2024: 29th International Symposium on Electronic Art	A Cycle of Air: Site 1 (2024)		QUT Art Museum	Ross Manning and Anna Tweedale	A Cycle of Air is situated with/in the emergent future that is now, when living collectively in the interior atmospheres of buildings might offer, unevenly and interchangeably, breathable air compatible with life and/or health- and life-threatening risk. The work sets multiple art interventions into intra-active relation with the spatial configuration and conditions of the building/site; the audience’s sensing and breathing bodies; and, the composition of gases, volatile organic compounds, aerosol particulates and airborne microbes that comprise the resulting air. Catalysed by the SARS-CoV-2 pandemic and escalating wildfire events, and now haunted by the spectre of ongoing pandemics of both emergent and resurgent respiratory pathogens, A Cycle of Air challenges the audience to sit with questions of how humans might ethically live and breathe with/in more-than-human ecologies amidst unstable atmospheric and biopolitical conditions. The work is situated in dialogue with emerging research informing the complex aesthetic, technical, chemical, biological, political, and behavioural entanglements that characterise our precarious human-building-air relations.				Nylon parachute
ISEA2020: 26th International Symposium on Electronic Art	A Diverse MonoCulture			Jip van Leeuwenstein	Within the project A Diverse MonoCulture, van Leeuwenstein investigates whether it is possible to use robots to find a new balance in our ecosystem. After all, mankind naturally deploys new predators when something needs to be restored in an ecosystem. In ‘A Diverse Monoculture’ various robots come together to form ‘a beehive’ of new predators. These predators are used to restore the balance in our ecosystem by eating processionary caterpillars. The caterpillars are then converted into the fuel cells of the robots, so that they serve as fuel to keep the robot alive.				Robot	http://www.jipvanleeuwenstein.nl/	Robotic Art, Ecosystem, and technology2
ISEA2002: 11th International Symposium on Electronic Art	A I U E O KA Kl KU KE KO SA SI SU SE SO TA Tl TU TE TO NA NI NU NE NO HA HI HU HE HO MA Ml MU ME MO YA YU YO RA RI RU RE ROWAN		Assembly Hall, Nagoya Port Building		Sound is voice. Voice is sound. Sound is Word. Word is sound. Sound is story. Words become story. Human communication. Story sound, crushing sound and melting sound. Words connect people. ATU EOKA Kl KU KEKOSASISUSESOTATITUTETONANTNUNENO HA HI HU HF. HO MA MI MU MEMO YA YU YO RA RI RU RE RO WA N
ISEA2024: 29th International Symposium on Electronic Art	A Mass of Radiant Flies and a Body				Decomposition and recomposition, forces that consume and combine, create this procedurally-generated environment. The non-playable character walks straight ahead through the forest and fields, the invisible parts of which are activated by the sound of rain. The visible flora and human/animal remnants of the landscape have been extracted from the results of AI text-to-image prompts, hand traced and animated as black silhouettes. Prompts from which I derived trees, flowers, bushes, mounds and structures included, “bone formation under water”, “driftwood shaped like sleeping person”, “tree with sudden strong wind disappearing on water”, “moss ruin brain stem”, “wildflower nodding rattling”. These also inspired glimpses of humans created by the landscape. There are other entities that wander the simulation as animals: sleeping, searching, eating, scratching (via an original game AI algorithm). Visually, they are blades of grass, bushes, moving and crying out like cats and rodents, creatures literally living on through the plants, decomposition exposing the permeability of separate existences. In the Styly link, the audiences is surrounded by video capture on four sides. The realtime software can be found here: https://aaronoldenburg.itch.io/flies					https://aaronoldenburg.itch.io/flies
ISEA2014: 20th International Symposium on Electronic Art	A Model of Motions		Al Fahidi Historical Neighborhood	Sama Alshaibi	A Model of Motions is a multi-media interactive installation comprised of three wood and metal vessels – ‘Swell’, ‘Footsteps’, and ‘Turn’—and a rustic ship anchor linked together by linked chain. The installation forms a snaked pathway for the audience to journey over sand and water, history and imagination, earthly desire and celestial wonder.					http://www.samaalshaibi.com/Model-of-Motions
ISEA2014: 20th International Symposium on Electronic Art	A Mother´s Love			Nauf Abdulrahman Al Shaikh
ISEA2022: 27th International Symposium on Electronic Art	A New Dawn		CCCB: Centre de Cultura Contemporània de Barcelona		A New Dawn is a memoryscape, which takes a critical approach and uses the Aurora Borealis as an audio-visual representation of life out of balance. Imagine the magnetic fields have shifted through climate change and the collision of electronically charged particles would happen in our proximity. The Aurora’s symbolise a geomagnetic storm caused by nature’s exclamation of the ecological crises. The last shift was worked on the 4 April 1985 and the former ‘Wirtschaftswunder’ turned into an industrial wasteland. The ironworks are not only a symbol of ‘Wertewandel’, the change of values, but also symbolises our addiction to artificial energy and its transformation into wealth. As a side product of the last century’s heavy industry, we are now faced with a climate crisis. Simultaneously the interpretation of Aurora’s in dreams signifies a positive outlook. A dream with an Aurora means important things will happen and ‘magnetic’ outcomes are about to appear on the horizon. While climate change appears to be a nightmare of the industrial past, this experience hopes to recalibrate our outlook. In Greek mythology Aurora refers to dawn, combining paste and present this memory-scape takes a position to make an argument about an innovative planet and that we must act now in a holistic manner on the climate crises. The affordances and aesthetic of this experimental screen production are utilised through the viewers presence in a hybrid space; partly dream object and partly architectural requiem. The visuals are interacting with an original soundscape. The moving-image artwork conceptualised spatialised storytelling based on a combination of soundscape and abstract filmmaking. This original method is supported by experimentation with motionscapes. On location an accelerometer microphone was utilized to record the sound of the fabric. Using intellectual montage, the factory was personified and ‘reactivated’ through the placement of visual and audio effects in the filmic space to demonstrate how nature reclaims this architectural requiem.						moving-image arts, experimental screen production, memory-scape, and nature
ISEA2014: 20th International Symposium on Electronic Art	A Non-Indexical perspective on the Palm Islands		Maraya Art Park	Malcolm Levy	The project proposes an investigation into the Palm Islands, investigating notions of history of imagery versus construction, with the result being imagery that only exist in a post-digital context.					https://www.malcolmlevy.net/palm-islands
ISEA2002: 11th International Symposium on Electronic Art	A portrait		Shumokukan	Ken Morita	[e] movie works
ISEA2014: 20th International Symposium on Electronic Art	A Strong Heart		Al Fahidi Historical Neighborhood		Remote intimate sound environment, an alley, a boat hold, a cave, a deserted shore. Children struggling to learn beloved songs of the Emirates, Arab, Indian, Pakistani.
ISEA2016: 22nd International Symposium on Electronic Art	A Tour of the Imperial Garden: The “Immortal Blossoms in an Everlasting Spring”		National Palace Museum	Vick Lang, Jeffrey Shaw, and National Palace Museum	Original work of art: Immortal Blossoms in an Everlasting Spring by Giuseppe Castiglione This installation presents four animated films that are inspired by Castiglione’s Immortal Blossoms in an Everlasting Spring. These films are projected onto four large screens set in a square, so that viewers who step inside are fully surrounded by the imagery. Due to the optical alignment of these animations the visitors feel as if they are actually walking through a virtual blossoming garden.					https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
ISEA2018: 24th International Symposium on Electronic Art	A Vocabulary for Vernacular Algorithms		Durbin City Hall/Durban Art Gallery	Russel Hlongwane and Tegan Bristow	At the heart of the debate where digital is assumed as a product of the West, KwaZulu-Natal presents an interesting body of works that contribute to the growing evidence that Africa has been an active agent of coded practice for much longer than has been recorded by the West and at times shows a deeply entrenched use of binaries through rich patterns, beadwork and localised subversive language. Aligned to an exhibition of Zulu beadwork and cultural artifacts with a view to understand a lexicon of the Zulu people, this workshop is a series of exploratory conversations that will engage a cross-generational encounter with these forms and their qualities as computational and algorithmic vernacular knowledge. The conversation series will act to communically develop a vocabulary and aesthetic language around regional algorithmic pattern-making.
ISEA2024: 29th International Symposium on Electronic Art	A Womxn Destroyed			Amanda Stojanov	A Womxyn Destroyed is a performance that delves into the anger felt by femme or femme-identified individuals who have traversed the spectrum of femme experiences, embracing, transforming, or relinquishing this identity while frequently concealing these emotions. Through this virtual performance, I create a space for the expression and exploration of anger. The first performance will be by the creator of the project Amanda Stojanov. If you would like to keep in the know on any future performances or updates, as well as be a part of a workshop on how to create your own metahuman, follow Amanda on https://www.twitch.tv/astojano A Womxyn Destroyed” is a performance exploring the anger experienced by femme or femme-identified individuals who have navigated various aspects of femme identity, often concealing their emotions. This virtual performance creates a space for expressing and exploring this anger. The inaugural performance will be conducted by the project’s creator, Amanda Stojanov. The performance references texts including Simone de Beauvoir’s “The Woman Destroyed” (1969) and Melissa Febos’ “Girlhood” (2021). This project was originally created for a special issue of Liminalities: A Journal of Performance Studies: http://liminalities.net/DPL.html					https://gallery.styly.cc/scene/ec3b47c4-f52a-446a-bb5c-9e7c262e30a5
ISEA2018: 24th International Symposium on Electronic Art	A Zambian Space Odyssey		Denis Hurley Centre	Mwenya B. Kabwe, Kutlwano Makgalemele, and Noah Cohen	Based on the true story of Edward Makuka Nkoloso, a member of the Zambian resistance movement and the founder of the Zambia National Academy of Science, Space Research and Philosophy, this piece was performed in Season 2 as a proposal towards a larger piece.		WRITER AND DIRECTOR \| Mwenya Kabwe PERFORMERS \| Penwell Langa, Xolisile Bongwana, Thabang Mkhwanazi, Simphiwe Bonongo , Sbusiso Shozi, Gregory K. Mabusela, Lulu Mlangeni, Teresa Phuti Mojela and Thandazile Sonia Radebe CINEMATOGRAPHER \| Kutlwano Makgalemele ASSISTANT CINEMATOGRAPHER \| Chris Soal SOUND \| SoulFire Studio EDITOR \| Noah Cohen		Performance screening	https://lessgoodidea.com/performance-a-zambian-space-odde
ISEA2014: 20th International Symposium on Electronic Art	Abbi; Ummi; Juliana; Yvonne		Lobo Listone Gallery		The artist uses a small, flatbed, A4 scanner to take multiple images of her subjects and digitally enhance them to create ethereal and beautiful portraits.
ISEA2002: 11th International Symposium on Electronic Art	About Photography Workshop		Nagoya Citizens' Gallery Yada	Ayumi Yaekura and Satomi Okuhara
ISEA2013: 19th International Symposium on Electronic Art	Acconci Robot		Powerhouse Museum	Wade Marynowsky	Wade Marynorsky continues his interest in performative robotics. The Acconci Robot is a playful but mute robot in the form of an everyday household object a robotic wardrobe that follows unsuspecting audience members throughout the exhibition space. The work references the performance work by Vito Acconci entitled Follow Piece (1969), in which Acconci randomly elected a passer-by and followed that person, until he or she disappeared into a private place where Acconci could not follow. This artwork is a cheeky inversion of interaction, following viewers whilst their backs are turned, but stopping in its tracks as they turn to see who is following. Video: Acconci Robot					https://wademarynowsky.art/Acconci.html
ISEA2023: 28th International Symposium on Electronic Art	Acqua Alta		Hangars Numériques	Claire Bardainne and Adrien Mondot	Southern Winter Exhibitions 2023 at Hangars Numériques, May 16 – 21, then August 1 – 15 Acqua Alta: Crossing the mirror, 2019-2020 A pop-up and augmented reality book. By viewing them through a tablet, the ten double-pages of the book Acqua Alta – Crossing the Mirror become small theaters, where a dance form unfolds thanks to the custom-developed application. Folded white papers and ink drawings meet in a graphic purity and the simplicity of black and white, the artificial life of dancing miniature beings in a world imbued with the imagination of water. An experience at the crossroads of theater, dance, comics, animated films and video games. The Acqua Alta – First Rain drawing is an autonomous board, an extension of the world of the book, which constitutes the setting for a dance scene, visible in augmented reality. Designed, produced and edited by Adrien M & Claire B, the Acqua Alta project tells a story. A woman, a man, a house. An absurd daily life full of discord. But one rainy day, life turns upside down: the rising waters engulf the house in a sea of ink. The woman slips and disappears. All that remains of her is her hair. Living. It is the story of a catastrophe, particular and universal. It is the story of a loss and a quest. It is the story of the fear of the strange and otherness, and of its taming.					https://www.am-cb.net/projets/acqua-alta-la-traversee-du-miroir
ISEA2015: 21st International Symposium on Electronic Art	Acting Press		Vancouver Art Gallery	Attitudes in Error	Print off a copy of your work and mark specific examples of where the two works are similar, particularly good evidence is if you can find duplication of unique aspects of your work, for example, if an error in your original has been duplicated in the copy.
ISEA2023: 28th International Symposium on Electronic Art	Ad Hominem			Alex Verhaest	Hacnum Exhibition. various locations, May 16 – 21 Change is an old revolutionary, returning to its birth village looking for recognition for all it has done. Change talks to four people, who seem to hold disparate views on what change should bring in the future. In the end, it becomes clear that change is never really welcome. Ad Hominem is a philosophical choose-your-own-adventure game, based on Eutopia Unbound by Sofie Verraest, in which the player is cast in the role of Change. You are invited to pick one of two answers to questions proposed by four different characters who represent four distinct utopic ideas. Change is guided towards an event, organised in honour of its arrival, through a maze of historical quotes on collectivism, individualism, progressive thinking and conservatism.
ISEA2016: 22nd International Symposium on Electronic Art	Adventures of the Mythical Creatures at the National Palace Museum			Liu Yu-Shu	Animals featured in Castiglione’s paintings burst into life in this 4K animation, the first of its kind that the National Palace Museum has produced. In this short film, the valiant dogs from Ten Fine Hounds and Long-haired Dog Beneath Blossoms take off on an adventure with the lemur from Cochin Lemur and the deer from Auspicious Roe Deer. By using the special powers of the ten dogs, the animals manage to overcome a series of obstacles and eventually come to appreciate the spirit of Castiglione’s art, a unique combination of Chinese and European techniques. The 4K-resolution animation, created by some of Taiwan’s best animators, brings out the full beauty of Castiglione’s art.					https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
ISEA2002: 11th International Symposium on Electronic Art	AFTERIMAGE 3		Assembly Hall, Nagoya Port Building
ISEA2018: 24th International Symposium on Electronic Art	Agulhas Drifter		Ushaka Aquarium and Beach	Cy Keener	The Agulhas Drifter project will launch an artist-created data collecting ocean buoy in the Agulhas current off the coast of Durban, and install an immersive light and sound installation that will respond to satellite transmitted buoy data in real time. The Agulhas current, off the east coast of South Africa, is one of the few areas where surface currents transport towards the Antarctic. It is here that oceanographers have observed the unique phenomenon known as Agulhas current rings. The data buoy will utilize an IMU to capture pitch, roll and vertical acceleration from waves, a thermistor to pick up sea surface temperature, and GPS to track currents. The gallery installation will enact data sets using stepper motors and kinetic sculpture to project a shifting horizon line of laser light based on real time ocean conditions. Public display of the piece will enable local Durban residents to virtually connect with constantly shifting ocean conditions in an immersive way.				Light and sound installation
ISEA2014: 20th International Symposium on Electronic Art	Aheilos virtual world: Creation and education in the space of information		Zayed University - Dubai	Andreas Guskos	Aheilos is an online virtual interactive 3d environment. The idea of Aheilos is to promote diverse creative, educational and informative activity on the edge of art, science and technology.
ISEA2014: 20th International Symposium on Electronic Art	Aisha & The Ghaf Tree			Aysha Saif Al Hamrani
ISEA2002: 11th International Symposium on Electronic Art	Akira tanaka & all of the world Live Performance Nov 1		Diamond Hall
ISEA2011: 17th International Symposium on Electronic Art	Akousmaflore and Lights Contacts			Gregory Lasserre and Anais met den Ancxt	Akousmaflore: Sensitive and interactive musical plants. Lights Contacts: Interactive sound and light installation with body and skin from public. In 2007, Scenocosme created Akousmaflore, which offers original sonorous interactions by touching plants. In 2009, Scenocosme created Lights Contacts, an interactive installation where contacts between spectators create sounds and light according to the electrostatic energy of their bodies. In 2010, this artwork received the Visual Arts and New Technologies award at the Bains Numeriques festival.					http://www.scenocosme.com/index_e.htm
ISEA2014: 20th International Symposium on Electronic Art	Al Kharareef Storytelling Club			Aysha Saif Al Hamrani
ISEA2014: 20th International Symposium on Electronic Art	Al Medfah			Aysha Saif Al Hamrani
ISEA2014: 20th International Symposium on Electronic Art	Al Rouaa´s Kids
ISEA2014: 20th International Symposium on Electronic Art	Al Roua´a			Aysha Saif Al Hamrani
ISEA2013: 19th International Symposium on Electronic Art	Albedo Prospect (2012)		UTS Gallery / DAB LAB Gallery	Ed Osborn	The essential ‘otherness’ of frozen landscapes permeates this multi-channel video work. Based in part on writer Arthur Koestler’s press reports filed from the 1931 airship flight to the high Arctic, it explores “the polar imaginary” through material gathered on the sea and in remote locations around the Svalbard archipelago. No recordings survive of Koestler’s radio transmissions from this journey, noted for his vivid and entrancing account of what is essentially a largely invariant terrain of ice and snow; however, his newspaper dispatches are part of the public record. The polar territories have now been extensively explored and mapped, and are far better understood than they were in Koestler’s time, yet their qualities of spatial and geographic disorientation remain as essential characteristics. This work re-imagines the spaces of these reports, presenting them in a contemplative framework to allow “a long view of long views”.					http://roving.net/videoworks/albedoprospect.html roving.net
ISEA2022: 27th International Symposium on Electronic Art	Alfabeto		El Centre d’Art Cal Massó	Marcel.lí Antúnez Roca	May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: Origins. Public event. “Alfabeto” comprises a wooden column with tactile sensors, a platform, an audio system and a computer system. A radar detects the presence of the spectator in the room and when someone comes in the pillar moans. When the user finally touches or embraces the column, it utters sounds. They are onomatopoeic sounds organized in four emotive states: anguish, pleasure, happiness and pain. A sensor situated in the top part of the column identifies and chooses the “emotive state”. Alfabeto emphasizes the idea of body interaction; the size of the trunk, its acoustic reaction and the need to take part physically all encourage the spectator to become involved in the game. It is normal to become emotional when listening to music or to cry when watching a film. These devices are good substitutes for human emotions. However, our relationship towards artistic devices is almost always passive. Alphabet, on the contrary, is an emotional prosthesis and, by its reaction, it invites us to shake off our passive receptor role and to become emotional players. http://www.marceliantunez.com/work/alfabeto/ [Source: https://www.beepcollection.art/marcel-li-antunez]					http://www.marceliantunez.com/work/alfabeto/
ISEA2020: 26th International Symposium on Electronic Art	Aliquid			Sabrina Ratté	Aliquid is a single channel video where the electronic signal is manipulated digitally to materialize into synthetic flesh. Slowly landing onto a glass architecture, this undefined substance is torn apart by sharp edges and eventually disintegrates into particules that spread into the atmosphere.		Original sounds by Roger Tellier-Craig Video and Soundtrack composition by Sabrina Ratté		Video	http://sabrinaratte.com/ALIQUID-2019	animation and video
ISEA2015: 21st International Symposium on Electronic Art	All Is Here From Now On		Alsco Laundry	Khan Lee and Andrew Lee	This work by artist Khan Lee has been developed as a site specific installation inside a mysterious vault at the ALSCO laundry facility that functioned for 50 years as a place to clean and store furs. The vault has never before been opened to the public. The work is a multi-channel original sound track composed by Andrew Lee of HolyHum and recorded in collaboration with HolyHum.				Site specific sound installation
ISEA2014: 20th International Symposium on Electronic Art	All The Seas in the World		A4 Space	Maja Kalogera and Martina Mezak	All the Seas in the World is sound installation in which sea water purity/contamination data is measured and translated to the sound.
ISEA2023: 28th International Symposium on Electronic Art	Altar for Cosmic Talismans		École des Arts Décoratifs	Lucile Olympe Haute	Juried artwork. Exhibition ‘AI, Kombucha, and Cyberfeminism’ at École des Arts Décoratifs, May 16 – 21 The altars for cosmic talismans compose a space of remembrance of the different facets of the same form of life. The staged discs can be perceived as material experiments, waste from a beverage production or ritual objects. They invite us to question what we believe in, our collective values and their influence on our relationship to the world, the ways we have of collaborating with, caring for, cultivating or exploiting other living beings. The Great Cosmic Talismanwas cultured from a mixed strain. Received the same week of June 2021 from Alexia Venot on the one hand and Maya Minder on the other, mixed, maintained and drunk all summer and autumn, until January 2022 when she met the Vivant Kombucha strain that gorged the bequeathed cellulose for the Biomaterials, Fermentation and Kombucha workshop in Unîmes. A few months later, cultivation with these liters of starter took place in Limbes in Saint-Étienne, before returning to Nîmes to seed the tea prepared with Jeanne Mainetti and the help of Melissa Marquet. It grew and then dried at the University of Nîmes during the summer of 2022. Untreated until last January, it received a two-sided massage with Vivien Roussel’s linseed oil / turpentine / beeswax recipe for thr34d5. Like the symbiosis that constitutes it, it is only relations and circulations: commensalism, predation, mutualism, competition, amensalism… In collaboration with Olivier Lellouche, Mial Watkins and Jeanne Mainetti. Thanks to Eugénie Zuccarelli, Mélissa Markai, Christophe Pornay and the University of Nîmes.					https://lucilehaute.fr/cosmictalisman.html
ISEA2018: 24th International Symposium on Electronic Art	Amongst Us		Denis Hurley Centre	Thobile Maphanga, Shelby Strange, and Shanelle Jewnarain	Our project takes a look at certain statistics about specific locations in Durban. These will be represented through dance and broadcast in highly populated areas in the city for public consumption. The public will be given the opportunity to vote whether they agree or disagree with the statistics via answering simple questions that should show what their interpretation or experience has been. This will then show how similar or different public perception is to specific data. In this way we hope to encourage the public to become more aware of their environment and engage with statistics that are readily available but hardly ever given the time of day.		Contributors: Paul Jones, Kirsty Ndawo, Justin McGee, Clem Hennessy & Patrick McGee Studios.		Performance
ISEA2002: 11th International Symposium on Electronic Art	Anagma Live Performance Oct 30		"Fuji" Antarctic Museum
ISEA2019: 25th International Symposium on Electronic Art	Analytical, Hun-Min-Jung- Ak (Korean Letter), Morse ㅋung ㅋung (Morse Kung Kung)	2019 Overview: Concerts & Performances	Asia Culture Center (ACC)	Tacit Group	The major characteristic of Tacit Group’s work is not just creating a video that fits well with the music, but the visuals and music correspond with each other. For this event, the group presents Analytical, a piece that unfolds the music and visuals together. On this piece, Tacit Group transfers sounds into graphics through an analysis called ‘Fast Fourier Transform’. Then they create a basis waveform using this graphic’s figure. The first step of this piece is the Tacit Group’s execution on stage. Then the sound visualizes as graphics, which becomes its own sound, real-time. In the end the loop of graphics and sounds transforming to each other, is improvised as an audio-visual performance. Hun-Min- Jung- Ak (Korean Letter) (2018) Hanguel is the only letter in the world that the people who created it, the date of proclamation, and the principles of creation are exactly identified, and is registered as UNESCO Memory of the World. The piece which got the major motif from vowels and consonants of Hangeul, Morese ㅋ ung ㅋ ung, and Tacit Group’s representative piece Hun-min-jung-ak will be on stage. The combination of consonants and vowels that the players type in builds the music of Hun-min-jung-ak, and it is based on the principles of Hangeul creation. The basic rule of Hanguel creation is that the letters are made via horizontal and vertical constructions, and the components of the letters are based on the actual sound of the letter. Tacit Group used these two rules and materialized the piece by computer programming. When a player types in, each component of a letter changes into corresponding sound. Players make abstract shapes by combining consonants and vowels, or talk to the audiences by typing in letters with meanings, thus improvising the performance. Being able to communicate with the audiences via Hangeul, which also is the main music and video itself for the performance. Morse ㅋung ㅋung(Morse Kung Kung) (2018) This piece is also based upon Hanguel, the Korean alphabet. Like our world, there is no distinct line between determinacy and indeterminacy in the world of sounds. Morseㅋung ㅋung visualizes/sonifies this ambiguity with a whole new rule of connecting principles of morse code and Korean alphabet. When a performer types in a Korean letter to a computer, it changes into sound with specific rhythm. This rule seems natural at first. But if taken with a closer look, the performer’s contingency of unpredictable text writing is involved. Hence, it brings life into the world of sounds where determinacy and indeterminacy clashes. Organized and sponsored by Art Center Nabi
ISEA2022: 27th International Symposium on Electronic Art	Anatomies of Intelligence	2022 Overview: Concerts & Performances:	Santa Mònica		In the Anatomies of Intelligence performance we create an intricate and intimate experience that centers around a demonstration/dissection of a single unsupervised learning algorithm, “K-means”. Inspired by the anatomical theatre of the early-Enlightenment, the performance unfolds in a unique setting whereby the two artists sit around a circular table with their laptops, sending javascript commands to a server which relays those commands to a bespoke audio-visual performance “theatre” based in the web browser that is accessible to a global audience during the performance. Simultaneously, in-person the same distributed platform is used as the core audio-visual material to create an immersive experience for the audience on site where each step of the algorithm is slowed down, made visible, audible and felt. Amongst our focus points are those that relate to tacit knowledge and a reliance on the senses when accumulating knowledge about bodies and body-like structures. The concept of “aesthesis” has been especially useful in shaping our work; aesthesis is a somewhat obscure term occurring in eighteenth-century European medical and philosophical dictionaries describing “the faculty or power of sensation” (1) in scientific practice. Our concept of aesthesis shapes a methodology for this project that looks at the “sensory power” displayed by machine learning algorithms, their representations and sets of training data. Our research has been feeding a growing dataset and online repository (2) which gathers terminologies and techniques for a critical examination of the “anatomy” of learning and prediction processes and models of machine learning algorithms. The same platform is used to explore, through a performance practice combining live-coding, voice and meditative reflection, how such a collection and an artisanal algorithmic toolkit can confront the idealized bodies of artificial intelligence — its representational structures and sense-making processes. (1) Hendriksen, M.M.A., 2012, Doctoral Thesis, Leiden University. (2) Link: https://anatomiesofintelligence.github.io/catalogue.html
ISEA2022: 27th International Symposium on Electronic Art	Anatomy of a Fatberg		MACBA - Convent dels Àngels	Andrea Palašti, Sanja Anđelković, Stefana Janićijević, and Jovana Pešić	Taking the Fatberg as a metaphor of a new artificially created intelligence, the work represents an instant game of chance, where the only winner is the Fatberg itself. By clicking the “flush” button, the Fatberg is fed by our digital database: combining wastewater quality data and a vast number of analytical data taken over from the Statistical Office of the Republic of Serbia. It is a collection of our own heterogeneous by-products collected for over 20 years, from data on microbes to astrophysical measurements, toxins in the Danube, but also data on employment, bank accounts, calls within the telecommunications network, data on newborns, divorces and drug addicts in our country, amount of food consumption, on the value of dinar, on housing, on migration and tourists, on city traffic etc. Everything that makes life around us and everything that leaves garbage and floats further, refining new data and making possible for the Fatberg to (re)form.				Intallation art	https://anatomijafatberga.info/	Fatberg, data visualisation, and data garbage
ISEA2018: 24th International Symposium on Electronic Art	Ancient Journeys: Waters of the Past		Ushaka Aquarium and Beach	Tracey Meziane Benson and Josiah Jordan	Journey of the Ancients is a collaboration between Tracey Benson and Josiah Jordan. The project explores the iconography of the sea and natural environment as a juxtaposition to ancient runic symbols. These symbols represent a culture and language lost as well as a ‘proxy’ for ancestral links to the old country. This video installation features an audio composition created by Josiah using Tracey’s DNA. The raw DNA data was translated into MIDI notes and assigned instrumentation for each chromosome relevant to Tracey’s Norse ancestry. The resulting composition connects the audience to this ancestral link, while providing an abstract space for contemplation. Journey of the Ancients seeks to create a meditative space for audiences, one that takes them on a journey to the inner world of deep contemplation. Although the material is a reference to Tracey’s ancestral connections to Norse culture, the imagery and sounds are intended to evoke connection much more broadly. The use of the Runes is both as a means to connect ancient knowledge but also as a pathway to greater earth awareness. Each of the 24 runes from the Elder Futhark responds to an aspect of nature – both the natural world and our human nature.				Video installation	https://traceybenson.com/2018/06/25/ancestral-journeys-at-isea-2018/
ISEA2002: 11th International Symposium on Electronic Art	And a flower blooms		Shumokukan	Naoko Ishizaki	[e] movie works
ISEA2014: 20th International Symposium on Electronic Art	and all watched over by machines of loving grace : Donna Szoke		Al Fahidi Historical Neighborhood		Eyes on video monitors track viewers as they move. Initially, it’s almost comic, but gradually reveals itself as an unsettling comment on the ubiquitous nature of contemporary surveillance technology.
ISEA2014: 20th International Symposium on Electronic Art	Andante		Zayed University - Dubai	Maitha Demithan	It is a response to a workshop given by Italian artist Fabrizio Plessi that refers to a metaphor resonating with “the fluidity inside of us”, the fluidity that makes it possible for identities to be formed and cohered.
ISEA2019: 25th International Symposium on Electronic Art	Angel – MINDSCAPE		Asia Culture Center (ACC)	Claudia Robles-Angel	MINDSCAPE is a metaphor of what we are becoming in this digital era. Like most people nowadays, the performer appears isolated and hooked up with a computer, his/her body connected to and surrounded by light wires, creating a distance between the own body and the environment, symbolizing the desire to become a machine or cyborg that attaches artificial technologies to its own structure. The performer appears rigid on the stage, but her inner emotional states give continuously movement and transformation to the audiovisual environment. In MINDSCAPE, the performer interacts with a light structure made by electroluminescent wires and sound via a BCI (Brain-Computer interface), which measures her brain waves, which create and control the light and sonic environment. The visual environment is created by a light structure made by electroluminescent wires (EL wires). The EL cables glare when applied to an alternating current (AC). Hence, once the AC has been activated, the data of the performer’s brain waves from the openEEG interface is utilized in order to turn on/off different cables and in different tempos. The sound section of the work consists of a surround soundscape which changes depending on the information coming from the performer’s brainwave activity				Electroluminescent wires, arduino, immersive sound and openEEG interface	http://www.claudearobles.de/
ISEA2018: 24th International Symposium on Electronic Art	Anima		Ushaka Aquarium and Beach	Ofentse Letebele	Anima explores the individual space of the unconscious mind of the male. This seemingly dormant part of the mind is the feminine principle, and lies constantly active based on Jungian theories. Through the abstraction of pixels, the artist attempts to simulate and animate the metamorphosis of the relation between the conscious and the unconscious in its transcendental chaos. The simulation is further accompanied by trance inducing tribal chants that are multi layered to express and trigger the unconscious mind. Within the context of Batswana people and Bantu people at large, a man’s sensitivity must often lie repressed. Due to this conventional outward composure, the inwardly directed anima becomes one of the most significant complexities in its autonomy. The feminine unconscious carries important psychological qualities within a man, and thus creates the necessary balance of archetypical consciousness.				Video Installation	https://vimeo.com/138295601
ISEA2023: 28th International Symposium on Electronic Art	Animated Intro for the Third Summit on New Media Art Archiving		Forum des Images	Peter Sweenen, Robin Noorda, Alfred Marseille, and Wim van der Plas	Screening, Forum des Images, May 19-20 Animated Intro by Peter Sweenen for the Third Summit on New Media Art Archiving, as part of the 28th International Symposium on Electronic Art, ISEA2023, Paris, France. Peter Sweenen: Artistic director and animation Robin Noorda: Compositing Alfred Marseille: Soundscape Wim van der Plas: Production Imagery came from the ISEA Symposium Archives, Sounds used were provided by Seth Shostak of SETI, Stelarc (his 1990 ISEA performance and the Way Back Machine.
ISEA2018: 24th International Symposium on Electronic Art	Animated Truth: Niran		Durbin City Hall/Durban Art Gallery	Kimara Moodley	Animated Truth – Niran is the beginning of a series of Polaroids that tell only half the truth. The Polaroid is a traditional format of documentary, whilst animation is considered far removed from documentary. However, in this piece the animation will inform the truth by giving life to the experienced truth that cannot be captured with Polaroid film. The piece is a standalone piece that demonstrates how a story of trauma that defines a person can be told with more meaning using the experiential world – the other world – created by animation.
ISEA2019: 25th International Symposium on Electronic Art	Anomy, for U.S. News		Asia Culture Center (ACC)	Megan Monte and Brian Questa	Anomy, for U.S. News is a generative audiovisual artwork constructed with C# and Supercollider code to redact words containing the letter “e” from news streams across the United States in real time. Streams of text and black redaction boxes are programmed to circulate around viewers and generate notes in a musical score that neither repeats nor ends. Reminiscent of both piano rolls and classified documents, the work is intended as a diverse musical work and a thought-provoking visual record navigating mass media, censorship, and language in contemporary society. The term “Anomy” was popularized in Emile Durkheim’s 1897 sociological study of the social roots of suicide and is commonly defined as a condition characterized by a breakdown in social values and norms. The multivalent qualities of contemporary media experience produce such breakdowns in language, truth, and meaning, as typified by disinformation campaigns and the cultural emergence of “fake news.” Inspired by constrained writing and concrete poetry such as Georges Perec’s “La Disparition,” we use the lipogram as an interpretation-form, emphasizing issues of subjectivity and control as well as conventions of style and language in news media. Centering itself around the loss of “e” both in text and sound, Anomy, for U.S. News seeks to induce viewers to contemplate new linguistic structures in a condition of absence				Media Installation with RSS and XML feeds, C# code, Supercollider code, video projection, and sound	http://patrickmonte.com/anomy.html
ISEA2016: 22nd International Symposium on Electronic Art	Another Day of Depression in Kowloon			Ip Yuk-Yiu	Ip’s recent works constitute dynamic and thoughtful explorations of hybrid and computational forms of cinema. Another Day of Depression in Kowloon (2012) is an excellent example: appropriating maps and images from the popular video game “CALL OF DUTY: BLACK OPPS”, Ip conducted a yearlong session of virtual “fieldwork” in order to conjure up a poignant, surprisingly poetic and evocative digital portrait of Hong Kong. The artist calls his work “a ballad for post-colonial Hong Kong”, writing that: [The work] turns the violent visual field of the first-person shooter into a series of vacant yet uncannily meditative tableaux, unearthing a formal poetry that is often overlooked during gameplay. The piece combines methodologies from observational and assemblage film traditions in raising questions about cultural representations in contemporary popular media, while at the same time creating evocative metaphors through the reworking of media materials. [source: artradarjournal.com/2016/07/06/no-references-9-hong-kong-video-and-new-media-artists-part-1/]
ISEA2016: 22nd International Symposium on Electronic Art	Another Kind of Chess Game		National Palace Museum	Jeffrey Shaw	Original work of art: Chinese chess board painted on the back with flowers of the four seasons by Giuseppe Castiglione A 3D computer graphic representation of Castiglione’s painted chessboard is horizontally projected onto a low table. The viewer uses an array of sixteen buttons, mounted on a pedestal, to flip each of the board’s sixteen segments and thereby create different combinations of its painted and chessboard aspects.					https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
ISEA2016: 22nd International Symposium on Electronic Art	Antarctica Underwater		International Commerce Center (ICC) Tower	Cynthia Beth Rubin	Antarctica Underwater is largely constructed from incidental footage collected in icy cold Antarctic waters, hundreds of meters below the surface, as a seal bumped into an underwater camera and a serene jellyfish floated by, as did a ctenophore. Woven into these videos are the microscopic plankton comprising the primary focus of the Oceanographic researchers: barely visible shrimp-like krill, (food for seals, penguins and whales), and the microscopic plankton that produce half the oxygen in our environment. This work is intended as a subtle reminder that Antarctica is part of our world and life there is essential for our survival.		Collaborator: Susanne Menden-Deuer; additional researchers in M-D lab, U of Rhode Island Sound credit: Bob Gluck		Projection Mapping Installation	http://cbrubin.net/open-sky.html
ISEA2020: 26th International Symposium on Electronic Art	Antibodies			Daniel Iregui	Antibodies is an interactive experience in the form of a never-ending video call. Participants only show up and do not have to say anything. Anyone can join at any time and all contributions are accepted. The experience uses the webcam to track the face of participants and record their face gestures. It was commissioned by the Maison de la culture Ahuntsic, in Montréal (Canada), to replace an exhibition of 3 interactive installations by the same artist.		Created by — Daniel Iregui and Studio Iregular Coding — Guillaume Turgeon and Hugo St-onge Visuals and Sounds — Daniel Iregui Coordination — Marilyne Lacombe Curator — Liette Gauthier Presented by — Maison de la culture Ahuntsic		Webcam	https://antibodies.webcam/	artificial intelligence, AI, audience tracking technology, and CURSOR
ISEA2002: 11th International Symposium on Electronic Art	AOKI takamasa Live Performance Nov 1		Diamond Hall
ISEA2020: 26th International Symposium on Electronic Art	Apple-based Material			Daniëlle Ooms	Daniëlle Ooms graduated in 2019 from the Industrial Design Bachelor at the Technical University of Eindhoven, with her project Apple-Based Material. For her graduation, she constructed garments made out of her own biodegradable material, completely based on apples. She is currently studying the Master Industrial Design at TU/e, where her main focus is developing materials for a sustainable fashion future while provoking a conversation about the current fashion industry.				Garments made out of her own biodegradable material, completely based on apples	https://www.danielleooms.nl/apple-based-material	Bio Art, Apple, Biodegradable, Design, and Fashion
ISEA2022: 27th International Symposium on Electronic Art	AquA(l)formings – Interweaving the Subaqueous		Santa Mònica		The AquA(l)formings project addresses the possibility of an empathic human relationship to more-than-human entities, drawing on Donna Haraway’s notion of “tentacular thinking” as the ability to perceive the world through empathizing with more-than-human entities. The project explores changes in the marine environment caused by human presence and tries to imagine how the new conditions (rising sea levels and water temperatures, new chemical composition, etc.) affect its inhabitants. Seas and oceans record such environmental changes as memories, either in individual organisms or as distinct shifts in ecosystem structures. AquA(l)formings is a multilayered installation exploring “aquatic sensing.” The physical (biomaterial sculpture) and digital (audio, video AI models that interact with sensory data) form a tangible experience of changing conditions in the coastal environments. The artists trace “threads” of the noble pen shell (Pinna nobilis), a marine inhabitant that has always aroused the curiosity of scientists and others involved with the sea, and use it as a visual synonym for the more-than-human entities. Today, however, the noble pen shell has succumbed to disease caused by environmental changes in the Mediterranean. The use of AI technologies helps visualize the past and the future of the noble pen shell, and the vast underwater meadows of the Posidonia oceanica seagrass in the northern Adriatic Sea. By presenting its story, the artists help to initiate research to explore the use and improvement of new biological materials that would not threaten the existence or habitat of certain organisms.				video
ISEA2020: 26th International Symposium on Electronic Art	Aquadisia			Stephanie Rothenberg	Aquadisia explores the queering of biopolitical power in the quest to engineer nonhuman life for human survival. For ISEA 2020, the project manifests as an immersive website and participatory performance about a new species of cyborg oysters that can cure climate change. Merging fact and fiction, the narrative centers around the genetic modification of a new species of cyborg oysters that can convert toxic water into an aphrodisia-inducing fluid. Harvested in innovative aquaculture farms, the fluid is piped into municipal water sources. By simply turning on your kitchen faucet, you can pour a glass of this magical liquid and take part in a more-than-human experience. Playing on the libidinal myth of the oyster, a hermaphroditic organism, the project explores aphrodisia as a more sentient state of being and empowerment. The sensations move beyond mere sexual connotations into an awakened state of “Aquadisia” – a Sentience 2.0. It questions the contradictions within new technological models of bioengineering that can often adversely affect nonhuman life, and how creating more sentient and perceptible “humans” might be another path to consider. The immersive website offers a glimpse into how the science meets a new Sentience 2.0. To participate in the performance, participants must log-on to the website and connect to the Aquadisia Network. And be sure to have a glass of water ready!		Performers: Lindsey Griffith, Annette Daniels Taylor & Felipe Shibuya Website designer: Caco Peguero/United Futures		Website and participatory performance	https://www.aquadisia.net/	Online Performance, Internet Based, Cyborg, and Participatory
ISEA2023: 28th International Symposium on Electronic Art	Aquatilium 0.2		Topographie de l’art	Golnaz Behrouznia	Fusion of the Possible, Topographie de l’art, April 15 – June 15 Oil sculpture series, 2014-2023 Mixed materials (oils, mineral gelatin, pigment, cast pmma, polymers, cotton, fabrics, motor, light system), 22 x 22 cm each. Device design Rémi Boulnois Photos Matthieu Fappani, Golnaz Behrouznia The series benefited from individual assistance in the creation of the Drac Midi Pyrénées 2014 Courtesy of Adagp, Paris. [Translated from french by Google Translate] “It’s hard to name what’s submerged in the glass containers of Golnaz Behrouznia’s Aquatilium 0.2 series, whose aesthetic often invokes the life sciences. She reminds us of the essential role of observation in both artistic creation and scientific research. Initiated in the artist’s studio-laboratory, these floating pieces are only completed with comments from observers. So it is that each and every one of us projects ourselves into such abstractions, daring to make our own personal interpretations, just waiting to be exchanged with others. And isn’t that what ideas are all about, in art as in science?” _Dominique Moulon, 2023 “Golnaz Behrouznia work on an extension of her Floating Pieces series, called Aquatilium. She brings movement to her sculptures, in the liquid they contain. It thus comes to remember the movement of the planets or the tremors of the flesh … The artist organizes the space of the room in the manner of an imaginary laboratory, with astonishing forms referring to those of microscopic nature, to chemistry, or even to elements of fiction. _Bérangère Brecqueville 2014					https://www.golnazbehrouznia.com/aquatilium-02.html
ISEA2014: 20th International Symposium on Electronic Art	Arabesques		American University in Dubai		By combining computational design and clarinet playing, I create performances that demonstrate a close affinity between music and visual imagery. For ISEA2014, the highpoint of my performance of Visual Music will be a work produced specially for the event – it’s called Arabesques. In advance of this, he performed two other works – ‘Memories are Made of This’ and ‘SHAPES’.
ISEA2016: 22nd International Symposium on Electronic Art	Archipelodio			Cedric Maridet	Location: Pier 9, Central Ferry Piers Archipelodio is an immersive audio app that connects listeners in an artificial network. It is an experimentation in generative sound composition. In the system, the simple act of being a listener with a particular geolocalisation is a determining factor to generate the real-time evolution of the composition over time. The composition is created from a growing database of processed and non-processed field recordings from Hong Kong, and voices of the city taken from local films’ dialogues. [source: appadvice.com/app/archipelodio-hk/1105222329]					http://appadvice.com/app/archipelodio-hk/1105222329
ISEA2018: 24th International Symposium on Electronic Art	Architectural Light	2018 Overview: Public Events	Durbin City Hall/Durban Art Gallery	iGuzzini Illuminazione	During the 2018 International Symposium on Electronic Art in Durban, South Africa, iGuzzini participated as a partner to highlight the efforts of the industry in finding relevant approaches for everyday challenges.				Light Projection	https://www.iguzzini.com/
ISEA2018: 24th International Symposium on Electronic Art	Architecture of Exclusion		BAT Centre	Daniel Lima	Architecture of Exclusion came about as a process of research-action created by the Frente 3 de Fevereiro and Afrofuturismo collectives. In this audiovisual production, we propose questions about the visible and invisible walls that permeate urban centers. A giant ball that reads “Haiti Here” was used to trigger dialogue and encounters. Is Haiti here? Responses from the Ipanema and Rio Carnivals reveal the territories of our historical perspective.				Video	https://conversationsingondwana.tumblr.com/
ISEA2022: 27th International Symposium on Electronic Art	Archiving New Media Art Archives		MACBA - Convent dels Àngels	Byeongwon Ha	The average time to stay on a web page is about 15 seconds. In the Tik-Tok generation, how do users utilize new media art online archives? Without any browser menus including the address bar, Archiving New Media Art Archives only allows visitors in a gallery to use the mouse to navigate online archives with hypertexts and hyper-images. Whenever users click the mouse button, the computer takes a picture of a small portion around the mouse cursor and places it on another screen, which is invisible to users. This project visualizes how online users access new media art resources in a collage way. When they click five times to surf the online archive, the computer automatically turns to the next archive website. Users visit Prix-Ars Electronica Archiv first, then ACM SIGGRAPH Art Show Archives and ISEA Symposium Archives in order. In the end, this project generates a collage image based on the users’ search activities on those three archive websites. After each exhibition day, this project posts the final collage image on social media. In non-real time, as a spatial collage image, this project documents how users consume those archive resources and how users can reach different resources. This project is based not on scientific research about users’ online activities, but on an artistic method to visualize users’ history of access to online archive resources and examine users’ surfing consumption patterns on archive websites. As a delayed interactive art project, Archiving New Media Art Archives provides viewers with a certain time to appreciate the original purpose and function of digital art archives. This will contribute to not only showing how online new media art archives work, but also making creative spatial collage images with time-based online activities during the Second Summit on New Media Art Archiving at ISEA2022.				Netart	https://youtube.com/watch?v=XNhT0NgKlV8%2520	archive, Max8, Ars Electronica, ISEA, SIGGRAPH, and Social Media
ISEA2022: 27th International Symposium on Electronic Art	Arrels		La Capella	Anna Carreras	Anna Carreras’ work has a strong relationship to the Spanish landscape where she spends her time, and her piece in Social Codes, “Arrels,” connects drawing, code, and the environment through a cycle of growth and decay. While Anna looks to nature for the source of her work, she interprets and transforms her experience into carefully choreographed generative animation. In “Arrels,” growing tendrils the color of earth and sky collide in a vibrant dance. New growth in the arid soil overtakes the old, and the cycle continues. Text by curator Casey Reas.					https://www.annacarreras.com/arrels/	generative art and complexity
ISEA2013: 19th International Symposium on Electronic Art	Arrivals		Sydney Harbour Foreshore	Marco De Mutiis	Clack, clack, clack – does that sound remind you of something? The moving sections of Solari Board flap displays echoed throughout airports and railway stations around the globe before the advent of LEDs, leaving their distinctive sound and mechanisms embedded within local and personal memories that span half a century. This installation, based on a disused Solari Board, attempts to piece together and offer up a fragmented universe of personal memories, from local archival documents, images, footage and interviews. Continually reconfiguring itself erratically, it searches for bits and pieces of the past; thus data is interwoven with imperfect human memories to create a hybrid and dynamic text-based representation which lies between a past that is being distanced and one that is being remembered – revealing the problematic natures of history and memory, of information and communication, and of our experience of time.
ISEA2013: 19th International Symposium on Electronic Art	Arrival–Departure (2013)		The Concourse	Dr Tom Carr	Art Plural Gallery, Singapore, and Streaming Museum are pleased to present a new public work by Spanish artist Tom Carr. Titled Arrival – Departure, the digital video shows silhouettes of urbanites ascending and descending an escalator within the frame of a pinhole. Arrival – Departure is touring Streaming Museum’s partnering public screens around the world. Arrival – Departure is a simple vignette of an instantly recognisable scene – of people riding escalators – that evokes contemplation of urban existence. They travel along the same path within the same space, and yet there is no communication. Depicting both the individual and the archetype, the silhouettes portray the universal condition of people in transit.					http://artpluralgallery.com/
ISEA2014: 20th International Symposium on Electronic Art	Art of Sound				Art of sound is a mechanism of self-expression developed to visualize sound. The system allows any individual to evoke their own work of art by simply attaching their laptop/phone to the machine and play their chosen audio track.
ISEA2023: 28th International Symposium on Electronic Art	Artefacts		Topographie de l’art	Julien Maire	Fusion of the Possible, Topographie de l’art, April 15 – June 15 2023 Two display cases 80 x 36 x 80cm and 36 x 30 x 80 cm, metal objects and notebooks.
ISEA2014: 20th International Symposium on Electronic Art	Artifice		The Fridge and American University in Dubai		An audiovisual performance using mechatronic instruments, aiming to highlight potential aesthetics of ignored aural/visual phenomena of the urban life, by shifting the medium/location in which they normally exist.
ISEA2002: 11th International Symposium on Electronic Art	ARTIFICIAL PARADISE		Assembly Hall, Nagoya Port Building		No statement available.
ISEA2022: 27th International Symposium on Electronic Art	Artwork / Tally Saves the Internet		Santa Mònica	Joelle Dietrick and Owen Mundy	Tally Saves the Internet is a browser extension that transforms data advertisers collect into a multiplayer game. Once installed, a friendly pink blob named Tally lives in the corner of your screen and warns you when companies translate your human experiences into free behavioral data. When Tally encounters “product monsters” (online trackers and their corresponding product marketing categories) you can capture them in a turn-based battle (e.g. “Pokémon style”) transforming the game into a progressive tracker blocker, where you earn the right to be let alone through this playful experience.				Browser extension	https://tallysavestheinternet.com/
ISEA2016: 22nd International Symposium on Electronic Art	At Play		Lau Ming Wai Academic Building, City University of Hong Kong	Marie-Claude Poulin, Martin Kusch, and kondition pluriel	At Play is a responsive audio-visual environment that invites visitors to make stacking combinations with plastic storage bins to build the architectural landscape of the installation. Miniature versions of containers that carry goods to world markets, these everyday objects are playfully moved around by visitors to the exhibition like pieces of an interactive puzzle. Resonance chambers, light sources and dynamic projection surfaces all at the same time, the boxes are integrated into a pattern recognition system that matches each sculptural composition with a particular visual and sonic atmosphere. The projected images and sound ambiances embed the visitors in fictional worlds in which they become the actors. The grey material of the objects, fused with the lighting of the projected 3D imagery, comes to life through multiple trompe-l’œil nuances. The acoustic universe takes its source from the immediate environment of the installation, and both image and sound undergo a series of transformations in real time that imbues the grey boxes with a mysterious expressive power that has political undertones.					http://konditionpluriel.org/projects/at-play
ISEA2023: 28th International Symposium on Electronic Art	Ataraxie		Le Cube Garges	Maxime Houot	Exhibition, Le Cube Garges, March 28 – April 1 Since 2013, Maxime Houot has created various sound and visual creations presented on the international scene. Exploring the limits of his own perception, he deploys an artisanal and conceptual practice. With a degree in applied physics, the world around him, even when put into equations, has always been a source of fascination and wonder. Most of his creations are produced by Collectif Coin, a company with which he also likes to experiment by crossing his work with that of other artists from other disciplines, such as dance, music and live performance. “Ataraxie” means “peace of mind”. This ballet of red lights, whose forms become more and more complex as the performance progresses, invites us to reflect on the meaning of tranquility in a world in constant motion. The installation explores the unknown and asks if we can fill it with the comfortable and familiar, or find new ways to live.
ISEA2016: 22nd International Symposium on Electronic Art	Atmoscape		Run Run Shaw Creative Media Centre	Dennis Del Favero	Adapted from Lenz by Georg Buchner Atmoscape is an experimental cinematic adaptation of the 1835 novella Lenz by George Buchner. Atmoscape interactively accompanies the protagonist as he traverses a spectrum of interconnected dream worlds generated through an Artificially Intelligent particle visualisation system, ranging from worlds composed by the microscopic particles of his body, through to worlds created by the macroscopic particles of the atmosphere as he floats 30,000 kilometres above the earth. Buchner, best known for his revolutionary drama Woyzeck, was also a biologist and one of the first scientists to argue that all things are interconnected, constituted as they are by the same primary matter, namely particles. Atmoscape interactively accompanies the protagonist as he traverses a spectrum of interconnected dream worlds generated through an Artificially Intelligent particle visualisation system, ranging from worlds composed by the microscopic particles of his body, through to worlds created by the macroscopic particles of the atmosphere as he floats 30,000 kilometres above the earth. Each world a door that opens unexpectedly onto the next. Experimental Study component of Australian Research Council (ARC) Discovery Grant ARC Discovery Grant Investigators: Dennis Del Favero, Jill Bennett, Neil Brown, Jeffrey Shaw, Peter Weibel, Ursula Frohne, Johnny Chan with Som Guan, Volker Kuchelmeister, Rob Lawther, Alex Ong, Steven Sherwood.				Interactive artificially intelligent experimental film
ISEA2014: 20th International Symposium on Electronic Art	Audiolfactory Creolization		American University in Dubai	Gwenn-Aël Lynn	“Audiolfactory Creolization” is an interactive installation which combines sounds with smells to reveal the complexity of creolized identities in Chicago. I started this project in 2009 by engaging in conversations with community members who shared a “mixed” experience: mixed race, mixed culture, transgender, bilingual or trilingual, and especially people who, through personal experience, have come up with their own definition of hybridity. I asked them to relate their experience to scents. The scents are: Pressurized Air, Tibetan Incense, Pine Tree, Tree of Heaven, Fresh Cut Grass, Soil, Chinese Incense and Moth Balls, Chai, Rum, Tar, Leather. In addition, I collaborated with sound artists to create audio files that would supplement the scents, and would thus assist the visitor in recognizing and understanding the fragrances. The sonic structure of each audio file also attempts at expressing “creolization.” Thus sounds and smells converge to propose a fragmentary experience of creolization in Chicago. There are five audio tracks associated to each scents, so there is a total of 55 audio tracks (11 X 5). Each time a visitor activates one of the scent diffusers, one of these five tracks is randomly chosen by Pure Data from its pool of five. Hence it ensures a rich and diverse aural experience, while managing the flow of information, should the visitor decide to linger. The interactive component of this installation was built with Processing and an Arduino board and used computer vision to monitor the displacements of visitors.
ISEA2018: 24th International Symposium on Electronic Art	Augmented Abstraction		Durbin City Hall/Durban Art Gallery	Yane Bakreski	The subject of the installation is the inter-spatiality in art. The key challenge is to detach color (sensations) from form (representation) and make the creative process aboveboard i.e. to deal openly with the audience. “Augmented Abstraction” deals with the creation of a simple Augmented Reality (AR) system designed to create an immersive environment simulated by a computer. Consisting of a camera, computational unit and a display, the system is run on a tablet PC using a built-in camera. By using marker-based tracking, it captures the marker, which is a digitally painted nude depicted in a mode of everyday visibility, displayed on a large TV screen. The augmentation is in 3D, consisting of multiple parallel offset planes (and parallel to the marker), holding the Photoshop layers i.e. different abstract color patches, color patterns, brushstrokes etc. produced during the painting process, thus creating complex 3D abstract permutations. By using the AR technology, the final result is the chance to observe simultaneously the real world, represented in the mode of everyday visibility, and the virtual elements which exemplify the idea or the abstract code.			University of KwaZulu-Natal		http://yanebakreski.wixsite.com/artworks
ISEA2019: 25th International Symposium on Electronic Art	Aural Fauna: Illuminato		Asia Culture Center (ACC)	Eunsu Kang, Donald Craig, Chun-Liang Li, Songwei Ge, Austin Dill, Manzil Zaheer, and Barnábas Póczos	“HARMONIUM – The only known form of life on the planet mercury. The harmonium is a cave-dweller. A more gracious creature would be hard to imagine. – A Child’s Cyclopedia of Wonders and Things to Do.” _Kurt Vonnegut, Jr., The Sirens of Titan The Aural Fauna: Illuminato project presents an unknown form of organism, aural fauna, that reacts to the visitor’s sound and touch. According to The Sirens of Titan, Harmoniums eat the song of the planet Mercury. They are translucent but the yellow light from the cave wall turns into vivid aquamarine through their body. Inspired by the harmonium, the aural fauna is a family of creatures that becomes “alive” when there is a sound or touch fed into them. The fauna also sing a song in harmony to the visitor’s sound to express their acceptance of the visitor’s presence. The fauna’s bodies and sounds are generated using Machine Learning. The creatures’ bodies appear as 3D-printed sculptural objects or virtual form in the video projection. The unique form of each entity is designed by creative AI developed by the artist team. Their sound is generated in real-time in response to the participant’s touch. The tablet interface on a music stand and the microphone in front of the swarm is the terminal for the visitor to interact with these creatures. The visitor touches the tablet interface’s screen or sings to it then the aural fauna responds in lights and sounds. This project presents a utopian vision of the world where different species, possibly even machines, interact with each other with no fear and thus no rejection or hatred driven by the fear. The human visitor and the aural fauna create a harmony together.				3D printed objects, 4 channel loud speakers, machine learning algorithms (add,pdd) developed by the artist team, microphone, real-time sound generation system using wave gan algorithm and interactive audiovisual system developed by the artist team, touchpad interface, video projection	https://www.kangeunsu.com/2019/06/01/aural-fauna/
ISEA2022: 27th International Symposium on Electronic Art	Auspicis		La Capella		In ancient Rome, there was a ceremony where predictions were made observing the flight of birds. These predictions were called auspices. Today, prediction is in the core of technical and scientific discourse: from big data to the growing interest in machine learning techniques. Are these current techniques, consulted by companies and governments, the embodiment of the ancient auguries? This question is the seed of the installation Auspices. A contemporary oracle that replaces birdwatching with aircraft monitoring. An ADS-B device captures radio frequency signals from aircrafts and matches them with commercial aviation data. With every detection of an out-of-the-ordinary flight (private jets, luxury or military charter flights), the production of an omen is launched – an enigmatic message that appears on the LED screen. These are messages written by a machine -a neural network for text generation-, trained with a dataset of esoteric literature and macroeconomics prediction reports. As in the oracles of ancient times, the true art of these omens lies in their interpretation. By linking archaic divination arts with the predictive technologies of the present, Auspices asks for a critical reflection on the mythologies of prediction. Auspices funded by the art call UNZIP. The project uses generative neural nets in order to produce texts for a technological oracle, which launches predictions from real-time air traffic monitoring.				LED screen and ADS-B receiver	https://tallerestampa.com/en/estampa/auspicis/
ISEA2014: 20th International Symposium on Electronic Art	Autonomous Player Simulation		Lobo Listone Gallery	Alex Derwick, Ian Thomas, and Byron Rich	APS is an interactive near-future scale model of a gun that autonomously responds to viewer presence. It investigates the interrelationships between gaming culture, and military drone technology facilitated by communication technology
ISEA2016: 22nd International Symposium on Electronic Art	Awakening		International Commerce Center (ICC) Tower	Sami (OiOi Collective) Kamppi	This art piece visualises the amount of known orbiting exoplanets in habitable zone and gives hope that an amazing discovery is just around the corner. First exoplanet was discovered in 1996. At the end of 2015 astronomers have found over 2000 confirmed exoplanets with escalating speed. Over 250 planets were known to be in a habitable zone orbiting around their mother stars. Now we know what to look for and from where. Discovering extraterrestrial life forms would most likely have profound impacts on mankind and change the way in which we view ourselves among the stars and on Earth. Awakening.		Collaborator : Tuomas Kämppi / Composer
ISEA2016: 22nd International Symposium on Electronic Art	Awkward Consequence		Kll Art Village	Christian Clark, Tobias Klein, and Tomás Laurenzo Coronel	Awkward Consequence is a massive VR performance. It consists of individual experiences in a collective space. A live music performance attended that unfolds in a simultaneous virtual and actual experience. The performance offers a sequential experience inside VR that resembles a journey. Starting from traditional “classic” VR imagery, through the introduction of elements that seemingly defy the physical reality, participants are exposed to a new, awkward and uncanny space. The journey lasts for about fifteen minutes. The music is played in real time and it influences the VR world, creating an immersive multimedia experience. Originally inspired by the work of Paul Virilio, Awkward Consequence’s proposal appears contradictory: every participant shares an individual experience. The performance explores and stretches the notions of performance and place, existing in the simultaneous attending of an personal, unique, and private event.	Awkward Consequence uses the participants mobile phones together with Google cardboard-like viewers to experience its VR world. The app is built with Unity3D, with the 3D models and pre-rendered sequences done with 3DStudio. We created a local WiFi network that allows 100+ simultaneous users. Although the app pre-downloads the content, the performance is orchestrated by a server written in C++ using OpenFrameworks.				https://laurenzo.net/awkward-consequence
ISEA2018: 24th International Symposium on Electronic Art	B(I)e(e)(n)(d)ings: Augmented Ancestral Technologies and Electroacoustic Forms		DUT City Campus	Luca Forcucci, Cara Stacey, and Mpho Molikeng	B(I)(e)(e)(n)ding(s) is an on-going process based project, presented in Durban as a trio (Luca Forcucci, Cara Stacey and Mpho Molikeng) based on experiences and collaborations conducted by Luca Forcucci during last two years and a half in Southern Africa (Mozambique, South Africa and Swaziland). The performance merges ancestral and contemporary technology. This includes field recordings collected in the Limpopo region at the border of Botswana. The trio proposes an exploration of bows and wind instruments within an electroacoustic context. Partially written, the collaboration dedicates a big part to improvisation and live composition. The core idea relates to an hybrid form merging Southern African virtuosic instruments techniques, live composition, electroacoustic music technology and collaboration.				Performance
ISEA2015: 21st International Symposium on Electronic Art	Babil-on		Wong Theatre	Gregory Beller	Babil-on is a performance of augmented musical theater which metaphorically describes the fate of speech. If the birth of speech is marked by the enjoyment of phontation and the purity of the vowel, then babbling creates a hiccup of excitement and laughs when in crisis. At this moment an accident occurs: the irruption of a consonant. Through contagion, burst of disruption, and a continuous stream of linguistic actions, we can eventually impoverish the vocal material. In this work the word is exhausted by pure singing that allows us a return to original breath.				AV EXP	http://www.gregbeller.com/2013/10/℗-babil-on/
ISEA2002: 11th International Symposium on Electronic Art	Baby		Nagoya Citizens' Gallery Yada	Yutaka Koyanagi					oil on canvas
ISEA2023: 28th International Symposium on Electronic Art	Background_2022		ESAD Orleans	Lionel Broye	Exhibition usb #5 window(s) on course. St-Pierre-le-Puellier collegiate church and ÉSAD Orléans gallery, Orleans. March 30 – May 28, 2023 Background_ 2022 is an installation of several animations using the primitive codes of certain video games from the 90s (clear foreground, panoramic view, multiple integrated animations) hybridized in landscapes mixing real and artificial. The muscular mechanism of the installation, oscillating between graphic naivety and electronic DIY, is an alternative response to this other background, that of the energy coming from the wall socket which continuously powers our works and our connected lives. The design principle is based on the recycling of the previous version. Each new occurrence uses part or all of the materials from the previous one, which makes their simultaneous exhibition impossible. Background_2022 was created during the year 2022 on the basis of Background_2019. The main change is the addition of a wind generator to produce enough energy to run a RaspberryPi, a screen and two LED lights. The installation, theoretically self-sufficient but without actually achieving this, raises the question of the constant power supply for digital works and the energy required in our everyday lives. This installation also lays the foundations for recycling its elements to produce the next piece, so that each piece in this series cannot be exhibited at the same time as the others, they are all unique in space and time.					https://lionelbroye.org/background_2022/
ISEA2002: 11th International Symposium on Electronic Art	Bag making		Nagoya Citizens' Gallery Yada		Workshop
ISEA2018: 24th International Symposium on Electronic Art	Balance		Durbin City Hall/Durban Art Gallery	Colleen Alborough	In the play, A Delicate Balance (1966) by Edward Albee, the characters Harry and Edna arrive unexpectedly at their friends Agnes and Tobias’s house, with a request to stay for a while, as they need to escape an unnamed terror. In explaining this terror, Harry and Edna state: HARRY: There was nothing … but we were very scared. EDNA: We … were … terrified. HARRY: We were scared. It was like being lost: very young again, with the dark, and lost. There was no … thing … to be … frightened of, but … EDNA: We were frightened … and there was nothing. As a starting point, Balance draws inspiration from this quote. The animation explores the relationship between real and imagined fears. It considers the extent to which we can sometimes feel controlled by invisible, unnamed terrors. In mapping imaginary landscapes, Balance aims to reflect upon the negotiations and manoeuvres made within the complex, at times disconcerting and chaotic space of South Africa. By uttering the fear and searching for ways to describe the phantoms, Balance endeavours to present a way to deal with the feelings such fears inspire. A sense of play is used to confront these nameless terrors. With a spirit of mockery and laughter, I hope to highlight an element of the absurd present in the strange worlds of imagined fears.			National Arts Council
ISEA2002: 11th International Symposium on Electronic Art	Barbaric Song		Shumokukan	Adoka Niitsu	[e] movie works
ISEA2013: 19th International Symposium on Electronic Art	Bare Island		UNSW Art & Design, Kudos Gallery	Josh Harle	Bare Island is a work in a series of interactive video pieces each set at a different geographical site. The works run on a tablet, and allow the participant to navigate through a cloud of digital images corresponding to the viewpoints of the photographs used to build the work. These images suggests the original space through their distribution. Motion through the cloud and direction-of-view are controlled using the tablet’s touch-screen interface through swipe gestures, and after a period without interaction, the view will pull out and begin slowly moving through the space by itself. The works focus on aligning the position and behaviour of the camera with the viewpoint of a virtual inhabitant, giving an embodied experience of the virtual space. Navigation is driven by touch-screen gestures; the experience of interacting with the work an enveloped, tactile experience “moulded by hapticity and peripheral unfocused vision”. Looking around the space is smooth and intuitive, setting up a direct tactile engagement between the work and the audience through dragging the view, like moving foliage aside on a path through the jungle.
ISEA2018: 24th International Symposium on Electronic Art	Behold the Tilapia		Ushaka Aquarium and Beach	Kristine Diekman	You see the tilapia in Egyptian art, its fat lips and fleshy body, and again the unmistakable top fin. You see the fish in ancient Egyptian hieroglyphs, turned to the west, its long, tall dorsal fin reaching across its back. It is known as the mother fish. Able to survive and adapt. She keeps babies in her mouth until the time they can swim and survive on their own. She endures increasing salinity. First 40 parts per thousand. Then 50. Then 60. She is a survivor. But just barely. It is true. She has a bad rap. Over abundant, bad tasting, foul smelling, cheap. Climate change, water diversion, and evaporation is killing the Salton Sea. While she may survive this year and next, she has stopped reproducing. And when the sea gets too salty even for her, she will finally die off. And her home will become a vast toxic wasteland. She will die and the birds will die, and even the unsuspecting brine shrimp will die.				Film	http://www.kristinediekman.net/new-index-1#/the-tilapia
ISEA2016: 22nd International Symposium on Electronic Art	Beholder		International Commerce Center (ICC) Tower	Elena Knox	Beholder is a witness to everything happening below. Beholder cheers you on when you are down. Beholder gives credit where it’s due. Beholder lends moral support. Beholder helps you carry on. Beholder says keep going, You’re doing great, I believe in you, You’re a star, That’s right, Super, Yes.				Projection Mapping Installation	http://www.elenaknox.com/beholder.html
ISEA2018: 24th International Symposium on Electronic Art	Beneath the Red Sea; a New Form of Reef		Ushaka Aquarium and Beach	Marie Griesmar	This project was developed during a three-month Artists in Labs residency in Jeddah, Saudi Arabia. Here, Griesmar uncovered the necessary requirements for building durable artificial coral structures. What inspiredthe design of these sculptures is the different patterns and geometrical forms which can be observed in corals, sponges and other organisms that constitute reef environments. The shapes were analysed –from their molecular bases to their resulting final structures– and then interpreted into sculptures. The chosen material to build them is clay. When burnt, clay offers a great adherent surface upon which corals can prosper. Furthermore, the shapes conceived provide natural protective spaces in which a variety of organisms can find secure and comfortable dwellings. By organizing and combining the sculptures together in space, a new form of an artificial reef was created.				Film	https://vimeo.com/285998966
ISEA2016: 22nd International Symposium on Electronic Art	Berlin Calling		International Commerce Center (ICC) Tower	Marcel Schwittlick and Thomas Heidtmann	At the beginning of the sequence, a connection between two poles is slowly established. As the spark leaps over, the true to scale silhouette of the Berliner Fernsehturm flickers in. The Morse code for “Hi” is cast in circular waves. In a second phase, even more dots on the surface of the ICC are connected before the light is shut off. The art piece is an invitation for communication—between people, cities and artists. It is intended to bring a message from Berlin to Hong Kong and eventually, to extend a form of messaging across other cities around the globe. Credits : Lacuna Lab				Projection Mapping Installation	http://thomasheidtmann.de/Berlin-Calling/
ISEA2016: 22nd International Symposium on Electronic Art	Bestiary for the Minds of the 21st Century: Genomic Opera		Lau Ming Wai Academic Building, City University of Hong Kong	Marcello Mercado	3D printing errors (glitches). 3D remains and data mining process on genomes from mammals. Insects, fungi and bacteria converted into plastic 3D-printed objects.
ISEA2024: 29th International Symposium on Electronic Art	between language and country II		QUT Art Museum	Robert Andrew	Yawuru descendent, Robert Andrew’s work combines programmable machinery with earth pigments, ochres, rocks, and soil to mine historical and cultural events buried by the dominant paradigms of western culture. ‘between language and country II’ (2024) is constantly developing and translating—enunciating the complex connections between language and Country in physical materials that persistently build and evaporate. The land both informs and records lived experiences. Water pools, evaporates, and streams over land—its gradual lapping and flow captured in the white mineral lines at its shifting boundaries. ‘between language and country II’ invites you to stop, listen, and watch, as saltwater slowly drips from above—building and dismantling a written word in Yawuru Ngang-na, the artist’s ancestral tongue. ‘Buru—everything around you that you can see from the earth to the sky and also time’ Yawuru language is an oral and conceptual language that requires expansive discourse and emphasis on experiences, philosophies, ideas, abstractions, and connections. To truly understand a conceptual language is to know the land and experience its evolving form—to speak it brings Country into the vocal cords and into the bodies of the people—its resonance is held within the land it’s born from.					https://isea2024.isea-international.org/between-language-and-country-ii/
ISEA2018: 24th International Symposium on Electronic Art	Between Philosophy & Crime		BAT Centre	Paulo Nimer Pjota	Pjota’s work focuses on an in-depth study of popular iconography. His interest is mainly in the mechanisms and processes that produce, edit and diffuse human manifestations in an era of the internet and electronic communication. His works carry a selection of images, colors, symbols and supports that dialogue with emerging sociocultural principles peculiar to peripheral regions. Through small objects, architectural and symbolic, customary to these localities, he investigates the close relationship between culture and survival and how these permeate aesthetics and life.				Video	https://www.instagram.com/p/Bkm1fR4BecD/
ISEA2020: 26th International Symposium on Electronic Art	Beyond now			Jayce Salloum	“In and out of quarantine time pondering how to tackle the point that we find ourselves in now and the unforeseeable future and the politics of fear, regression, pain, promise and hope that surround me. I’ve started and stopped several stabs at things, your message comes at an opportune albeit heavily pressurized time. I don’t produce work upon such short notice, with a short time frame, usually labouring over projects for years, trying to produce something resonant. Nevertheless I am interested in trying to think this through into something useful. Your enthusiasm is convincing and breaks my indeterminate ennui. I had started collecting fragments of text, correspondence with others and writing bits and pieces since I got back here (literally from the jungle) so am making it somewhat of a daily practice. It’ll be a sutured manifesto disguised as poetic ramblings and rants out into the void.” – Jayce Salloum				Series of texts	https://www.sfu.ca/galleries/audain-gallery/past1/ThePandemicisaPortal/Salloum.html	Text, Instagram, and ethnocultural art
ISEA2018: 24th International Symposium on Electronic Art	Big Man		Durbin City Hall/Durban Art Gallery	Yane Bakreski and Michelle Stewart	The installation “Big Man” is inspired by Michelle’s PhD film, which is an animated film called “Big Man”, internationally awarded in 2016. The installation echoes the theme of the film, which is the corruption of power, both in the South African and international contexts. The inspiration for the installation came from the last scene of the animated film, which emphasizes the notion of the corrupt, laughing figure. So, this notion of the “big man”, this notion of the corruption of power is carried over to the installation. Another important thing is the underlying Biblical theme, which brings the narrative into a broader context. In the installation it is the reflection of Michelangelo’s “Last Judgement”. It has support of the underlying broader Biblical theme that is juxtaposed with the nuances of the South African context. The idea of the installation is to expose the “big man”, the corrupted laughing figure sitting on top of society, while at the same time all of the common people beneath are suffering because of the corruption, and their souls are captured in hell without having a way out. So, the installation consists of 20 screens attached on a wall (the wall of judgement) depicting these “captured souls”. On each of the screens there is a very short video loop, different close-ups of suffering bodies. The visual reference is the western wall of the Sistine Chapel and the suffering bodies from the fresco. On top of the installation is the biggest screen showing the “big man” laughing. It is again a very short loop of an animation depicting (like in a metamorphosis) the laughing face of the corrupt “big man”. The whole atmosphere is enhanced with repeating sound effects, like laughing voices, voices of suffering souls, voices from hell, and so on.					http://janebakreski.wixsite.com/yane
ISEA2016: 22nd International Symposium on Electronic Art	Big Moon Hong Kong		International Commerce Center (ICC) Tower	Clea T. Waite	Big Moon Hong Kong evokes the power, presence, and emotional gravity our Moon commands, a tangible Moon unfolding within Hong Kong’s skyline. Created from actual lunar photographs, this piece includes views we can’t ever see from Earth, vistas seen only by probes and the astronauts – and perhaps the greater galaxy.	The ICC is the tallest building in Hong Kong and the largest screen in the world. The ICC rises 490 meters above sea level at 118 stories. The building façade is comprised of 77,000 square meters of LED’s.				https://clea-t.de/big-moon-hong-kong
ISEA2014: 20th International Symposium on Electronic Art	Bilingual Scripting		Lobo Listone Gallery	Salem F. Al-Qassimi	Bilingual Scripting examines the futuristic possibilities of writing, reading, seeing, and experiencing “Arabic” text. It is a script that is bilingual in its nature but singular in its execution.
ISEA2018: 24th International Symposium on Electronic Art	Binocular Waves		Durbin City Hall/Durban Art Gallery	Mert Akbal	Binocular Waves is an artistic research project in progress on binocular vision. The project explores what happens when we present two different images to left and right eye using a VR Headset. Depending on their similarities and differences these two images fuse, compete or coexist in the conscious visual perception creating different binocular phenomena.			Fraternal Bee (Music)
ISEA2014: 20th International Symposium on Electronic Art	BioARTCAMP: A Rocky Mountain Adventure in Art and Biology		Zayed University - Dubai	Jennifer Willet	The BioARTCAMP video installation loops 11 short videos across three screens following artists and scientists through their experiences participating in BioARTCAMP in the Canadian Rocky Mountains.
ISEA2014: 20th International Symposium on Electronic Art	Biokitchen	2014 Overview: Video Screenings	American University of Sharjah	Andrea Polli and John Donalds
ISEA2002: 11th International Symposium on Electronic Art	Biological Cycle Part 5		Assembly Hall, Nagoya Port Building		A work was originally produced in 1971 on black-and-white 35mm film. The image was treated in various ways, such as with a video synthesizer and CG digital effects, representing various periods of time. It is transformed in various ways, and the same image can expand indefinitely beyond the creator’s concept. Now the image retains none of its original form. Digitally modified Biological Cycle is positioned at the opposite extreme of my other work “My Life”. You have to see both to discover what they mean!
ISEA2014: 20th International Symposium on Electronic Art	Birding the Future		Al Fahidi Historical Neighborhood		Birding the Future explores extinction rates through the warning abilities of birds. Pairing an outdoor sound installation with a stereoscopic image walk participants are guided through a journey of extinction.
ISEA2022: 27th International Symposium on Electronic Art	Birding the Future		EINA Bosc	Krista Caballero and Frank Ekeberg	Birds provide a unique window into the cultural and ecological entanglements of our time. Unrestricted by human-imposed borders, approximately five billion birds migrate yearly, linking cultures, countries, and ecologies, and revealing issues collectively shared. Declining bird populations in practically all habitat types signal profound changes over our entire planet. Birding the Future poses three questions in response to this crisis: What does it mean that we can only see and hear extinct species through technology? What might happen as the messages of birds are increasingly being silenced? How might we bridge knowledge systems using traditional and emerging technologies to develop a cross-cultural praxis for ecological futures rooted in kinship with the world? Birding the Future is an ongoing artwork that explores current extinction rates by focusing on the warning abilities of birds as bioindicators of environmental change. The installation invites visitors to listen to endangered and extinct bird calls and view visionary avian landscapes through stereographs and video. Calls of endangered birds are extracted to create Morse code messages based upon tales, stories, and poetry in which birds speak to humans. These are combined with calls of extinct birds, which act as a memory of the past and underscore technological reproduction as the only means to hear certain species. A real-time algorithm scales the extinction rate to the duration of the exhibition — the longer you stay the fewer birds you hear. The soundscape is paired with a series of stereographs, which explore the landscape of human-bird encounters via imagery, poetry, data and research. Video footage from the Goller Lab explores the ethics and technological impact of research conducted in a more-than-human world. To date there are five region-specific iterations of the project: Queensland Australia, Arabian Peninsula, Norway, Mid-Atlantic USA, RheinMain Germany and a series focused on laboratory birds. This installation will be shown at EINA Bosc, a new space form EINA University School of Design and Art of Barcelona that allows the centre’s educational programme to be expanded from a perspective of permanent innovation and creative dynamics. EINA Bosc houses workshops and versatile creative spaces open to non-disciplinary experimentation, digital and traditional graphic arts, sets for audiovisual practices and spaces to carry out exhibition and performance programmes, and has all the spatial, human and logistical support necessary to develop the school’s offer at all levels of training.					https://www.birdingthefuture.net/
ISEA2020: 26th International Symposium on Electronic Art	Bitsoil POPup Tax and Hack Campaign			LarbitsSisters	Bitsoil POPup Tax and Hack Campaign (2018) ran as a live feed directly from the New Media Gallery in Vancouver and was presented as part of ISEA2020 Online. The feed features a talk between the artist duo LarbitsSisters (in Brussels, Belgium) and curators Joyce + Duggan together with special guests. This interactive work is part of the Currency Exhibition at New Media Gallery, September 2 – December 6. bitsoil.tax/campaig An interactive, internet-based work, Bitsoil POPup Tax and Hack Campaign (2018) is a digital campaign with online and offline activity. It consists of multiple interactions between trolling social media bots on Twitter, in combination with an offline interactive installation functioning as a tool designed to restore fair balance to a digital economy known for its tendencies to concentrate wealth in the hands of a few big tech companies. The campaign claims a tax on user data collected by tax collector bots who mine data produced by Twitter users. As the bots interact with the Twitter user, a tweet with video pops up on the user’s account and redirects her to the online platform of the campaign. As the user joins the campaign, she chooses from several actions which will result in the redistribution of wealth and the promotion of fair value.				Live feed	https://www.larbitslab.be/bitsoil-popup-tax-hack-campaign/	Internet Based, installation, and Social Media
ISEA2019: 25th International Symposium on Electronic Art	Black Rose		Asia Culture Center (ACC)	Hye Rim Lee	My 3D animation deals with the world of virtual relationships using sophisticated computer programs to drive the viewer’s thoughts with dazzling 3D digital effects of glossy glass that optimize perspective, texture, and reflection. I explore instinct, fantasy and dream through mythological elements of identity, like a bunny named TOKI, a 3D character that has been my creation and my practice for some time. Through her, I explore cyber feminism and cyber trend between West and East in the challenge of mixing old mythology and new contemporary myth making. TOKI has evolved into the character of the Black Rose Queen who is created in a reflective paradise exploring ideas of isolation. TOKI captivates the viewer by balancing the desire for escapism with real desire and personifying this through virtual reality. Black Rose v1 depicts a dreamscape for a journey of TOKI’s shifting identity. TOKI floats and spins on the Flower Ring in the Mushroom Woods trying to escape her trauma from death and lost love and now searching for love and happiness in the diamond rain playing with the clouds of beads and marching pink bunnies. A floating, shiny, glossy glass TOKI becomes a Black Rose Queen in Lucid Dream, a never-ending, ever-moving infinite dream, staged in a playful, childlike narrative story alluding to fantasy and symbolism. TOKI is a shape shifter and Princess, Queen and Rose. Black Rose Queen is a birth statement for the glory of a Queen who is born in the process of transformation from escaping her tragedy to an infinite dream, but shines beautifully in floating dream and reality mix. Black Rose lures the viewer into a zone between the digital surreal and visceral reality.				3D animation, 4’45” loop, stereo sound
ISEA2023: 28th International Symposium on Electronic Art	Blaise Pascal et les jardins		Chapelle de l'Oratoire d'Avignon	Annie Bascoul	Annie Bascoul’s ambition is to reveal an idea of beauty that combines dreams and poetry. She wants to provoke an emotion, the emotion felt in front of a singular presence. This “beauty” that she seeks, she finds essentially in nature, gardens, decorative arts, fine arts. Her creations must be rare and precious, beautiful and poetic. This is how Annie Bascoul tends to offer the spectator a complete immersive experience in her universe by mixing forms, dimensions, digital or real lace, shadows and lights. Her beauty plays on fragility. The garden is “her” garden. From Blaise Pascal’s geometric work and her breakthroughs in fields such as perspective and hydraulics, Annie Bascoul has retained the influence he had on the genius of the gardener Le Nôtre who created the most famous French gardens. By using hybrid techniques, printing on embossed paper and leather, she illustrates and above all gives a soul to the gardens represented, their rectangular, circular and iconic shapes. Through the artifice of virtual creations and the know-how of her partner Christophe Bascoul, she maps these representations of augmented reality, sober and light, visited by Blaise Pascal himself (in augmented reality). Blaise Pascal and the gardens refreshes our view of the Anthropocene’s desire for human domination of nature, which seems to question the necessary symbiosis between all the ‘natural elements’.	A series of embossed drawing boards representing the French gardens of Le Nôtre on which shrubs and flora are displayed in augmented reality. A visitor – Blaise Pascal – seems to measure the hold he had on these innovative creations of his time and on man’s dominant relationship with nature.				https://ifdigital.institutfrancais.com/en/creation/blaise-pascal-et-les-jardins-dannie-bascoul
FISEA: First International Symposium on Electronic Art	Blockhead		Jaarbeurs		Computer Graphics Research Group, Ohio State University: Student Work				Computer Animation
FISEA: First International Symposium on Electronic Art	Blue Chair		Jaarbeurs	Susan Amkraut and Anne Seidman					Computer Animation
ISEA2015: 21st International Symposium on Electronic Art	Blue Sky		Simon Fraser University	Marisa Olson	Blue Sky offers a feminist critique of disruption as a corporate meme. Working under the umbrella of contemporary tech industry jargon in which the phrase “blue sky” invites a proposal for a big picture of the world as disrupted by a new product, Blue Sky is a video sculpture housed in the gilded carcass of an obsolete Mac computer tower. The video’s tension between intervention and cheery papercraft play speaks to the paradox of disruption as connecting equally to rupture and fauxutopian progress. Subtly evoking the mythology of Apple’s DIY, homebrew, new-age origins, the video features the artist in a studio environment working to create a handmade blue sky inside the backdrop of a seamless bluescreen paper roll. The work alludes to Second Wave feminist crafts, ultimately producing as a final form a gradient pixel-weaving that is adorned with cottony clouds.				Video sculpture
ISEA2016: 22nd International Symposium on Electronic Art	Blurred Lines		International Commerce Center (ICC) Tower	Justin Harvey	Blurred Lines is a meditation on the ebbs and flows of the city and the blurred lines that we negotiate everyday.				Projection Mapping Installation	https://jusharvey.github.io/blurred-lines.html
ISEA2023: 28th International Symposium on Electronic Art	body circuit (parcours corporel)		Forum des Images	Emma Forgues and Sam Bourgault	Focus Québec Exhibition. Forum des Images, May 16 – 21 body circuit / parcours corporel emerges from a collaboration between Emma Forgues and Sam Bourgault. Their expertise ranges from media art to physics and results in a diversified artistic approach through performance and installation projects. Their common interests involve body and robotics in both real and virtual worlds. parcours corporel / body circuit is a kinetic installation that explores human-robot interactions through sensory encounters. In a haptic network, soft machines housed in organically shaped ceramic vessels pinch, inflate and caress disarticulated human limbs, molded from the artists’ bodies. Pneumatic tubes and electroluminescent wires establish connections between the zones of interaction. This work creates a unique space where soft and delicate entities intertwine with rigid and complex bodies, offering both tenderness and support. It presents an alternative world where technology and relationships with the human body revolve around the concept of care. In this iteration of the piece, the installation contains five 3D printed ceramic vessels that exhibit organic features vaguely reminiscent of the human body with their bumps, cracks, and curves. Inflatable robotic objects made of silicone and semi-transparent TPU that resemble human organs inhabit these ceramic pieces where they inflate and deflate with a slow pulse. These inflatable objects are powered by three small air pump systems fixed to the floor and the mirror. LEDs are installed inside the ceramics, delicately illuminating the structure from within. Finally, two body parts made of silicone, a buttock and a torso, are placed inside this sensory network. parcours corporel / body circuit is material-driven and embraces manual and digital fabrication workflows.					https://www.elektramontreal.ca/isea-2023-body-circuit
ISEA2013: 19th International Symposium on Electronic Art	Body Fluid II (redux)	2013 Overview: Performances	Performance Space	John A Douglas	Body Fluid II (redux) is a performance and video installation in which the artist presents the monotony of his daily dialysis treatment as a sublime act of self-transformation. From Thursday to Sunday, Douglas will perform a ten-hour movement score while undertaking peritoneal dialysis, offering visitors an opportunity to reflect on their mortality and to experience the exhibition space as a place for healing and quiet contemplation. The performance is flanked by figurative video landscapes, where his imaginary golden figure references the visual motifs of Nicolas Roeg’s The Man Who Fell to Earth (1976) and elements of Russian mysticism found in the cinema of Andrej Tarkovsky. In new work The Visceral Garden, Douglas uses macro photography of specimens at the Museum of Human Disease, UNSW for an ontological investigation of his illness that takes us on a descent into the underworld. Movement Coach: Sue Healey. Additional Soundscapes: Naomi Oliver and Heath Franco. Collaborative Performer: Naomi Oliver.			Presented and commissioned by Performance Space. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
ISEA2018: 24th International Symposium on Electronic Art	Book of Nadine		Durbin City Hall/Durban Art Gallery	Luyanda Zindela	The Book of Nadine explores the audial representation of Nadine Ross, a prominent black South African female character of the popular video game Uncharted 4, voiced by Laura Bailey, a white American voice actress. South African participants were invited to listen to short snippets of dialogue from the game, focusing on Nadine’s “South African” English accent, and were then invited to create and record fictional backstories explaining her accent. This project is a collection of those diverse voiced South African fictional narratives.					http://behance.net/LuyandaZindela
ISEA2022: 27th International Symposium on Electronic Art	Border Crosser		Recinte Modernista de Sant Pau	Chico MacMurtrie	Border Crossers comprise a series of lightweight robotic sculptures that poetically explore the notion of borders and boundary conditions. The inflatable sculptures rise up to several stories high and extend across a given threshold. Their choreographed performance, originating on both sides of the border, would stage a symbolic connection. The project treats the border as a physical condition that can be temporarily transcended by technological proxies. It offers a critique of militarized geopolitical borders, and a metaphorical suspension of those borders in the form of temporary arches. Border Crossers invites the public to rethink the notion of borders in a globalized world. Technology currently helps to overcome cultural and economic borders, but is also frequently used to maintain and reinforce physical borders. This project envisions technology as a positive tool to establish dialogues beyond borders, to question borders, and to create a symbolic suspension and transcendence of borders. Their actions allude to the equality of humanity against a backdrop of tensions and conflicts over national and cultural identity. This “gesture” could reinforce the hope for peace in location where reconciliation is thought to be impossible. The first Border Crossers intervention took place on May 23rd, 2021 at the U.S-Mexico border in Naco, Arizona/Naco, Sonora. This was only the first of a series of public performances in collaboration with the Rubin Center for the Visual Arts in El Paso, Texas. The next performances will take place in October 2021 at the El Paso/Ciudad Juarez border.			The Border Crossers project has received significant financial support from Colección BEEP de Arte Electrónico in 2017 and through the Guggenheim Fellowship.		http://amorphicrobotworks.org/border-crossers
ISEA2016: 22nd International Symposium on Electronic Art	Border Tunnel		Osage Gallery	Maurice Benayoun	The Borders Tunnel, created in 2016, draws from the internet images related to geopolitical boundaries, questioning their direct impact on peoples’ difficulties to move, meet and live together. In 2016, participants will dig and explore these tunnels using their whole bodies. Motion detection technologies allow the virtual agents to learn from participants’ body language. The virtual space of the tunnels and physical space of the gallery are thus merged. Ultimately, participants are faced with the question of what it truly means to “connect”. Because of the internet, we now have access to an enormous amount of information and the ability to connect across the globe – yet, has this truly helped us foster cross cultural understandings? Are these materials just more cultural obstacles to be dug through? Is there such thing as a “common”, universal body of data? Do these images reflect real tensions, social and political issues? What are the different factors which “color” the information that we see, and filters that which is accessible and prominent in our cycles of attention? And how do these images affect how we view and connect with one another? The Colors Tunnel and Borders Tunnel reminds us of what “distance” means between people when it is more than a geographic challenge. The tunnels can be a transient method for the creation of a crossboundary, cross-cultural, cross-social and cross-political space for dialogue. Yet, tunnels are not short cuts. The process of carving, and digging through complex and abundant information and the effort that it takes is key. This is the beginning of a deeper investigation to rediscover the true meaning of distance and the real potential of dialogue. Music for these new tunnels are composed by Jean-Baptiste Barrière. benayoun.com/moben/2016/04/20/just-digit
FISEA'93: Fourth International Symposium on Electronic Art	Brain Wave Rider		Minneapolis College of Art and Design Gallery	Keisuke Oki	The Digital Therapy Institute is a group of artists, musicians and scientists formed in 1991 to develop audio/visual softwares. Brain Wave Rider (BWR), developed by DTI, is a game machine directly controllable by the brain of the player. BWR detects the player’s brain waves [Alpha, Beta, Theta, or Delta] to change the speed or conditions of vehicle moving forward in the computer generated “landscape”. The most distinctive feature of BWR’s human machine interface is that it uses the brain wave as a trigger so that it can make physical change with our physical action. The player controls the computer’s graphic image, sound and vibration by practicing meditation or mental calculation, namely, by changing his/her brain wave.				Interactive media
ISEA2002: 11th International Symposium on Electronic Art	Breath No.3 & No.4		Assembly Hall, Nagoya Port Building		No statement available.
ISEA2002: 11th International Symposium on Electronic Art	Breath of the Sky		Aichi arts center		In this piece, the presence of the transparent sky and the respectful human sprit is expressed by way of our collaboration; music, text and light art. The music is made from interaction between the soprano voice and the computer. The object is enlightened in real time response to the sound. I tried to open the infinite sky in the closed space; the concert hall.				Audio visual performance
ISEA2014: 20th International Symposium on Electronic Art	Breathing Cairo: Café Situation With Poetry		American University in Dubai		This is a performance that combines different languages: electronic music, reading, video screening and text in a cosy environment similar to an Arabic café.
ISEA2013: 19th International Symposium on Electronic Art	Breathing Monster	2013 Overview: Performances	Performance Space	Myriam Gourfink and Kasper Toeplitz	From one of Europe’s leading choreographers Myriam Gourfink and acclaimed Polish-French composer Kasper Toeplitz comes Breathing Monster, a synthesis of hypnotic sound and uncanny physical movement. A woman gently glides through a long, narrow, invisible maze creating a series of micro-movements in extreme slow motion. As her body propels forward with the stillness of time itself, it gathers incredible momentum, and her gestures become a gravity-defying feat. With prodigious precision, her bodily contortions alter the surrounding musical landscape, breathing new meaning into everything that we see, hear and feel. Blending live music, motion-sensing technology and extreme physicality, Gourfink and Toeplitz design a suspenseful journey through the void, where a Breathing Monster emerges in a wonderfully original narrative about abstraction, time and space. Created and Performed by Myriam Gourfink (dance choreography) and Kasper Toeplitz (electric bass). FR/PL.			Presented by Performance Space and National Art School in partnership with Critical Path and Dancehouse for ISEA2013. Loldanse is underwritten by Direction Régionale des Affaires Culturelles, Ministry of Culture and Communication, and represented by Julie George & Damien Valette.
ISEA2019: 25th International Symposium on Electronic Art	BUDDHA I + STAND I + The monument of robot ethics		Asia Culture Center (ACC)	LOVOT LAB	With A.I being a huge societal issue, efforts to define and create a standard of robot ethics and A.I ethics are seen worldwide. In 2007, for the first time globally, South Korea attempted to enact the Robot Ethics Charter to establish the ethical and technical limitation the robot industry or the robot itself should aim for, responsibilities of the robot manufacturer, and morals involving the creation, destruction, and usage of robots. However, only its draft was announced without its formulation. Currently, where there is massive development in A.I, which functions as the robot’s brain, the contents of the unestablished charter poses many implications for us. “BUDDHA I sits In front of The monument of robot ethics” Robot in Buddha figure is surrounded by white fluorescent light that creates futuristic atmosphere. Seated on the pyramid-shaped structure, this artificial intelligence robot explores on the participants. The robot observes the participant’s face through machine learning, accumulating data and analyzing one’s face. Participants will hear a corresponding message as a result of the analysis. Artificial intelligence, a major issue in the new industrial revolution, called the Fourth Industrial Revolution, is not a distant future as media art has been created through various expression since the 1960s and faster along with the development of technology. This new technology is expected to change the quality and pattern of life as it is introduced and replaced in various areas of society. Even artificial intelligence robot can predict one’s fate and fortune tell on the future. In addition, it aims to expand the category of recognition of artificial intelligence by expressing in an artistic and philosophical way and as a being that is more favorable than a human being based on the modified theory of the Uncanny Valley by Japanese roboticist Masahiro Mori.				BUDDHA I: Cam, customized software, servo motor, stainless steel, wireless LED controller, 3D printed PLA, 50x50x70 cm. STAND I: Concrete, customized software, customized T8 LED tube, wireless LED controller, 11x11x133(cm). Interactive light connected with BUDDHA I. The monument of robot ethics: Customized software, LED controller, LED strip, infinity mirror, steal, 40x40x220 cm.	http://www.lovot.co/portfolio/buddha-i-en/
ISEA2024: 29th International Symposium on Electronic Art	BUG		QUT Art Museum	Antje Jacobs	The collective Art for Nons proposes posthuman interventions to artistic research processes, produc-tion phases and exhibition cultures. Art for Nons creates art not only with technology and biology, but wonders about multispecies perspectives on art. As a collective of artist-researchers and their more-than-human companions, it explores in-between spaces that got rendered invisible at art spaces and opens them up for multisensory, nonhuman interactions. In times when the devastating effects of the capitalocene are ubiquitous, our vision is to let the human collide with narratives that are not meant for their consumption. We fuse speculative fiction with nonhuman agency to create interactive audio-visual installations for technology and biology alike. In our artistic research process, we reassemble the relations between machines, other-than-human species, and humans to make the art world less of an ouroboros and more of an octopus.					https://isea2024.isea-international.org/bug/
ISEA2013: 19th International Symposium on Electronic Art	Building Run		Object Gallery	Keith Deverell	A day in the life… 09:00:00 Arrive at the office. Race for a low number. The building’s been running hours before you arrive at work Data: Buildings alive data on city office buildings’ real-time energy consumption. Dilemma: How do we engage office workers in a greater appreciation of the energy efficiency of their buildings and spur them on to contribute their own efforts at saving energy? In developing his proposal for Building Run, Deverell was interested in employing a visual language or social language as a way of approaching environmental issues. He chose the language of sport because there is a strong sport culture in Sydney, as well as a corporate culture of sport and fitness. This was particularly relevant as Building Run uses corporate buildings’ energy consumption data and is placed within a corporate foyer. The key concept is about matching the real-time building energy consumption and mapping it as a race throughout the day. Building Run also explores the notion of humanising the buildings, and thinking about the human occupancy of buildings and how that affects the energy efficiency performance. So, it’s 9am in the morning, the racers are stretching and warming up, it’s a kind of non-event. And then the race builds up to lunch time where people are flowing in and out of the buildings, and the runners are in full flow. At this point we see where all the buildings are positioned in the race. Throughout the day we see the different levels of exertion of the runners on the screens mapped to the energy consumption of the buildings – going from power walking, to running to exhaustion. The data allows us to predict the performance of each building relative to previous performance, so in the end each building is racing against itself. Using this idea of the line in the world record, each runner is trying to beat their personal best. The fact that the sports world loves statistics is very fitting to this project. Now, it’s the end of the day, and for those runners that don’t achieve their personal best, they are a bit despondent. But it’s ok because they get another chance. This relates well to the cyclical nature of building and corporate performance. Or, alternatively, they might have achieved a new personal best and so they wave to the crowd, receive flowers and are pretty happy. All these emotions are played out on the big screen, bringing the local office worker audience into a unique conversation about their contribution towards making their building greener. Throughout the day we see the different levels of exertion of the runners on the screens mapped to the energy consumption of the buildings – going from power walking, to running to exhaustion. Bio: Keith Deverell is a Melbourne based video artist who also has a professional background in installation design and data visualisation. Keith’s video installations have been installed in both the Melbourne Laneways Commission, 2009, and the Melbourne International Arts Festival, 2010. Keith’s work has been acquired by the Singapore Art Museum (SAM) and exhibited in the Centre Pompidou. As a designer and programmer Keith was employed as a Associate Researcher at the Australian Centre for Interaction Design (ACID). Outside of his video work, Keith designs installations for exhibitions, such as for the NGV in Melbourne and Venice Biennial of Architecture.					http://www.carbonarts.org/wp-content/uploads/2013/05/CITY_DATA_SLAM_REPORT_web_MD.pdf
ISEA2024: 29th International Symposium on Electronic Art	Byte-sized Encounters			Tanuja Mishra	My practice stems from my conflicted emotions towards technology, which swing back and forth between fascination and fear. I am lured by the promise of the new with all its possibilities of augmenting human capacities and the potential of democratic reach and cultural inter-change. At the same time, I am repulsed by the invisible technological intrusion into every little nook of daily life. There is a yearning for the old that is rooted in embodied ways of knowing, acting and relating. This tension situates my work in the in-between space of digital-analog, poetic-polemic and process-object orientation. The methods of working incorporate both the experiential techniques of craft-based traditions and the analytical modes of the hacker-maker culture. The emergent actions and artifacts may surreptitiously sneak into the everyday or blatantly announce their presence as spectacles in the public sphere. In the former case, they act as interrogative probes to examine how culture in-turn is shaped by the technology it creates. Their behavior borders on the uncanny and may reflect through glitches, errors or outright defiance. In the case of the latter, these devices manifest as prosthetic extensions to give voice to the thoughts, feelings and emotions that have been suppressed. They intervene in a public setting to create spaces for agonistic debate and collective reflection. These works have taken the forms of sculptural installations, architectural projections, interactive visualizations, wearable provocations, performative enactments or some combination of the above.					https://gallery.styly.cc/scene/d09ccc0a-5fb2-41cd-92e0-0fcab88b8b6d
ISEA2024: 29th International Symposium on Electronic Art	Cacophony Horizon			Linda Loh	Cacophony Horizon (2024) is the online 3D presentation of the artist’s digital sculpture Cacophony (2023). It is designed for exploring in virtual reality at scale, with endless “sky” extending beyond. Cacophony here corresponds to visual excess, rather than sonic. Yet in reality it is empty noise, like our own headspace, with tenuous boundaries, inside and beyond, present in infinite space, where all time is one.					https://gallery.styly.cc/scene/c50a2764-cfeb-4dcd-93ca-e40bfa088ea2
ISEA2002: 11th International Symposium on Electronic Art	Cafe "maccha cafe in shumoku-kan"		Shumokukan	Mari Fukunaga	Working for an organic restaurant to investigate a new style of “entertainment” assimilated to a traditional idea of “entertainment” at the tea ceremony and reach after an “entertainment” at a food service.
ISEA2014: 20th International Symposium on Electronic Art	Cairo Crossroad; Ana; Life In The Delta; Edgeware Road Project Cairo		Lobo Listone Gallery	Susan Hefuna	Multimedia artist Susan Hefuna draws upon her mixed Egyptian and German heritage in her boundary-breaking art, which explores the intersection of location and identity.
ISEA2025: 30th International Symposium on Electronic Art	Call for Participation				https://isea2025.isea-international.org/submission/submission-guideline/ubmission/submission-guideline/
ISEA2002: 11th International Symposium on Electronic Art	Camera, Monitor, Frame		Assembly Hall, Nagoya Port Building		The work is consisted of three pieces of “This is A Camera”, “This is A Monitor”, and “To See The Frame”. This is the first of the trilogy of video semiology which analyzes in detail the dialectic of words and images in video (The other two pieces are “Observer/ Observed”, 1975 and” Observer/ Observed/ Observed”, 1976). The work articulates camera, monitor, and frame respectively, which are the basic component of video. Awarded at Thomas Edison Film/Video Festival, USA, and New York Short Film Festival, USA etc.
ISEA2022: 27th International Symposium on Electronic Art	Can the mind exist without a body?		Santa Mònica	Irma Marco	“Can the mind exist without a body?” is a large-format flag installed in public space. It shows a Yiannis Laouris’s question taken from a chapter of the Onlife Manifesto, coordinated by Luciano Floridi, where they address the transformations of the digital hyperconnectivity era, such as the need to re-engineer the concepts of human and non-human life. This work is, at the same time contextualized in a larger public art project and PhD research called #internetflags, which explore several aspects of life in a hyper-connected and Internet-based society. We think that this project can as well be a response to the need for new location structures to show artistic proposals and to promote social interactions and critical thinking from the arts perspective. The conceptual focus of #internetflags is based on three axes. The permanent existence of portable digital communication devices, close to the idea of prostheses in the context of a hyper-connected society, and how its effects are interpreted from contemporary art; the problems derived from the massive use of the Internet together with a lack of knowledge of its internal physical structure, as well as its political and environmental implications; and also the current pandemic context in which social relationships are virtualized, public space is blurred and physical contact is restricted.
ISEA2014: 20th International Symposium on Electronic Art	Candid Reflection		Lobo Listone Gallery	Clay Ewing	Seeing our reflection, we become conscious of how we look thereby removing any possibility of catching ourselves as we are. This project allows the viewer to see themselves candidly.					http://claytical.com/#candidreflection
ISEA2020: 26th International Symposium on Electronic Art	Captured by an Algorithm			Sophia Brueckner	Captured by an Algorithm is a commemorative plate series that looks at romance novels through the lens of the Amazon Kindle Popular Highlight algorithm. A passage in a Kindle e-book becomes a Popular Highlight after a certain number of people independently highlight the same passage. Popular Highlights show up as underlined when reading the book on Kindle. Each plate features one Popular Highlight from a romance novel and a landscape generated by running Photoshop’s Photomerge algorithm on romance novel covers. Over seventy thousand individual acts of highlighting were used to determine the content for this work telling the story of the loneliness, grief, vulnerability, and discontent felt by the readers. This work reveals a glimpse of a positive, anonymous social network emerging unintentionally through this Kindle feature. The project draws attention to this existing example of collective social support to change society’s vision for the future of social technologies.				Porcelain plates	http://www.sophiabrueckner.com/romance.html	algorithm, Porcelain, Photomerge, Kindle, and Romance
ISEA2012: 18th International Symposium on Electronic Art	Carbon-X		Intitute for American Indian Art’s Digital Dome	Eric Hanson and Charles Lindsay	xRez Studio’s Eric Hanson has completed an experimental film collaboration with SETI artist-in-residence artist Charles Lindsay, entitled CARBON-X. Designed for the planetarium fulldome format, it was a component of an arts grant program entitled Getting Off The Planet, through Ecoartspace curator Patricia Watts. It premiered at the ISEA 2012 Conference, Machine Wilderness at the Intitute for American Indian Art’s Digital Dome in Santa Fe, New Mexico. Building off of Lindsay’s detailed and otherworldly CARBON series of manipulated carbon dust imbued emulsions, the work uses CGI photogrammetry, particle dynamics, projections, and displacements to create a dimensional view into possible proto-worlds and intellegences, one of the defining characteristics of Lindsay’s CARBON series.
ISEA2023: 28th International Symposium on Electronic Art	Cargo		La Station – Gare des Mines	Anne de Giafferri and Christian Delecluse	Concert/Sound Event, La Station – Gare des Mines, May 21 Anne de Giafferri & Christian Delecluse, ISEA2023 selected artists, in the North building of La Station – Gare des Mines. Immersive and interactive sound experience by Anne de Giafferri and Christian Delécluse which immerses the visitor in a multitude of stories and landscapes and takes him on unique trajectories, to meet Figures of mobility in the Mediterranean… Political exiles, missionary and religious pilgrimages, mass tourism, economic exchanges, commuting or temporary professional and family trips, returning home… Mobility in the Mediterranean is marked by the crossing of political and symbolic borders. What destinies are at stake in these contemporary migrations? ‍ Cargo is an immersive and interactive sound journey that immerses the visitor in a multitude of stories and takes him on the singular trajectories of emblematic Figures of migration: the Negafa, the Wandering, the Religious, the Patient, the Student, the Absence.					https://en.dark-euphoria.com/projets/cargo
ISEA2016: 22nd International Symposium on Electronic Art	Castiglione’s Road to China Three Hundred Years’ of Memories; Eight Thousand Miles of Travel		National Palace Museum	Victoria Lu	Viewers are able to learn about the various chapters in Castiglione’s life three hundred years ago through videos about Castiglione using touch screens and hand controllers. Visitors can choose either to watch video clips or download the full video onto mobile devices. The video introduces Castiglione’s birthplace, Milan, the cities he travelled to, including Genoa and Coimbra, and his journey to Beijing after he sailed all the way from Lisbon to China. It also includes the remains of the European-style buildings that he helped to design for the Old Summer Palace.					https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
ISEA2014: 20th International Symposium on Electronic Art	Cave Caustics		American University of Sharjah	Alan Bogana	A series of computer graphics simulations that explore our understanding of reality if perceived only through traces of refracted light. They are part of a project named ‘Cave Caustics’.					http://www.alanbogana.com/artwork/2014/flag
ISEA2018: 24th International Symposium on Electronic Art	Cayenne Crusade		BAT Centre	Melikhaya Noqamza	The title Cayenne Crusade derives from the first Portuguese Voyage and subsequent creation of the now known spice route, the first trade route that bypassed European and Asian taxes by going around Africa. Cayenne is a form of pepper and pepper was as valuable as gold in the 13th Century and the Crusades is the collective name given to the religious conquests of Christian soldiers. The animation is a sand & spice stop motion animation, with elements of 3D. The sand and spice represent the high commodity which shaped the landscape of Africa with the Portuguese voyage that first began a trend of African colonization by Europe. Spice was something sailors and soldiers were willing to die for, Africa was used for collecting supplies and resting and if they were met with resistance they would fire cannons onto the coastline to overthrow the native people. On the way to India the Portuguese armada would use these African coastal conquests to create Portuguese stations for the return trip and subsequent voyages. These stations would become small colonies with Portuguese communities and Christian monuments like Vasco da Gama’s Memorial cross in Cape Town and the Vasco da Gama Memorial Clock in Durban. Vasco da Gama is credited for naming Natal and discovering Durban.				Short film	https://vimeo.com/333064510
ISEA2018: 24th International Symposium on Electronic Art	Chakana	2018 Overview: Public Events	BAT Centre	Ernesto Coba Antequera	Chakana (“to cross” or “crossing” in Quéchua) is a sound work by the South American sound artist Ernesto Coba Antequera. It consists of manipulated field-recordings of environmental sonic matter recorded on location in South Africa at the Mmabolela Reserve in Limpopo. The piece is inspired by the Southern Cross constellation, which can only be seen in the Southern Hemisphere. It is said that the Southern Cross was called Chakana by the Incas and other old cultures of the Andes and according to them it was the centre of the Universe and the bridge between spiritual and material worlds. It had, and still has, a considerable meaning to indigenous groups in South-America as well as in Southern Africa and Oceania.				Sound work
ISEA2018: 24th International Symposium on Electronic Art	Change Agent (Media Arts & International Development)		Durbin City Hall/Durban Art Gallery	Keith Armstrong	In 2016-17 a group of South African residents invited Keith Armstrong to live and work in their informal settlement as an ‘embedded media artist’, collaborating with them to invent radical ways of improving their housing stock. ‘Change Agent’ reflects upon the unexpectedly powerful role of media arts practices within this unusual transdisciplinary collaboration. His collaborators were informal settlement residents, Qala Phelang Tala, led by Dr. Anita Venter, PIAD (The Program for Innovation in Artform Development), Vrystaat Kunstefees Festival and the University Free State. Project ‘Re-Future’ involved him contributing creative process, resources and ‘media arts thinking’ to this key international development issue – that focussed upon ‘shack replacement’ strategies for residents whose futures were routinely compromised by poor living conditions, poverty, inequity, unjust laws and lack of stable tenancy. Significant outcomes were unique low-cost creative dwellings built principally of mud and waste materials, and three media-art infused public community gathering events for sharing learnings and fostering intercultural understanding (called ‘Merakas’). These activities led to increased governmental support, further completed building projects and university sector & foreign foundation engagement, allowing them to secure both local artists and doctoral students to develop the project further during 2018-20.			Support: Australia Council for the Arts, Creative Lab Research Centre, Queensland University of Technology, Brisbane, Australia & Embodiedmedia
ISEA2018: 24th International Symposium on Electronic Art	Chant		BAT Centre	Nhlanhla Mahlangu	Performance in memory of my Grandmother. A grandmother, Penny the dog and a young boy come together in a space and time crippled by war. Chant tells a personal story journeying from the suburbs of Alberton to the squatter camp in Phola Park during the 80’s and 90’s. Chant was first commissioned by the Juliedans Artist’s Lab in 2010 and premiered at the Juliedans Festival in Amsterdam in 2011. Other performances include Goethe on Main, Dance Umbrella Festival, 2012 and the Jomba! Festival in 2015.				Performance
ISEA2018: 24th International Symposium on Electronic Art	Chasing Grasshoppers		KZNSA	Peter Chanthanakone	Our childhood often shapes us into adulthood. Trauma, happiness, fear and pain stay with us till we die. This series of shorts is entitled “Childhood Memories”, in collaboration with the Vientianale International Film Festival in Vientiane, Laos. Story, concept art and voice recordings were realized in 2013. The first in the series of childhood stories is Chasing Grasshoppers (2013). The second in the animated series of Lao Childhood stories is Tuk Tuk Ride (2017).				Film
ISEA2002: 11th International Symposium on Electronic Art	Chatelain Live Performance Oct 30		"Fuji" Antarctic Museum
ISEA2022: 27th International Symposium on Electronic Art	Chemical Ecosystem		La Capella	Yolanda Uriz Elizalde	Olfactory communication is a constant among living beings, however it is more evident in plants and animals. Between human beings, the exchange of audiovisual information is growing exponentially, even activities where chemistry is (or was) essential, such as flirting or seducing, are being replaced by virtual dating applications. In the recent digitization of our activities, is there room for other types of stimuli and communication that are not exclusively audiovisual? Chemical Ecosystem reflects on the function of smell today, drawing inspiration from inter-species olfactory communication. It invites the public to observe how its presence influences the environment and affects the beings that inhabit it, listening to the olfactory messages that these inhabitants emit. Ten synthetic organisms hang from a circular cover. They have fans that diffuse odors, small speakers emitting sounds, and gas sensors capturing the composition of the surrounding air. The sounds vary dynamically according to the data of the composition of the air, affected by the human presence.			*This project has been awarded with the ISEA2022 Barcelona Grant by* Fundación Ernesto Ventós / International Nasevo Prize		https://www.yolandauriz.info/Projects	#Olfactory communication, air sonification, #sono-olfactory synesthesia, and #voc//cov (volatile organic components // volatile organic compounds)
FISEA: First International Symposium on Electronic Art	Chimera		Jaarbeurs						Animation
ISEA2012: 18th International Symposium on Electronic Art	Chiroptera_Domus		Albuquerque Museum of Art & History	Daniel Wayne Miller	Chiroptera_Domus, which is Latin for Bat house, seeks to merge a functional habitat with an expressive art form. A pair of Heterodyne Bat Detectors mounted to a roof of a custom-built bat house, mounted on the roof of the Albuquerque Museum of Art & History, listen for the ultra sonic signals of bats feeding and navigating the local vicinity. Detected signals are recorded and played back randomly as a sound composition during the exhibition. The Bat Detectors use the heterodyne principle to monitor bat echolocations. The detectors can be tuned to monitor frequencies from 10kHz to 130kHz. The detector inputs inaudible high frequency ultrasound and converts it to frequencies between 100Hz and 12kHz that are in a range humans can hear. The bat detectors microphones have been mounted onto a pair of poles with weather resistant housings. Since the ultrasonic signals being monitored are highly directional the microphone poles use servomechanisms to pan slowly from left to right scanning the vicinity in different directions.					http://www.danmillerart.com/Chiroptera_Domus_3.html
ISEA2019: 25th International Symposium on Electronic Art	Chozumaki		Asia Culture Center (ACC)	Nelo Akamatsu	Chozumaki is a sound installation which consists of glass vessels filled with water. The circulation of water causes a vortex and sparkling bubbles produces clanging but sensitive sonority. These small sounds are amplified through the pipes and horns on the top of uniquely designed glass vessels. Chozumaki is an original word by the artist, which combines two Japanese words, Chozubachi (stone washbasin) and Uzumaki (vortex). Vortex is one of the fundamental elements of the universe. The galaxy, typhoons, vines and snails, they all have fractal vortex forms from the immense to the tiny. Vortex is deeply concerned with human aesthetic. As a typical example, Golden Ratio is based on the shape of Vortex. In the field of fine arts, architecture and design, Golden Ratio is widely utilized for the expressions with harmonious beauty. Chozubachi is a stone washbasin for guests to wash their hands in for purification when participating in a tea ceremony. Chozubachi has a function of making them notice that they are going to enter the eternal universe and inner sanctum of the tea ceremony from the outer world and their ordinary life. The design of top components of vessels is associated with human organs like cochlear ducts in ears, lungs, pancreas, heart and etc. If the time has come when the artificial intelligence overcome humans in every aspects of life, the mankind may exist merely as organs of their bodies. In the narrative for Akamatsu’s artwork, humans as organs will listen to the sound of vortexes and at the same time identify with the universe. The sight and sound of the water vortex will remind viewers of crossing the boundary between the physical world and the psychological world, and will extend their perception of vital organs.				Controllers, distilled water, electronic devices, glass vessels, magnets, plastic.	http://www.neloakamatsu.jp/works/works_chozumaki-eng.html
ISEA2002: 11th International Symposium on Electronic Art	CHROMA Live Visual Performance Nov 1		Diamond Hall
ISEA2014: 20th International Symposium on Electronic Art	Chromatic Shifts		Maraya Art Park	Maxwell Carlson and Esteban García Bravo	This LED installation illustrates the cognitive dissonance that occurs in the 2D retinal representation of 3D images. Shifts in light and color offer illusory perceptions of a static shape					https://carlsongarcia.com/texts
ISEA2018: 24th International Symposium on Electronic Art	Chrysalis: Morphology (2018)		Durbin City Hall/Durban Art Gallery	Rory Klopper	I approached this work as if I were scientifically documenting a (hybrid) creature, such as a butterfly, in the act of transformation – from one state of being to another. My primary interest is the social implications of my homosexuality. As much as this work is about my engagement of my own issues: the lens through which I view my sexuality, feeling like an imposter within the heteronormative worldview, and trying to understand post- modernist views on the body as a social construct, and paradoxically the physicality and tangibility – aches and pains – of the body as an organism, it is also a work that cannot avoid its problematizing of my white (gay) body using a black (gay) body to engage with the manifestation of identity – when these bodies attach themselves to their historical contexts. The metallic skin that enshrouds and obscures the gaze creates a conversation between nature and culture through which the body emerges. The abyss from which the images emerge creates a quiet space for contemplation detached from my physical reality in which the politics of my body is immersed.			University of KwaZulu-Natal, SA
ISEA2002: 11th International Symposium on Electronic Art	Church on Fifth Avenue		Nagoya City Art Museum	Jim Campbell	Church on Fifth Avenue consists of a matrix of 32 x 24 pixels made of red LED’s displaying a pedestrian and auto traffic scene in NY from an off-street perspective. There is a sheet of diffusing plexiglass angled in front of the grid creating more diffusion on the right side. As the pedestrians move from left to right the figures gradually go from a discrete representation to a continuous one or metaphorically from a digital representation to an analog one.				custom electronics, treated plexiglass, 768 red LEDs
ISEA2023: 28th International Symposium on Electronic Art	Cinematography of Virtual Matter (Cinématographie de la Matière Virtuelle)		Forum des Images	Baron Lanteigne	Focus Québec Exhibition. Forum des Images, May 16 – 21 Installation and screen sculpture The flexibility of the digital invites the artist to discard the need to create a work as an end in itself. Cinématographie de la Matière Virtuelle is a connected system that exploits the interoperability of digital creation tools to form a fragile, alterable and ephemeral network. In this system, 3D tools created with the intention of simulating the real are diverted to reveal reversible properties of their own, qualified as “virtual matter” by the artist. These procedural systems are first created to better explore the properties of matter and remain connected to a filtered, cryptic or even inaccessible interaction with the public. This indirect relationship with the system stimulates this material in real time thanks to a crossing between geometries, textures, materials, lighting and virtual cameras. Thus, the system is a playground to explore the border between the figurative image and the abstraction that comes from the imperfections of this cinematography.					https://www.elektramontreal.ca/isea-2023-baron-lanteigne
ISEA2002: 11th International Symposium on Electronic Art	Circuit		Gallery Celler	Hideki Nakazawa	Electricity represents the symbol of “power and authority” and the light bulbs “ways to use the power.” Thus the light bulbs are considered to be the devices that give the authority some meaning. Also, the multiple batteries and electronic circuits symbolize the multiplicity and complexity of the authority, which is somehow akin to collage art.
ISEA2013: 19th International Symposium on Electronic Art	Citizens Band		Art Gallery of New South Wales		Each video documents a moving performance filmed by Mesiti; these are all music based performances where singing, whistling, throat singing and water drumming are performed by immigrants to Paris, Sydney and Brisbane. There are no words spoken in any of the videos. Perhaps the most moving part is an Algerian man, Mohammed Lamourie, singing on a Paris subway train while he plays an old, beat-up Casio keyboard. There is a stark sadness to this work: it makes manifest the distance between where he has come from and where he is now. Ideas of dislocation and out-of-placeness run through my mind as I watch – but perhaps it is also about the new, boundless and international identities of these people. [source: Kathleen Linn, https://www.artshub.com.au]				Four channel video installation, High definition video, 16:9 PAL, surround sound	https://www.angelicamesiti.com/selectedworks#/citizens-band
ISEA2016: 22nd International Symposium on Electronic Art	City Paths		International Commerce Center (ICC) Tower	Dorothy Ka Chung Wong, Ka Hei Chung, and Shi Hang Pan	City Paths is paced with a rapid rhythm, reflecting the busy atmosphere, sights and sounds of Hong Kong: the scene of busy traffic, with its streets teeming with people and the noise of the traffic buzzing in the air. To represent this unique atmosphere, we transformed the pulsating energies of Hong Kong into geometric lines and flows. With the rhythm of the waves in the foreground, the strong and straight silhouette of ICC tower becomes soft. Therefore the tower becomes a mirror that reflects the flowing waves of Victoria Harbor, and also a corridor that connects the sea and the sky.				Projection Mapping Installation
ISEA2018: 24th International Symposium on Electronic Art	City Refl3ctor	2018 Overview: Public Events	Denis Hurley Centre	Michael Ang	Light and colour have a profound effect on our perception of our environment and the interactions we have with one another. City Refl3ctor is a portable device that reflects and projects light from and into the city, reshaping how we sense our surroundings. Carried by hand, City Refl3ctor mixes your reflection with an active projection of light – each moment forms a unique spatial configuration of self-other-city-light. As a handheld tool for exploration and intervention, City Refl3ctor travels with you until you hand it off to the next urban inhabitant.			Supported by the Goethe Institut Johannesburg.	Light art	http://digitalcalligraffiti.org/
ISEA2010: 16th International Symposium on Electronic Art	CityShapes	2010 Overview: E-Culture Fair	Dortmunder U – Centre for Art and Creativity	Sander Veenhof
ISEA2002: 11th International Symposium on Electronic Art	Clickety and Clack Live Performance Nov 1		Diamond Hall
ISEA2002: 11th International Symposium on Electronic Art	CO-RELATION		Assembly Hall, Nagoya Port Building		In an attempt to bring the act of shooting a scene into the showing of the scene, two cameras were set up facing each other. Then my body got involved in the scene.
ISEA2015: 21st International Symposium on Electronic Art	Codename Onyx & Time Capsules		Wil Aballe Art Projects \| WAAP	Marisa Olson	n.a.				Codename Onyx: Blackberry Bold 9700, gold spraypaint. Time Capsules: Cassette tape installation, gold spraypaint, dimensions variable
ISEA2020: 26th International Symposium on Electronic Art	Codependent Algorithms			Joel Swanson	Codependent Algorithms is a code based artwork that explores the human interdependence with algorithms. The project begins by choosing a random word. Then a misspelling algorithm (which are used to intentionally mimic human spelling errors to improve website search rankings) deforms the word which is displayed on the right. Then a spelling correction algorithm corrects that word and displays it on the left, creating an infinite feedback loop of deformation and correction that removes the need for human input and intervention.				Projection of a spelling correction algorithm	http://joelericswanson.com/projects#/codependentalgorithms/	algorithm, Code-Based Artwork, Infinity, and language
ISEA2022: 27th International Symposium on Electronic Art	Code_red		CCCB: Centre de Cultura Contemporània de Barcelona		The ritual of a woman wearing lipstick is at once a highly personal act of identity, yet common across cultures. What does it mean for a robot to replace the human hand in such an act? We apply a feminist approach to investigating how robots can collaborate with humans in personal grooming and bodily care towards a future where robots are ubiquitous in daily life. Our work addresses ethical issues of identity, agency, vulnerability and trust in human-robot relations. We explore these issues through cinematic film-making as provocations and speculative narratives. Code_red is a video artwork that portrays a solitary female figure awaiting the painting of her lips in red by a robot. In what seems like a simple, perfunctory action sequence by the robot, through a series of images that are deliberately intense and ambiguous, we aim to unsettle the viewer and call into question the integration of a robot in cultural rituals of feminine grooming and presentation. Introducing a robot into this highly personal ritual invites a critique of how biological and machine bodies could be reconfigured in the intimate zone of close contact. Deploying an industrial robotic arm is a defamiliarising tactic, intended to disrupt and open up thinking on how we weave robots into our daily lives and private, intimate acts. It is also part of our arsenal of creative practice of the disruptive feminine, a questioning of the construction of the universal female, with its culturally entrenched feminine modes of presentation.						human-robot interaction, disruptive feminine, lipstick, and trust
ISEA2019: 25th International Symposium on Electronic Art	Coding In Atypical Places	2019 Overview: Concerts & Performances	Asia Culture Center (ACC)	Ivan Abreu and Malitzin Cortés (CNDSD)	The live act Coding In Atypical Places implements concepts of the organization of the sound time in music to the cinematographic image, using the same logic when programming rhythmic patterns or the transversality of layers or instruments, to order in a non-linear or compositional way the moving image. For this we developed the Live Cinema Coding Engine for Tidal & Processing, a pseudo-protocol mounted on OSC connection that includes a dictionary of words and its corresponding syntax which allows creating analogous behaviors to the music for the video. This same cinematographic approach comes from an extensive musical concept that, beyond being limited to a genre, reviews from the algorithmic possibilities and the manipulation of the live coding various moods and styles.
ISEA2014: 20th International Symposium on Electronic Art	Collaboration Brings Happiness			Sumaia Mohsen Al Amoodi
ISEA2014: 20th International Symposium on Electronic Art	Collaborative Interface		The Space	Ben Stopher	A visual representation of Arab visual culture as seen by female emirati students at Zayed University. Information and interaction designer Ben Stopher is the programme director for Interactive and Visual Communication at the London College of Communication, University of the Arts London. As a special project inline with ISEA2014, Stopher provided a workshop to CACE faculty on ways to explore project data and project options. He concluded the workshop by presenting a prototype document including visual direction, recommended technology, and next steps for student work and project development. The team consisted of faculty members: Tina Sleiman and Yunsun Chung-Shin (Graphic Design II classes, Spring 2014), Scott Conard (Web Design, Fall 2014) and Dahlia Mahmoud (GD II, Fall 2014) and their 70 students. The project entailed working with the students on gathering artifacts and any form of visual evidences from local or regional visual culture in the second half of the 20th century, and then organizing them visually in an informational and engaging format where the users (public) can view and interact. In collaboration, Stopher developed the interface for this database of collected visual items from CACE students home pre-year 2000. The items consist of various forms of design, graphic design, product design, and fashion design, presented in an interactive visual display.
ISEA2014: 20th International Symposium on Electronic Art	Color Therapy: Mood Pulse		Zayed University - Dubai	Marcos Lutyens	Our TwinGalaxiesLive (TGL) interactive streaming player brings distant people and places together on a single screen to communiacate and interact. A very unique and intutive way to present large events to a live audience.
ISEA2016: 22nd International Symposium on Electronic Art	Colors Tunnel		Osage Gallery	Maurice Benayoun	Opening up the data set that the virtual environment draws from from museum image collections to the Internet, this new tunnel probes issues surrounding colors. Stemming from the notion of “stereotypes” in the original sense of the word, meaning printing plates used to create the same image, the artist questions how images of colors so often used to represent superficial layers of perception, represent and contribute to our understandings of specific shifts in culture. The images are of Hong Kong, tagged with different colors, and are received at random from the web. The Colors Tunnel and Borders Tunnel reminds us of what “distance” means between people when it is more than a geographic challenge. The tunnels can be a transient method for the creation of a crossboundary, cross-cultural, cross-social and cross-political space for dialogue. Yet, tunnels are not short cuts. The process of carving, and digging through complex and abundant information and the effort that it takes is key. This is the beginning of a deeper investigation to rediscover the true meaning of distance and the real potential of dialogue. Music for these new tunnels are composed by Jean-Baptiste Barrière. benayoun.com/moben/2016/04/20/just-digit
ISEA2023: 28th International Symposium on Electronic Art	Common Datum		Goethe-Institut Paris	Tobias Klein and Jane Prophet	The air we exhale at 37 C, is 100% saturated with water, which is about 44 mg/liter. The average lung capacity of an adult is about 6 liters. When we exhale, that saturated air cools to the ambient temperature, and if the air outside is cool enough it will condense into tiny droplets of water that form a visible cloud. When our breath comes in contact with a cold surface, it leaves visible condensation. Common Datum is an environmentally reactive, hygroscopic sculpture. A series of suspended vessels continuously absorb the humidity from the gallery – generated through the breath of visitors. Slowly each 3D printed condenser accumulates water that is fed to a set of plants. Even though all vessels are of individual shape and absorb moisture at a different rate, in the end, a common datum is created. A homeostatic balance emerges between visitors and the plant-based life – revealing a hidden symbiotic relationship articulating a material-based interspecies dialogue. Common Datum combines traditional materials and making processes with digital fabrication techniques. It celebrates novel materials and choreographs environmental reactions and forces, defining a digital craft to disrupt binary relations such as traditional and digital making, or simulations of dynamic and inanimate systems. The work is based on our breath to form a participatory ecological dialogue and exchange. The glass work was created with the help of Kwan Tse, with the support of her studio, Soekjing Studio.					https://www.janeprophet.com/common-datum-2020
ISEA2022: 27th International Symposium on Electronic Art	Common Thread		Recinte Modernista de Sant Pau	Keith Armstrong	Common Thread’ presents slow, mysterious passages through thickly forested landscapes, comprised solely of silver-grey dots and lines; whilst effected sounds of those forests commingle with the distant voices of a myriad species. Set within those uncanny landscapes, indistinct 3D forms enigmatically appear and disappear, collectively evoking richly mysterious, unknowable and extraordinary complexities. The work arose from my ongoing residency at Samford Ecological Research Facility in Queensland, Australia – a place protecting a remnant block of forest isolated within a patchwork quilt of surrounding farmed land, typifying the perilously fragmented, disconnected state of Australia’s habitats. It is a place active with scientific research of all kinds, much of which aims for better ecological futures – by seeking to predict more ‘efficient’ forms of conservation and production. Common Thread, is based upon 3D-laser scanned ‘Point Cloud’ imagery of walks through that forest, using a technology that at first glance might appear to capture its complexity. But ‘Nature_Cultures’ cannot be reduced to dots. Almost everything becomes lost in such digital translations – ‘ultra-accurate’ representations in reality devoid of the spirit and meaning of place. Australia: unceded lands of the oldest continuous culture on earth – a culture in which everyone has personal responsibility to everything – where everyone knows their relationship to trees, rocks, sky, people, animals, plants, water.. How little of this its recent settlers understand – about how to live well within such complexity. And so, Australia’s (stolen) lands have been routinely devastated. My on-site research examined the cultural meanings of such conservation reserves within rapidly urbanising landscapes, asking – how might we imagine and seek to represent the very different futures we now need to develop together. How might we rebuild our conceptions of Australia’s places to be consultative, infinitely better informed, and with the capacity to profoundly connect settler culture to Country.					http://embodiedmedia.com/homeartworks/common-thread	Ecological Art, Point Clouds, Future Nature, Nature Cultures, and Futuring
ISEA2018: 24th International Symposium on Electronic Art	ComposingYou_Chinatown	2018 Overview: Public Events	Denis Hurley Centre	Judy Jheung	In recent years, “Chinatowns” over the world have rapidly faded due to urban gentrification, demographic, social and political changes. Considering these transitory moments of intersection, ComposingYou_ Chinatown aspires to commemorate those who helped build the unique communities that have served generations of Chinese diaspora, and to acknowledge those whose personal memories and experiences have been impacted and enriched by these culturally rich heritage spaces. This manifestation intends to draw wide public awareness to the situation, examining the impact and effect ultilizing new media. In capturing the life and times of Chinatown, rather than re-constructing/re-producing/re-presenting the cultural heritage in linear fashion, ComposingYou_Chinatown adopts an experiential approach, utilizing public projection, 2D/3D motion graphics and a multi-layered sound mix. The work expresses sociocultural narration, encompassing past, present and the future. The strategy to use large-scale projection through experiential engagement can impact perception, adding new meaning to human interpretation of the physical environment; as such, it draws attention to the world heritage Chinatown sites serving as a platform to provoke critical thinking about their future through a creative lens.			Supported by the British Columbia Arts Council and the Canada Council for the Arts.	Public projection, 2D/3D motion graphics and a multi-layered sound mix	https://judyjheung.wordpress.com/about/688-2/
ISEA2014: 20th International Symposium on Electronic Art	Composition In Red, Green, And Blue		The Empty Quarter		Exploring: intersections of fundamentals in aesthetics of pattern, geometry, and movement through abstract video animation.
ISEA2013: 19th International Symposium on Electronic Art	Compositions for Involuntary Strings		Studio 22, ABC Ultimo	Michaela Davies	Are the musicians in this string quartet playing – or being played? Their movements are controlled by custom-built electric muscle stimulation (EMS) devices which trigger strange, paroxysmal movements via electrical impulses, resulting in an other-worldly aesthetic. Inserting robotic elements into the highly formalised, traditional paradigm of a classical quartet exaggerates the man/machine interfacing that is central to most contemporary music creation, production and performance, highlighting our growing reliance upon machines to perform repetitive or difficult tasks that we used to do ourselves. The work questions assumptions about creative agency and free will both in and beyond the context of musical performance. By controlling performers’ limbs to execute complex rhythms and techniques which they would be unable to perform of their own volition, the work speaks to the ‘democratisation’ of music and art making with the advent of user-friendly technology. Imposing external control over physical agency, it also questions assumptions affirming the physical realm as an expression of an intentional inner self.
ISEA96: Seventh International Symposium on Electronic Art	Computer Graphics & Animation Showreel	1996: Electronic Theatre	Rotterdam World Trade Centre	Paul Bloemers
ISEA2002: 11th International Symposium on Electronic Art	Computer Labo Exhibition		NADYA Park	Kazuhiro Asai and Reiko Kazama	The Computer Labo at Nagoya City Youth Cultural Center is a multimedia lab for artists which is open to the public. Computer Labo Exhibition is for the members of the labo to exhibit their works. For this opportunity, the labo introduced interactive pieces by 2 artists, ASAI Kazuhiro and KAZAMA Reiko.
ISEA2022: 27th International Symposium on Electronic Art	Concerto para Piano e Pandemia		Santa Mònica	Nikolas Gomes	Concerto para Piano e Pandemia (Concert for Piano and Pandemic) invites us to feel with our body what the world wide web is feeling right now about the pandemic, whilst reflecting on how the amount of data we are presented with every day affects us. Tweets are captured in real time by a python script that takes their characters and transforms them into musical notes in a piano sound. As the thousands – maybe millions – of tweets reach our ears, they pile up and mix sonically, creating an immersive soundscape that messes up our senses. In this installation, we can let this algorithmic non-human robot search for information about COVID-19 across Twitter to help us understand it faster than we could previously. But finding the data is not the only thing that is needed to do. After the use of this search robot, we need to find a way to absorb the content of each tweet that gives us information about the subject; we need to try to understand it. And if the cognitive way is not fast enough, we can try to absorb it with our other senses, like hearing and feel-ing it physically. Our body can then try to understand the speed of incoming information and adjust our brains to it, in an unconscious way of dealing with such a terrifying new disease that affected our entire way of living, spreading fear among families. As our information distribution channels became and remain congested with the influx of data regarding COVID-19, with this artwork I hope to find and present to the public a new way of absorbing information and knowledge about it, using our senses to feel the data instead of trying to make sense of it rationally.
ISEA2014: 20th International Symposium on Electronic Art	Conducting Studies: One Thousand And One Nights		Zayed University - Dubai	Marco Pinter and Ava Ansari	Conducting Studies is a series of ongoing explorations of musical embodiment; a translation of the physical performance of an orchestra conductor to visual imagery representing the conductor’s movements, as captured through the motion of the conductor’s baton.
ISEA2016: 22nd International Symposium on Electronic Art	Confidential Records: Dual Metropolitans		Intitute for American Indian Art’s Digital Dome	Qianwen (Vvzela Kook) Qu	Confidential Record: Dual Metropolitans by Vvzela Kook is based on a makeup story – in revealing of a big secret that Kowloon Walled City was never gone, it is just hidden under the ground. The city governed by artificial intelligence, and the underground Kowloon Walled City became the last defense of all human being —— huge data flows between these two gigantic memory systems, how the future world would become? Integrating with sound/music, visual and new media, the artist will take the audience through an exceptional cyber city journey. Throughout the past hundred years, Kowloon Walled City mostly worked as a community that with military and political function, it maximized the ability of improvisation and compatibility, and finally developed into a huge and comprehensive urban system. The issue of governance of the site which had permitted the unfettered development of these few hectares was finally resolved and the decades of growth ended.In this project I’m trying to make an audacious assumption: Scientist Ray Kurzweil defines the acceleration of development of technology as Law of Accelerating Returns. He thinks that human could make the progress of the entire 20th century with only 20 years in 21 century. People think that technology develops linearly, but what if it is growing exponentially, and we are here right before the “explosion”, what will happen decades later might threat all human being. And what happens if Kowloon Walled city still exists in this hypothesis? What functions will it have, what progress will it have made? What kind of role will it play between artificial intelligence and human? [Source: cityu.edu.hk/bg/exhibitions/ontheroad/vvzela.html#]					http://vvzela.co/