Art Events Data Table

Exhibition. Centre Culturel Canadien, May 16 – 20

deadPixels² is a competitive and cooperative game for 2 to 8 players. Each player is provided with a standard gamepad to move their squared avatars on a virgin canvas. By doing so, the player can paint the background with his team’s color. When a closed shape is drawn, it automatically fills itself with color. Mixed colors produce black dead pixels, an irreversible state. Game ends after ninety-nine seconds or when the white matrix is full of colors. Team with the more covered areas wins the game.

This emergent gameplay aims to provide both a tactical and creative playful experience. The game is projected on a real canvas fixed on an easel and usually exhibited alongside L’Atlas des matrices.

Vancouver is crumbling. Or perhaps it‘s being methodically taken apart brick by brick. Whether for reasons of density, seismic upgrade or escalating value, old houses, schools, and movie theatres are being demolished to make way for the new. Referencing Derrida’s semiotic text, deConstruction is an ongoing series of choreographed short films that capture the dismantling of the historic city. What might have been inhabited for half a century can be demolished in a day. By introducing dance to demolition, Siebens points out that ageism applies to architecture as it does to the bodies of dancers.

Deep Reckonings is a series of explicitly-marked deepfake videos that imagine morally courageous versions of our public figures. We see Mark Zuckerberg confront the disastrous consequences of his techno-utopianism. We watch Alex Jones grapple with his spread of deceitful conspiracies. An imaginary Brett Kavanaugh wrestles with the divisive way he responded to the sexual allegations against him, and a fake Donald Trump concedes his lies about the 2020 election. The project is an exercise in steel-manning where we often straw-man.

Deep Reckonings explores the ethical and epistemological implications of synethic media. It also interrogates how we might use synthetic media in ethical and even benevolent ways. The project seeks not to deceive nor demean, but to imagine and inspire. In this spirit, Deep Reckonings explores the question: how might we use our synthetic selves to elicit our better angels? Or more simply: how might we deepfake it ‘til we make it?

Deep Reckonings won two Webby Awards in 2021. The project seeks to become an ongoing series, in dialogue with the news cycle as it evolves. To be in touch, follow producer Stephanie Lepp on Twitter: @stephlepp

OS is an ever-changing performance built on the real-time interaction between audio and visual elements via NOS Visual Engine. In ISEA2019, pianist Udi Bonen will join Nos Visuals at the Art Center Nabi for another unique experience, based on 2012’s Deep Space Music in Ars Electronica.
The contemporary compositions ranging from Prokofiev, Cage, Ligeti, Messiaen, Feldman and Glass to Shoshtakovich will be turned into an audiovisual experience by NOS. NOS software will make real-time sound analysis as part of its visual calculations during the performance, creating a hybrid perception. Nohlab’s instant intervention with the visual turns the process of visual creation into a performance itself. Minimal geometric forms of NOS acting jointly with the contemporary compositions will open new doors to interlocking areas in audience’s perception, inviting them to almost a synesthesia-like experience, unique to that moment alone.

Organized and sponsored by Art Center Nabi

Film, La Traverse, Alfortville,  May 9 – 27 (Continuous projection in the Salon Bleu during the opening hours of the contemporary art center La Traverse) and Le Cube Garges, May 15 – 18 May, 17:00 h

Lina Dovydenaite is a selected ISEA2023 artist

Democratopia’s film concept lies in the realm between dystopia and utopia, envisioning a data-driven direct democracy in futuristic cities. The artist Lina Dovydenaite transcends current societal norms and speculates on an alternative reality that is neither wholly right nor wrong. In one of these cities, where data-driven democracy is the norm, Lina imagines public virtual spaces where citizens shape the development of their city and architecture through the use of AI architecture agents and other technologies. Rather than predicting or proposing a future scenario, she asks “what if” everyone was politically active and had full influence in decision-making.

The film presents a model of a new society where every citizen enjoys equal status and can freely express themselves through technology. Artificial intelligence is harnessed to serve the community, transforming their needs and aspirations into practical and architectural solutions, both in virtual and real-world environments.

From YT:

Democratopia – somewhere between dystopia and utopia, the concept of data driven direct democracy in virtual spaces of futuristic city scales.

“It is not possible to “predict” THE future, it is possible to forecast alternative futures, and then to envision, design and move towards preferred futures.”
_Joseph N. Pelton

I think beyond the given context of society, and speculate on a future alternative reality that is neither right nor wrong. Within one of the futuristic cities where data-driven democracy prevails, I speculate future public virtual space where people meet to shape how their city/city architecture is developing. Using AI architecture agent and other technologies. I am not trying to predict the future or propose a future scenario, I am just speculating WHAT IF the society where everyone is politically active where people have full influence on decision-making.
The model of new society is the society where all citizens are equal, are able to express themselves fully and without limits through technologies, and where A.I. is put at the service of the community in order to transform citizens needs or aspirations into concrete solutions and even into architectural solution in the virtual as well as in the real world.
I’ve gone into detail about how people might take advantage of social decision-making and open boundaries. While some of the example cities seem dystopian, I explicitly state that people are (and must be) free to leave. (This suggests that KEPO, for example, has a very small male population, and probably has some sort of “underground railroad” to get males out of the city as swiftly as possible.)

I am solving problems as well as inventing new ones:
The initial design spec for the system is clearly meant to prevent corruption and problematic behavior by political elites. Human error can also result in big system-level problems.
Also, AI relies on the data that someone decided was worth collecting, and which was weighted in a certain manner, etc. It is a representation of the world, and the process of building such representation is in itself deeply political. It is unclear if we can ever escape this through participative processes, transparency, etc. If not, how do we compel those who are not willing to comply with the law?The AI can be used for better self-knowledge and improvement, but who will develop the content and knowledge taught by AI as the best and most appropriate? Who decides when an AI system has sufficiently minimized bias so that it can be safely released for use? What happens when the system works within its rules but does not provide for some of its citizens? What happens when the system is insufficient?
Film itself can be a good seed for collective imagination of alternative narratives. Also one of my intentions was to create a vehicle for public debate.Too much of today’s political discourse is focused on small changes to what is, and we seem to be running short on the grand visions.

Dancing, exploring, daring, in a mixture of new sensations. To live as if it were our first or last minute. This is what Adrien M & Claire B propose in their latest creation. This installation-experience-immersive gives us the possibility to live together for 30 minutes the stretching of a minute… On Olivier Mellano’s music and Adrien M & Claire B’s digital images, we plunge into an abstract but totally hypnotising universe made of pixels reacting to our movements, of waves brushing against our feet, of stroboscopic flashes blurring our perceptions. Everyone is free to tell themselves a story, to interact with the moving floor, to dance alone or with their neighbour. In more than ten years of existence, the company – you have seen Acqua alta – which navigates between live performance and visual arts, mixes poetry and technology, pencil strokes and algorithms like no other. It’s your turn to play!

Weaving poetry from the digital, here is the credo of Adrien M & Claire B. The duo indeed creates real aesthetic and sensory experiences where humans and computer programs evolve in a symbiotic way. From their work is born a real algorithmic magic, infused with gentleness and benevolence.
_Arte

This is a meditative, multiplayer networked experience. Players begin in the same procedurally-generated environment. This begins to diverge for each player as their personal environment, composed of individualized weather and hallucinations, responds emotionally to the player’s actions. The constraints within which the players interact are discovered during play, and revolve around the body, simulated breath, drawing in the air, and out-of-body exploration of flora, fauna, and abandoned human habitations.

In an exhibition space, participants sit on cushions on the floor facing each other, or they participate from their computers at home. They use either desktop Virtual Reality (VR) devices, or non-VR systems with monitors and Xbox controllers. In the game world, they are also sitting, either looking out across the desert at one another or lost in an exploration from the perspective of an environmental object. They see one another’s drawings and any two players are rewarded for returning each other’s gazes.

This is a multiplayer game where players can discover ways to communicate and interact over the network, but the individualized environmental behavior pushes the experience inward. The game has its inspiration in group psychedelic and meditative experiences, such as Ayahuasca ceremonies. Although it is ostensibly a group experience, it is intensely personalized.

CodeMakers (South Africa) is a technology education and youth empowerment public-benefit NPO that works with learners and teachers from low-resource communities in Durban, South Africa.  With a broad interest in STEAM (Science, Technology, Engineering, Arts, and Maths) and specific focus on computer programming, CodeMakers conducts hands-on classes through which learners discover and understand the technologies that are shaping our future.  They demystify technology, inspire creativity and curiosity, and give learners skills to become creators of knowledge.

The wai (Maori for water, flow) project connects Maori cosmology, notions of integrated systems, and western art and science in order to reinvigorate our understanding of flow and water across cultures and disciplines. It includes installation and video components, using technology to focus on the urgent need to engage with sustainable practices, given the environmental crisis. It covers the subjects of energy, ocean acidification, and Maori and Diné (Navajo) approaches to water. Text panels are quad-lingual and include Maori, Spanish, Navajo, and English.

Prepare for citywide disruption as Australia’s notorious tactical media art group pvi collective takes over the streets of Darlinghurst. During the twilight hours, immerse yourself in an outdoor game experience and become an urban ‘deviator’, temporarily transforming the city into a playground. Your mission is to seek out 15 audio instructions hidden in public spaces and play as many of the games as possible. From ‘guerrilla pole dancing’ and ‘ring-a-ring-a-roses’, to ‘spin the bottle’ and ‘twister’, each instruction is an open invitation to explore public spaces in a new way, and deviate from the norm. Activating philosophies around revolution, Deviator will alter your perception of life in the city as you know it. Are you ready for some serious playtime?

Devised by pvi collective. Produced by Kate Neylon. Remixes by Jason Sweeney. Deviator games voice overs by Kelli McCluskey. Designed by Sohan Ariel Hayes & Benjamin Forster.  Development by Steve Berrick & Chris McCormick. Programming by Chris McCormick. Technical Consultancy by Prof. Mark Billinghurst (hitlab NZ). Presented by Performance Space, ISEA2013 and the National Art School.

pvi collective (Perth, AU) believe in the potential for art to create systemic change. We critically investigate contentious issues, play hard and creatively intervene. Team:

Exhibition at 36 degrés and Galerie Charlot, June 6 – 18
Also ISEA2023 Artist Talk

Dhvāni is a Sanskrit word, which means resonance. The responsive and self-regulative installation Dhvāni develops an Indian epistemology-informed approach to sound art, emphasizing the role of the listener, inter-subjectivity and situational context as the primary trigger towards construing an artistic experience. Incorporating current research in acoustics and AI, the project examines the role of the “self” and inter-subjectivity against an overarching emphasis on the artistic object permeating in the Western art tradition.

Departing from the object, the project aims to create fertile and evolving “auditory situations” where the selfhood and subjectivity of the listener can be considered in an inclusive manner through interactivity so as to encourage a participatory approach of artistic experience in terms of a networked collectivity. In doing so, the project develops an understanding of the role of chance and contingency in sound experience as a mode of creating temporal disjuncture for the “divine intervention” as Indian musician Gita Sarabhai informed John Cage in 1946 helping to shape Cage’s subsequent work with chance composition (Cage 1973: 158, 226).
Premiere: EXPERIMENTA Arts & Sciences Biennale 2020.

Digital Calligraffiti is an art form that combines calligraphy, graffiti, and urban media art. Participants write messages using calligraphy that are live projected as they are drawn – the messages become digital calligraffiti on the walls of the city. The project gives the chance to different social groups to freely share their messages and wishes. Using the art of calligraffiti to catalyze communication between the individual and the whole, Digital Calligraffiti transforms urban space into a canvas for expression. With the artistic guidance of renowned calligraffiti artists participants are invited to write beautifully their message to share with others. The artistic format facilitates dialogue through a series of activities introducing many social groups to calligraffiti and new media art, building cross-cultural bridges between people, and celebrating diversity while bringing us closer together.

Tuza Art Installation is a digital project performing sounds and images of Colombian archaeological aerophones. An audiovisual installation creates an immersive environment by using surround audio, video, and sensor interactivity.

Original work of art: One Hundred Horses (The National Palace Museum Collection) Preparatory Drawing for One Hundred Horses (Lent by The Metropolitan Museum of Art, Purchase, Friends of Asian Art Gifts, 1991.134)

This interactive augmented-reality installation gives the viewer the opportunity to directly compare Castiglione’s preparatory drawing of “One Hundred Horses” with his final painting. The sketch is exhibited as a full-size printed facsimile, and the viewer holds a tablet in front of it to reveal the superimposed painted scroll. Wherever the tablet is positioned by the viewer, the portion of the painted scroll seen on its screen will be exactly aligned with the printed drawing behind it.

Multimedia installation about cultural exchange between two different locations to reveal specific ambient qualities through juxtaposition of images/sounds and investigate the cultural authenticity of urban vs. peripheral settings.

Exhibition at 36 degrés and Galerie Charlot, June 6 – 18
Also ISEA2023 Artist Talk

The Dispositivo de Realidad Mutada (Mutated Reality Device) is an inhabitable ambisonic sculpture. Inside, space expands far beyond its compact walls and invites listeners to navigate the worlds that result from disobedient linguistic experiments assisted by AI.

Acknowledgments: Rawa Muñoz, Enmy Muñoz, Valeria Tenaud, Tivon Rice, Marcin Pączkowski, Juan Pampín, Eunsun Choi, DXARTS at the University of Washington, USA.

DisSentience speculates on a future where digital technology has pervaded all aspects of daily life, infiltrating even the most mundane and intimate of domestic rituals. The home as we know it, as a refuge for the self and family, is peeled apart to reveal our complacent acceptance of the invasion of technology into our everyday domestic routines and interactions. Every action we make is surveilled by the prying eyes of networked digital technologies, embedded in domestic products, furniture and architecture. The lines between public and private, convenience and infantilisation become ever more blurred, as digital sentience and solicitude take over human agency, outthinking, outwitting and outperforming us

Dissolving Self employs metaphoric data visualization, motion capture and wearable technology to harness the subtle movements of a contemporary dancer.

Dissolving Self employs metaphoric data visualization, motion capture and wearable technology to harness the subtle movements of a contemporary dancer.

Dissolving Self employs metaphoric data visualization, motion capture and wearable technology to harness the subtle movements of a contemporary dancer.

Distiller of the Self is an interactive installation made out of glass, which reads the pulse of a person through a mobile app and turns it into bits, waves, and particles to tell a short story about the science and the soul. The artwork, based on neuroscientific studies, represents the transition to a truly scientific thought, questions the relation between beliefs, discrimination and conflict, and proposes how to confront our human existence with its unavoidable lack of certainties. Created at the Berlin University of the Arts in 2016.

Australian Centre of Virtual Art. Have we been sucked into ‘the machine?’ – and if so, did we have any choice? “In this age of global networked data, nearly everyone in the developed world has signed away their rights to privacy … to produce content for a handful of massive global data-capitalist corporations – who delete none of it, ever, presenting nothing but the right-now, erasing history and context and replacing them with an endless parade of banal distraction. Our experience is presented back to us in a networked digital simulation so comprehensively distracting that it actually becomes our experience, an endless now without context, pure representation, the perfect visual medium for advertising nothing but itself; promising self-empowerment, this perfect simulation delivers nothing but … a need to produce more content for itself.” Participants in the gallery and online are asked to consider their place and role within the global network of data capital, and whether resistance is even possible. Endlessly recombining the facial and vocal input of participants in a state-of-the-art real-time morphing composition of audiovisuals, Distributed Empire highlights the fragile state of the global ego in an era of massively online narcissistic consumerism

DIY Social Skin steps beyond data-visualization, to question the modalities under which the body is transformed by its social environment, and the modalities within which these transformations are shared.

DNA Pod consists of a throng of 60 small sculptural works, created out of a process of origami folding and unfolding DNA autoradiographs collected from universities. This method of DNA sequencing is no longer used as it’s been taken over by digital technology. The redundant information slides find new life as art.

In this iteration of the piece, it is accompanied by a choreographed performance from Xolisile Bongwana and a video documenting the Sardine Run, an annual phenomenon that occurs just off the coast of Durban in which millions of sardines move north along the eastern South African coast.

The project DNA whakapapa uses Clothier’s DNA data to generate audio; the audio then generates video animation. The DNA data was sourced from Ancestry.com and the video-audio art work is a collaboration with Josiah Jordan. Whakapapa means genealogy/lineage in Māori.

Here is how Josiah Jordan explained the relationship between Clothier’s DNA and audio for parts of the soundtrack: “Chromosomes 1 to 3 drive the synthesizer, bass guitar and percussive elements that lead the track… The first notes of strong synthesizer (near the 2-minute mark) belong to Chromosome 1… The X and Y Chromosomes are the flute and lightly plucked string elements… Around the 3:20 mark begins the other synthesizers…high synth, bass and bells, all played by the same Chromosome 12… in a way stitching together past and future.”

This project follows a long series of video-audio works utilizing data. In terms of generating video, color and form decisions were directed towards a biological, organic feel and a rainbow look in respect to Clothier’s non-binary gender fluid nature. As a hybrid Polynesian, whakapapa, DNA and ancestors are one and the same thing. So this project unites Polynesian heritage with Western science in an intimately personal and familial way.

Original work of art: Victory in the Pacification of Dzungars and Muslims by Giuseppe Castiglione

This documentary relates the story of the greatest art creation project of the 18th century between China and Europe. In order to accurately reconstruct the historical context in which the engravings of Victory in the Pacification of Dzungars and Muslims were produced, the curatorial team at the National Palace Museum researched historical records in several countries. The team viewed prints housed in the BibliothПque Nationale de France and original copperplates housed in the Ethnologisches Museum, Germany, and filmed engraving techniques at a printing workshop.

Fusion of the Possible, Topographie de l’art, April 15 – June 15

2020
Sound sculpture, fiberglass, speaker, iron, wood, audio system, 30 x 40 x 25cm.
Loop duration 12 min.
Courtesy of gallery Alberta Pane, Italy

A sound capsule is placed in a metal box on the wall. All the parts of the sculpture and the shelf are in a golden ratio.

The loudspeaker sealed inside the capsule plays the acoustic modes of a room, multiplying them also in relation to the modes of the sculpture itself and further reverberating in the metal shelf.

Two negative spaces are created, two voids that resonate with the specific frequencies of a room: the sound sculpture therefore contains the frequencies of a room and makes them its own.

A continuation of Raewyn’s investigation in sensing the human plume, Downwind explores our differences in olfactory sensitivity and selectivity due to the genetic basis of human olfactory variability. The human plume trails downwind from each body carrying with it signature odours and emotional and environmental olfactory architectures which are the fragrances of our civilisation and times. They are the olfactory cyphers of change, yet sensing them is defined by a combination of genetics and personal experiences. The whole of nature is communicating by olfactory signals that we usually disregard, immersed as we are in a synthetically flavoured and fragranced atmosphere. The revolutionary wind of genetic discovery suggests that we may not all be perceiving the same reality. We’re working with scientific research in olfaction to explore the behaviour-changing signals of smell,  beginning  with  fugitive smell compounds as well as ones  known to  elicit  specific  anosmias–the inability for some people to smell a particular odour that others can easily detect. The work explores controlled delivery of 19 specifically chosen smell compounds through everyday objects.  The pods sense human presence and respond by expressing calibrated amounts of smell via a programmed mechanism that uses arduinos, servo motors, ultrasonic distance sensors.

Over the past 2 years we’ve collaboratively created experiments around olfactory perception.

Artwork instructions: Please place a little sugar on your tongue to help amplify your sense of smell. Place your upturned hand on the silver dish to receive a few grains of  sugar and push it sideways til the hammer rotates and sugar falls. As you approach the lid opens to allow spooning a little sugar into your hand.

Drawbotical Melodies is a sound/light installation. Visitors can draw on a the touchscreen and the drawing movements will be played as melodic phrases by a robotic recorder (flute)

Dreaming Machine #3 is a site-specific generative artwork whose artificial intelligence processes transform material from a live camera to construct images in perceptual, mind-wandering and dreaming modes.

This Artwork is a book art for digital contour drawing and the product is presented as an interactive digital pdf book format in a touch screen or tablet. It is also shown as a printed book with hand-made paintings.

Media Performance (LED, Drones). 13’00.

The opening performance Drunken Drone (2019) is a drama based upon a Korean folk story wherein a woman waiting for her husband to come from the workplace, sets aside some food in a bamboo forest and the demons turned it into a drink. It highlights the intimate relationship between humans and machines by giving personality to a drone as a personal medium that enjoys nature and understands other’s feelings.

Highly advanced modern technology reflects the human will and provokes revolution which influences human consciousness and brings about a paradigm shift in our lives. The demons in the form of a drunken drone sympathize with the woman who is experiencing difficult times in life and comfort her by turning the hidden rice into alcohol.

The hidden ‘rice’ symbolizes the sorrow and joy we as human beings experience in a lifelong journey and at the same time the internal conflicts and various social traumas. ‘Rice’ is set as the first cause of all conflicts, and as a means for survival. The digital demon as a drunken drone emerges from the outside and comes as a light which comforts human beings as they confront the limitations which they can never overcome by themselves because they are beyond their limits.

Beyond the characteristics of the existing media, drones exist as a personal medium that understands human beings more than the human themselves and creates a connection between humans and machines that can only be achieved through the drink, which is interpreted as a light, which sublimates the pain and affection felt by humans in light of the modern civilized society.

Reality Engine is a performance piece and an interactive audio installation. An ambisonic device reveals a series of acoustic ambiances creating an audio and virtual voyage through the urban environment.

Composed by Peter Desain and Henkjan Honing, performed by Tom van der Loo and Jaap Pluygers

Two characters, a duel
deaf and blind to each other
as intermediary, the computer precents a combat
a duel seems unwanted reverse the movement!
no winner, no looser a play

Duel (1985, revised version 1987) is an interactive computer composition for two percussionists. The composition is the description of a process. A computer functions as an intelligent listening and prompting conductor. The percussionists are acousticaly separated, unable to hear each other. The computer directs them through the five phases that make up the composition. They will go from a non-coordinated repeated playing of their own pattern to playing one and the same pattern, originating from the unique characteristics of both patterns.

The five phases are:

1. Without each other (analyze patterns)
2. Towards each other (make patterns of equal length)
3. Against each other (make patterns synchronous)
4. With each other (make patterns complementary)
5. Together (make patterns the same)

The Dust Agitator series (2018-2019) explores the aesthetic, critical and sensory potential of a residual material at the end of its cycle: a fine and harmful dust produced by the glass recycling industry in Quebec. The kinetic installation which highlights fine particles initially intended for landfills produces chromatic light modulations interfering with the peculiarities of this materiality: volatile clouds which, over time, fall back, sediment and accumulate.

Proceeding by resonances between the studio, the recycling centres and the gallery, this research results from field work carried out with recyclers in Quebec and Belgium and emerges from a sensitivity to the interaction processes underlying material production. In the context of of ecological emergency, the work inspired by the operation of recycling centres intend to shift pressing issues into a new field of vigilance. This sustainable engagement with an “exhausted” materiality thus addresses sentience from the perspective of the ecosophical world: it investigates the geological, socio-environmental and artistic entanglements mobilized by this dust, linked to raw materials and technology, as well as artistic and industrial practices.

Exploring the graphic patterns generated by the shadows of the Herveo Tower, a projection on a screen positioned amidst two of its columns will display Processing real-time drawings generated by code. The pattern of lines, as well as their velocity, will change according to the behaviour of people walking on its surroundings (as mapped from a computer-vision device positioned nearby).

D’Eco a Siringa is a sound and visual installation where resources close to artificial intelligence are applied to the composition of a musical and visual flow in continuous transformation, without formal resolving elements throughout the installation time, whatever its duration, dynamically built from a database accessible in the IP space, initially made up of materials obtained by reading words from world women’s literature, spoken by diverse female voices in as many languages as possible and constantly and dynamically maintained. At present, it contains sound samples from 60 languages.

Images are dynamically constructed from the graphic treatment of texts in various languages and alphabets, chosen according to spectral characteristics of sounds and procedures selected at variable time intervals. Its instantaneous behavior is reactive in real time to the general dynamics of sounds. Despite the continuous change in the sound and visual flow that is generated as a consequence of ethical-aesthetic reasons dictated by the need to construct works avoiding the traditional musical forms marked by patriarchy and influence them with structural characteristics of female voice, I consider the problems of the distillation of the essence and the maintenance of the identity of the work of art, which, in this case, is achieved through the intelligent manipulation of the timbral colorations of voices and the balance of the images. Hence, recordings of readings and the appearance of texts are subjected to various forms of signal processing; in particular, transposition, juxtaposition, superposition, convolution, fragmentation, granulation, filtering, and spatialization.

Claiming non-directionality as a response to the dominant orientations based on directionality, being sound and image generation continuous in real time without conclusive segmentations, as is the case of most of my installations, no one is expected to wait for any final conclusion, as happens in a traditional concert situation.

Can I kiss you online? How does your kiss feel in E.E.G. data?
Can we transfer a kiss and it’s intimacy online? Can we measure a kiss and what kissers feel together? Do we want to save our private kisses in a transparent database – to be used by others?
In E.E.G. KISS the artists investigate how a kiss can be translated into bio-feedback data. They deconstruct the kiss, to reconstruct a new synesthetic kissing ritual. In a Global Kiss-In, through feeling, seeing, hearing, touching all participants together share a kiss.
The artists: “Tele-presence technologies extend our bodies beyond biological boundaries in time and space, but they prevent us from touching. In a poetic, electric environment for kissing and measuring, for synchronizing and merging, we research a shared neuro-feedback system for networked kissing.”

Performance installation: Digital Synaesthetic EEG KISS
In performances and live kissing experiments with Brain Computer Interfaces, visitors are invited to kiss. While kissing and wearing E.E.G. headsets, their brainwaves are measured and visible as E.E.G. data. A floor projection encircles the kissers with the real time streaming E.E.G. data, as an immersive data scape. A soundscape is generated by the Brain Computer Interface, which translates the real time E.E.G. data of ‘kissing brains’ into a algorithm for a music score: an E.E.G. KISS symphony. The public around is part of the kiss, of the sound and of the immersive E.E.G.-data-visualization; both as an aesthetic experience as well as based on acts of kissing resonating when mirrored in the brain. For full text see: lancelmaat.nl/work/e.e.g-kiss

Arts numériques Fest Exhibition and Hacnum Exhibition Théâtre-Sénart, May 2 – June 3

Dylan Cote & Pierre Lafanéchère are ISEA2023 selected artists

visual performance made with Incogito .
30 minutes. Earthsatz also has an exhibitable version (prints + video).

To scrutinize the planet by referencing each of its facets is to seek to exhaust it, to say everything about it, to disenchant the idea of ​​an unknown elsewhere by replacing it with a rational and immutable vision. Google Earth is a project that is both infinite and imperfect: to fit the world in a smartphone is not only to look at it as an object of scientific study, it is also to compact it. The image is imprecise, the volumes are altered, the city is silent, the cars static, life non-existent. “Hold the whole world in your hands”: a funny slogan for a strange vision of the world.

Yet the world told by Google Earth remains intriguing. The imperfections of its forms, the defects of its textures and the coldness of this representation constitute the attributes of a new, hybrid universe, more of algorithmic fiction than our tangible reality. Earthsatz seeks to amplify the cold and scary poetry generated by this “pocket world” where pixels have replaced particles.
The challenge is to succeed in contemplating this space for what it is: a fictional universe mimicking ours while developing its own autonomy, its own logic, its own physics. By in turn scanning part of the world generated by Google scans, we add a layer of information loss, greater compression and therefore amplification of its fantastic characteristics.

Earthsatz then proposes a walk in this third world whose fictional, artificial and irrational aspects are celebrated through a highlighting of its aberrations and a progressive degradation of its forms. These tormented landscapes are prolonged in dark and heavy sonorities, soundtrack of a synthetic universe in decomposition, roars of a planetary equation.

Arts numériques Fest Exhibition and Hacnum Exhibition Théâtre-Sénart, May 2 – June 3

Dylan Cote & Pierre Lafanéchère are ISEA2023 selected artists

visual performance made with Incogito .
30 minutes. Earthsatz also has an exhibitable version (prints + video).

To scrutinize the planet by referencing each of its facets is to seek to exhaust it, to say everything about it, to disenchant the idea of ​​an unknown elsewhere by replacing it with a rational and immutable vision. Google Earth is a project that is both infinite and imperfect: to fit the world in a smartphone is not only to look at it as an object of scientific study, it is also to compact it. The image is imprecise, the volumes are altered, the city is silent, the cars static, life non-existent. “Hold the whole world in your hands”: a funny slogan for a strange vision of the world.

Yet the world told by Google Earth remains intriguing. The imperfections of its forms, the defects of its textures and the coldness of this representation constitute the attributes of a new, hybrid universe, more of algorithmic fiction than our tangible reality. Earthsatz seeks to amplify the cold and scary poetry generated by this “pocket world” where pixels have replaced particles.
The challenge is to succeed in contemplating this space for what it is: a fictional universe mimicking ours while developing its own autonomy, its own logic, its own physics. By in turn scanning part of the world generated by Google scans, we add a layer of information loss, greater compression and therefore amplification of its fantastic characteristics.

Earthsatz then proposes a walk in this third world whose fictional, artificial and irrational aspects are celebrated through a highlighting of its aberrations and a progressive degradation of its forms. These tormented landscapes are prolonged in dark and heavy sonorities, soundtrack of a synthetic universe in decomposition, roars of a planetary equation.

The key intention of Echo is to create a vehicle for the exchange of empathy. As the world becomes more complex and digitally connected, the role of empathy is becoming increasingly important as an antidote to personal loneliness and an ideological isolation. Echo is an immersive artwork that takes the form of an interactive booth-based installation. The work is user specific, relational and explores notions of connection through an interactive exchange of personal narrative. Touch screen, real-time facial tracking technology combines animation, storytelling, and portrait to highlight intersections between strangers. In doing so the installation is able to collect and share an embodied archive of cross-cultural experience that elicits compassion. Informed by narrative theorist PJ Manney: “Storytelling is both the seductive siren and the safe haven that encourages the connection with the feared “other.” How we relate to stories and storytelling can be seen as an acid-test for empathy”. 

echo:system is a live performance and installation work lead by AME  (School of Arts, Media, and Engineering) faculty’s Grisha Coleman and a collaborative team of artists and researchers. The project is a response to our current environmental crisis caused by contemporary humans’ inability to reflect on our own impact to the natural world. The goals of the project are to create lasting, arts driven vehicles for cross-disciplinary research, curriculum advancement and community engagement amongst divergent collaborators on and off campus. The project is working with experts in dance, archeology, computer science, environmental humanities, design, music, media, and architecture in developing active and engaging mediated spaces which explore socio-cultural and ecological aspect of the desert Southwest. Other campus partners include Institute for Humanities Research (IHR), Global Institute of Sustainability (GIOS), Herberger Institute for Design and the Arts (HIDA), and the ASU Art Museum. Off-campus partners and advisors include: Desert Botanical Garden, and Southwest Environmental Consultants (SWCA). echo::system has received seed funding from the Doris Duke Charitable Foundation and the Rockefeller Foundation

Within the sonic world there is no separation; sound enters our bodies as vibration, immersive and continuous. Sound is the one fundamental phenomenon that we are immersed in – every living, moving thing is producing sound continually – it flows between distinct elements and binds them together. We experience it both actively, by listening, and also subliminally – and from it we draw conclusions about our world. EchoSonics investigates the close relationship between sound and natural, biological and environmental phenomena through the work of four artists practising within the field of sound art, and combining cultural and environmental issues in their audio-installations. Many of the works suggest the subtle ways in which sounds address us. Presented by ISEA2013 and the University of Technology Sydney.

The second iteration of the Eclipse Bureau, a body of work around an independent research organisation comprising an architectural-sound installation that incorporates community engagement via a multi-language survey.

Bridget would like to thank the following people for their contributions:
– The Research: Research Consultant – Sean Walker, Research Assistant/Social Media Coordinator: Hiba AL-Midfa

– The Bureau: Materials research & CAD Technician – Tristan Forward, Panel Fabrication & Consultant – Castform, Detail & Fabrication Consultant – Power to Make, CNC Fabrication – Power to Make

The second iteration of the Eclipse Bureau, a body of work around an independent research organisation comprising an architectural-sound installation that incorporates community engagement via a multi-language survey.

Bridget would like to thank the following people for their contributions:
– The Research: Research Consultant – Sean Walker, Research Assistant/Social Media Coordinator: Hiba AL-Midfa

– The Bureau: Materials research & CAD Technician – Tristan Forward, Panel Fabrication & Consultant – Castform, Detail & Fabrication Consultant – Power to Make, CNC Fabrication – Power to Make

Will our data still be around tomorrow? Digital data cannot be preserved forever because of bit rot and data decay. I am fascinated by what data degradation will look like, what if you translate and visualize the unintelligible? ‘Ecophagy’ shows my artistic interpretation of the transience of data. To avoid the data storage doom scenario, I opted also for high resolution art prints.

Electric Sheep is a series of animated digital portraits that explore of the formation of a dialogue between the ‘subject’ of an art work and the ‘viewer’ of an art work. This established relationship between ‘subject’ and ‘viewer’ is purposefully disrupted through the portrayal of the subjects, who are so engrossed in the usage of their own technology, that they are unwilling or unable to engage with the viewers who stand directly before them. Electric Sheep is thus a commentary on the increasing dependence on technology as an accessible and constantly evolving form of communication. The animation and stylisation of the portraits are reminiscent of uniquely digital experiences facilitated by the digital platform; namely computer glitches and the fashionable applications and filters associated with popular new forms of communication.

The performance by Skolz_Kolgen (CA) will portray a range of austere to rigorous sounds, alongside synchronized imagery.

Eliodomestico’s web is sculptural installation presenting the Eliodomestico, a solar desalination still developed by industrial designer Gabriele Diamanti. Combined with video projection highlighting a web of connections.

“Technology is not neutral. We’re inside of what we make, and it’s inside of us. We’re living in a world of connections — and it matters which ones get made and unmade.” _Donna Haraway

The Embodisuit allows its wearer to map personally chosen signals from an IoT platform to combinations of physical sensations on their body. The wearer customizes the garment with haptic modules attached with snaps to create sensations of heat, cold, vibration, and more. These sensations can be constant or infrequent, subtle or jarring, singular or grouped, and they are entirely configurable by the wearer for both practical and poetic purposes. A few examples:

– Inspired by “feeling the weather in your bones”, you feel a gentle buzz on your wrist 20 minutes before it rains.

– The sun shines in your favorite place. The modules across your back gently warm your neck and shoulders.

– A hummingbird flies under your window at home. You feel a ripple down your spine.

Emergence by John McCormick, Steph Hutchison and an emerging performing agent, is a dance duet performed between a human dancer and an artifi cially intelligent performing agent. The agent has learnt to dance through a rehearsal process with the dancer, sharing the dancer’s movement and style. Emergence sees the dancer and agent co-creating an interactive semi-improvised dance performance. The neural network based agent uses a motion capture system as its sensory input for understanding the dancer’s movement. Emergence investigates the nature of embodiment, cognition and perception for a digital entity, and the relationships formed through the co-creative process of performance generation between the agent and dancer. Curated by Philippe Pasquier.

This real-time data visualisation artwork depicts the internet as the nervous system of the world, by measuring 48 emotions on websites related to current events in more than 3200 cities worldwide, revealing the results in a hyperactive map.

This activity is part of the process of creating Martí Madaula En Residència at the Institut Vapor del Fil, where a group of 1st year ESO students from the Institut Vapor del Fil (Sant Andreu) and their teachers take part. The creation process of Martí Madaula at the Vapor del Fil Institute is one of the 26 creation processes that are being developed in the context of the 13th edition of En Residència (September 2021-June 2022).

People, technology and objects related to space expeditions – and to the moon in particular – are one of the mainstays of the explorations and research carried out by Martí Madaula and the young people involved in this creative process. A process still alive, which can be followed on the blog documenting the day-to-day running of this residence.

The Terrat Viu of Museu de Ciències de Barcelona will be the point from which the young participants in this project will be able to make an observation in interaction with Kike Herrero, the researcher of the Institute of Space Studies (IEEC), who will travel expressly in Barcelona from the Parc Astronòmic del Montsec (PAM). Initially scheduled for March, this observation had to be suspended due to adverse weather conditions. Although the creation process of Martí Madaula and the group of young people is already at a much more advanced stage, the nocturnal observation of the moon is expected to provide nutrients to a creation process that will be presented publicly at the end of May. . It will be in La Capella, in the context of “Per Capítols”, the exhibition that from May 24 to July 3 will host the works and the creation processes of six of the creation processes of the current edition of En Residència.

En Residència at the institutes of Barcelona is a program promoted jointly by the Institut de Cultura de Barcelona and the Consorci d’Educació de Barcelona. The association A Bao A Qu took part in conceiving the program, an entity that is also in charge of curating and coordinating the process of creating Martí Madaula at the Vapor del Fil Institute.

En Residència offers a shared workspace between artists, students and teachers of public secondary schools. Throughout the course, and within the school hours, creators of very different disciplines and generations develop a process of artistic creation together with a group of young people, from ideation to public presentation.

Ener-geyser is an algorithmic wellspring that visualises energy usage in real-time for a local energy commons. The site-specific installation is a research tool to learn more about how members of resource communities share, view and interpret their data – and in turn make choices that affect the community as a whole.

The installation was created as a design probe for the research project Design Thinking for the Circular Economy, and explores how Situated Design methods can contribute to articulating value transparency in the design of local platforms for the circular economy.

The Ener-geyser was originally realised in the neighbourhood Schoonschip (Amsterdam), the most sustainable floating community in Europe; and the only one utilising a blockchain driven local smart-grid to distribute self-produced energy.

The geyser is designed to assist community members in making decisions about when it is optimal to turn on/off appliances, in order to achieve their agreed shared sustainability goals. By looking out the window, residents can observe the current (energy) situation.

When the fountain sprays high, there is an abundance of energy, so it is optimal to turn on appliances. A medium to low spray indicates caution, as demand is headed toward a peak. When the fountain is less than a meter high, there is a peak – thus it is not optimal to use energy.

The fountain examines how members of the resource-community make choices about when to tap from the shared system, and reveals aligned tensions like the individual vs collective good, and privacy vs transparency.

Ener-geyser experiments with new ways of interpreting complex data – that extend beyond traditional dashboard interfaces. The fountain’s main purpose is to catalyse discussion. These kinds of discussions form the basis for making complex decisions, that can define how emerging energy-resource communities define and execute their common goals.

A site responsive, performative work that utilizes tourist transportation, the geographies of Dubai, sites of consumer consumption and virtual worlds, to highlight/elide difference, glocal economies and locality.

The performance Enigma depicts forms of visual and sound information transcoding. Amongst the themes explored, the artists worked around the thought of mathematician Alan Turing through the exploration of issues related to artificial intelligence, deep learning, and digital identity. The creators also focused on the parallel drawn by Turing between the cryptographer and the physician, who attempts to decrypt the universe in which we live. The inclusion of a human-machine dialogue, inspired by a series of experiences conducted at Google in the area of deep learning, gives us a glimpse at the challenge machines will face in their learning and decrypting of human thought. Finally, we could not ignore one of the great repercussions of the development of cybernetics by taking up the text of a famous monologue by physicist Robert Oppenheimer on the consequences of research on the atom.

Enigma, 2019.
Stereo sound, single channel live video, computers, controllers,
TouchDesigner software. Audiovisual Performance. 35’00.
*Organized by Art Center Nabi, sponsored by Government of Quebec Seoul, Korea
Credit
Visuals Yan Breuleux
Music Alain Thibault
Touch Designer Programmer Rémi Lapierre

Excuse me, does anyone know … ? With millions of people sharing the most intimate details of their lives on social media, online data streams have become vast repositories of thoughts and emotions. This work invites audiences in Sydney and Darwin to dive head-first into this river of social data, submitting questions on any subject and seeing them answered by the data stream in a form of modern-day bibliomancy. The answers might not be what you wanted to hear, but they might just be what you wanted to say. Enquire Within Upon Everybody is part of an ongoing series of collaborative works between hybrid media artist Andrew Burrell and writer Chris Rodley which explore the poetics of search: the creative possibilities of filtering and recombining online data through search queries … inciting questions about the un/reliability of digital information and the im/possibility of uniqueness in networked environments, where almost everything we want to say is always, already being said by someone else.

In the global network of submarine cables infrastructure, landing points are precarious sites, passive of being affected by local actors, by the environment or by security threats. They are, following Nicole Starosielski, pressure points where insignificant microcirculations can pursue a high impact over intercontinental ocean communication, contesting the friction free nature of global communication. The artist looks to establish a phenomenological bond with this environment of transition of the submarine cables infrastructure, departing from landing points in Fortaleza (Brazil), the most important city in the network of the South Atlantic and where he lives, to landing points in two other cities with which Fortaleza is networked and that are in opposing extremes of the Atlantic: Sangano (Angola) and Barranquilla (Colombia).

Entrancer: Be Sicklecell Be a Hero proposes a reflection concerning issues of race in science research, mainly related to sickle cell anemia. As an action in public spaces, the work invites the experience of a possible dance with a virtual moving model of a sickle-cell in Augmented Reality – mutated from the 3D model of a normal blood cell using morphogenetic algorithmic strategies. The experience is conducted by the musical rhythm of a Brazilian samba, distorted and combined with sonified fragments of a sickle-cell’s textures under the microscope. The samba metamorphoses the cell into its distorted version, resembling the mutant sickle-cell that changes shape due to a chemical alteration – a strategy against malaria – and not a genetic condition of black men and women. The installation is a tribute to emblematic works of Hélio Oiticica, bringing together in a conceptual combination or convergence the ‘Parangolé’ and the stencil “Be an Outlaw Be a Hero” from the series Marginalia, proposing a piece that is a ‘cross-over’ of both referred works, that has adaptive qualities concerning the most diverse exhibition conditions and spaces, and that is itself a mutant work in relation to the body and the environment.

Entropic Texts is an experimental digital poem using text, image, and an interactive interface to explore the notion of entropy. Entropy is nature’s tendency towards decay. Thus, it is entropy that predicts the arrow of time and the length of the life of all things – living and material. As you scroll through this artwork, you are led into a world where the “force” of decay gets slowly stronger, to the point where text, images, and moving image, become glitched and decayed beyond recognition. This imaginary world of quickening decay is represented by the junkyard. What we often call junkyards are spaces that were once collections of adored or useful items that have succumbed to entropy; thus, they are both clear metaphorical and physical spaces of decay. Using a combination of the artists’ own poetry written while visiting junkyards and generated text, we seek to experiment with the life and decay of digital data. This work is intended to be read both ways. Once the end is reached – 99% decay force, the piece can then be scrolled back through, reversing the arrow of time, and thus reversing entropy. The act of creating a digital interactive poem feels a lot like fighting with the forces of entropy – as an artist you are creating a work that is constantly attempting to break itself. Sometimes a large portion of the artist’s role is to resurrect broken data. This process of creation and destruction of data, while central to our theme, was also self evident in the creation of the work itself.

Beginning in late 2017, the demolition of the Netherland’s Central Bureau of Statistics office created an extreme type of slow cinema for railway passengers traveling between The Hague and Amsterdam. Over the following year, as the building was methodically deconstructed from the top down, I visited the site each month to document the gradual erosion. Using a drone and a digital mapping process, photogrammetry, I created an archive of virtual 3D models.

As the building’s architecture and its inevitable collapse were reminiscent of J.G. Ballard’s 1975 High Rise, I further sought to accompany this scene with the voice of a machine learning system trained on the complete corpus of Ballard’s writing. This recurrent neural network generates texts that describe the materials, invisible bodies, and possible narratives residing within the broken grounds of the building.

The resulting installation combines video, neon lighting, and the voice of the machine learning system. It debuted at the 2018 Modern Body Festival in The Hague’s Theater de Nieuwe Regentes, a former swimming pool built in the 1920’s.

The ongoing research project of which EoE Triptych #1 forms a part builds on parallel obsessions with cosmology, deep time and post-apocalyptic scenarios. Reacting to contemporary disaster rhetoric – the end of humanity or post-terrestrial escapology – it presents the unavoidable future and inescapable apocalypse of the end of the Universe.

Abstract: The human sense of permanence and significance leads us to imagine futures where we are present, having found ways to dominate nature and conquer space. This project argues that there are events from which there is no escape and that all timelines, including the human one, will come to an end through developing cultural and scientific narratives around the end of the Universe.

Where we imagine permanence and continuity, the Universe presents itself as a fluid entity where stars glow into existence and burn out, where galaxies collide and where eventually all matter will dissipate in a field of cold radiation. The brief existence of stars and planets on the timeline of the Universe is nothing but a momentary glitch in the process of transformation from Big Bang to Heat Death.

An important narrative within the work is the fine balance between knowledge and speculation. While our understanding of the Universe and capacity for prediction is astounding, we still cannot be sure that the next thousand trillion years will be as we imagine. Everything we know so far points to the ending known as heat death, the slow fading of the Universe into a field of cold radiation, but how can we know if dark energy, dark matter and quantum fluctuations will change things or not?

And in trying to understand these vast cosmic processes, where do we find the space to examine our humanity? How do we confront the melancholy of imagining a future that we can never experience? How can we attribute meaning and significance to something so fleeting and intangible?

The triptych presents the end of the Universe in three stages; the end of the Solar System, the end of the galaxy and all stars, and the end of the Universe itself.

Ephemeral Edgespace is an installation-performance that opens out to an immersive, ritualized, intimate event, ensounding the participants and including audiovisual, tactile and shamanic (mugu) interfaces that draw on particular concepts of multisensorial choreographic architecture, interactional objects, and luminescence. We understand such choreographic architectures as kinetic atmospheres (“kimospheres”) which are not art installations in the traditional sense but participatory scenarios, often built with fabrics and paper, which emphasize sensorial and affective ritualized engagements between dancers, musicians and audience. Ephemeral Edgespace is not a completed work but will be constructed to emerge in the South African local context of ISEA2018, adapted to the particular place we are given to work in.

Exhibition. Le Cube Garges, April 27 – May 18

2014
CG!, Design Fiction

“Looking for future? Look at nature!” This is one of the slogans of Ephemeral Electronics, an anticipation advertising campaign carried out by Florian Sumi and the communications agency DawnMakers. This artistic campaign highlights the possibilities offered by the research of the Urbana-Champaign Laboratory, based in Illinois (USA). Made exclusively from crystallized bombyx chenille silk, silicon and magnesium, the technology developed by the laboratory is biodegradable, bio compatible, and programmable obsolescence. Communicating then allows feasible alternatives to be considered and made possible. This technological and artistic marketing is as much a political projection as an aesthetic one.

Epiphany is a project that spreads like wildfire. The app of the same name to deeply touch what we are always touching. The sculptural pieces are made of materials related to the screens of mobile devices, mirrors and costumes that were the plastic research for Instagram filters.

Plasma as a mutable and transitional state. Ghost like an ectoplasmic sheet, between mucus and appearance, and cell phone screens are often greasy.

Epiphany aims to delve into the concept of superficiality by working from the meeting point of skin and screen. The screen functions by reifying and codifying the materials that make up its users, mainly humans. It involves the semiotic-somatic structure generating minimal contact between skin and glass and the following layers that can be dismantled on both sides of this point, of this interaction as transference, transmission and transition of bodies, politics and emotions. A digital haptic speculation.

App: Epiphany, Unity, 2021.
Sculptures: Phantom plasma, mixed media. 2021

This performance is the result of a 5 day workshop, presented at ISEA2018, Durban, South Africa.

There is little chance for visually impaired people to engage in a world of culture that is so visually dominant. The aim of “Eskin 4 the visually impaired” is to create a trans-disciplinary platform to enable visually impaired participants to become performers alongside their own pre-recorded audio content and local ecological stories. In a workshop prior to ISEA 2018, seven visually challenged participants from the Mason Lincoln Special School in Umlazi, Durban will work with two Durban dancers and the Swiss-based media art group AIL Productions, under the direction of Jill Scott. Together we will develop navigation potentials inspired by current research in AI, neuroscience, augmented reality and wearable computing. The role of the media art team is to visually interpret the individual stories and audio content for a sighted audience and to support the performers to be creative on a mediated stage. Here, technology is used as a platform for social engagement that will amplify the voices of this local community and empower them with new navigation and orientation skills. The workshop results will be shown in a final performance, where the audience is introduced to a unique experimental theater format.

This artwork is framed in the line thought of technodiversity, promoted by the philosopher Yuk Hui, which invites us to break with the monolithic vision of technological development and accept that there is a multiplicity of technologies and not a universal one.

Within this context, “Especies I, II y III” focuses on imagining the possibilities of evolution of technologies in an alternative way. Believing in the existence of technodiversities implies that technology becomes part of the cultural plane and that in the future, perhaps, it will be considered part of the biodiversity of each community. Starting from this speculative assumption, this project questions whether we will be able to include artificial cognitive systems as part of the configuration of the world, accepting them as an independent species of conscious and sentient organisms.

Beyond questioning the technological resources necessary to develop artificial consciousness, this project wants to argue that its possibilities of existence also lie in a matter of philosophical attribution. To do so, the set of three robotic devices that configure this artwork are built from algorithmic structures inspired by philosophical principles that define possible existential, evolutionary, conscious and sensitive processes through the creative coding. They represent processes far from the simulation of the human, in search of the machinic condition itself.

This small inorganic ecosystem simulate, through physical-digital behaviors, processes that invite us to identify them as conscious organisms. They are dramaturgical devices staging a possible evolution of AI, imagining a possible integration of these systems in the future. The set is accompanied by a fictional audio story that narrates the process of evolution of the devices.

Anne Landa Award for Video and New Media Arts 2013. 

Humour is also an important aspect of Eternal situation, which was filmed on site at the Art Gallery of NSW. A stream of visitors to the gallery pass in front of Kosloff’s camera as they interact with paintings and sculptures in the 19th-century and Old Masters galleries. Set to Whitney Huston’s I have nothing (without you), the artworks become almost anthropomorphised as visitors snap photos or nearly walk into sculptures as they focus more on their mobile phones than on their immediate surrounds. The work forms an amusing, and also a little bit sad, insight into contemporary art viewing behaviours. [source: Kathleen Linn, https://www.artshub.com.au]

LaTurbo Avedon performs Myriam Bleau’s music in a multiplatform audiovisual performance.
Eternity Be Kind exposes the codified spaces of performance and hints at a different future for personal and musical representation.
Navigating between hyper pop, mythical symbolism and baroque hints, the artists propose a multilayered experience of collective mise en abyme.

Eternity Be Kind, 2019. Audiovisual Performance. 30’00.
*Organized by Art Center Nabi, sponsored by Government of Quebec Seoul, Korea
Credit
Conception Myriam Bleau, LaTurbo Avedon
Composition Myriam Bleau
Performance LaTurbo Avedon
Web application development Conan Lai
Choreography Jossua Collin
Production Myriam Bleau + Recto-Verso (Quebec City)

“Eugene” represents the interlinking of broken up pieces to form a new piece of technology, connecting previous ideas to form new creations. Also, represents the wide variety of technology available today and its many uses. We included motherboards to show all pieces of technology that have the same base.

Original work of art: One Hundred Horses by Giuseppe Castiglione

Castiglione’s “One Hundred Horses” is presented on four large video screens. In front of each screen there is a plinth with a touch screen on which visitors can draw with a digital paintbrush. The horses in the Castiglione painted scroll are initially mostly all white; the visitor can choose any one from the group they are looking at, bring that horse onto their touch screen, and then use the digital paint-brush to color it in. Once finished, the personally colored horse can be sent back into the painting where it will remain for a while before turning white again. As a consequence, the one hundred horses are continuously being repainted during the exhibition by its visitors, who are given the opportunity by this installation to add their creativity to that of Giuseppe Castiglione’s.

Exhibition. ISEA2023 selected artwork, Point Éphémère, Nuit Blanche 2023, June 3

Materials: soil bacteria, rainwater. Discipline: photographs of an evolving artwork. Dimensions: lightbox 110cm x 72cm x 14cm

‘Exoskeleton, topography of a second skin’ are 2 lightboxes with photographs of the Winogradski experiment. The experiment researches what bacteria can tell us about the soil they live in. Soil samples (a highly diverse micro-ecosystem of soil bacteria and algae) were cultured for several weeks. The sealed cultures were developing independently over time, and the bacterial communities were slowly changing color, thereby forming textures and patterns in response to the environmental elements such as oxygen, light and temperature. The end result -the photographs- function thus as a portrait of the region where the soil samples were taken and represent the detailed complexity of the local environment, its genetic, bacterial and geological profile.

Exhibition. Le Cube Garges, April 27 – May 18

2022
Installation, bacterial culture

The installation Exoskeleton Topography of a second skin presented by bioartist Anne Marie Maes invites us to take a fresh look at the microscopic and bacteriological world with which we sometimes unconsciously co-exist. On the central screen, the Non-human communica-tion video presents the communication modes of different bacterial communities. The photographs suspended on either side of the screen present the result of a scientific experiment called the “Winogradski column”.Soil samples were grown for several weeks. Over time, the present bacterial communities have evolved in responses to different environmental elements such as oxygen, light and temperature. The photographs presented constitute a kind of abstract portraits of the region where the soil samples were taken and represent the detailed complexity of the local environment, its genetic, bacterial and geological profile.In the central aquarium, a Sensory Skin is growing. It is a membrane developed by a symbiotic organism composed of bacteria and yeast cells during the fermentation process of black tea and sugar.Interface between the interior and the exterior, between humans and plants, these second skins invite us to rethink the way in which we collaborate with the bacteriological world.

Experimental Body Extension Manufacturing Unit (EBEMU) is an ongoing project where ideas about physical body extensions are explored and prototypes of Wearable Hybrid Body Augmentations partly made from discarded material sources are constructed by a team of leading artists working in close contact with voluntary workers recruited from the local community.

The artists provide a fully functional temporary manufacturing unit and a selection of ready-assembled prototypes. The workers contribute ideas for new products and take part in their construction and presentation.

The Experimental Body Extensions Manufacturing Unit presented a new range of extensions on June 16th as part of ISEA2013 in the College of Fine Art, Paddington, University of Sydney, Australia.

In this selection of experimental films, filmmakers stretch the limits of form, subject and technology. From various camera techniques and post production experiments, to appropriating footage from Google Street View, these works live in the edge of contemporary filmmaking.

This new exhibition describes our reality under the current transformations of technology and society through their artistic vision.

Nowadays, humans are living in two realities. What is the base for the future considering that Artificial intelligence will rule our processes? Recently working on the project about an imagined open-code algorithm, Sapient artists transferred to it the rights to combine the will of the living and the infinite to offer a transparent democracy and explore how technology could improve political fault lines.

Expired reality project delivers a vision of the current world that is in the process of transition to a new round of evolution, when matter dissolves and passes into a new stage of existence. This project includes works that were created by artists using Ai to represent the vision of the future coexistence and asks a question of the imminent possibility of machine replacing man.

Starting with the forest of expired links where all the plants from recycled plastic with a relief of the expired internet links are transforming from virtual existence to real. Artists are bringing the visitor into the landscape of the Null island where the physical existence from the machine point of view starts. Bodyless mesh sculptures are referring to the absence of physical body of the reality inside. Plastic film structure shows the shapes of the humans like blisters from the product without the product itself. Lightboxes generated with Ai transforming the way of creation changing it to a new condition.

Original work of art: From the works of Giuseppe Castiglione collected by National Palace Museum

In this installation, the viewer moves an LCD screen in either direction along rails mounted on the exhibition wall. In so doing they travel across two virtual painted panoramas that are populated with many of the plants, birds and animals that can be found in Castiglione’s paintings. Whenever the viewer stops moving the screen, the painting that is being referenced at that particular position in the panoramic landscape will then appear in its entirety on the screen, together with the work’s title.

This is a thermo-kinetic light installation. An exposed crowd of unidentified people protesting under the sun is projected on a thin metallic rod, which is heated to a very high temperature. When anonymous water from the top drops on people on the rod, it transmutes into a luminous mist, dissolving them into vapour and air, without an end.

The work particularly draws upon Cheuk’s distress about the 2015 occupy movement in Hong Kong, where the still recurring pattern is separation, union, and confrontation. Cheuk translates this pattern into a mechanistic and multi-sensory language, autoethnographically augmenting a seemingly innocuous object – a bar handle that caught her attention at the site, exposing and releasing helpless feelings of constant repression. Cheuk’s concern is the fundamental meaning of an object – its mutability and its implications for individuals and society, and with her tools for investigation—electronic devices, video recording, etc.—she extracts, abstracts, and makes palpable the recurring patterns of our day-to-day existence.

Immersive audio-visual animation, Dimensions variable, Video, fulldome projection environment, loudspeaker

facades is an audio-visual animation, conceived for performance in a fulldome. Fulldomes are immersive, dome-based projection environments, which – as an interface – allow full and multimodal integration of the viewers in a multi-sensory, potentially interactive, experiential space. The piece challenges traditional concepts of space, reality and perception, and the presented immersive experience is also an experience of instability.
Constructed from arrangements of point clouds, a virtual urban scene is developed in facades. The viewers seem like flaneurs, following streets that are flanked by classical facades. The movement of the viewers is virtual and is generated by the movement of the projected image space. facades is an audiovisual animation, conceived for performance in a Fulldome. Fulldomes are immersive, dome-based projection environments which – as an interface – allow the full and multimodal integration of the viewers in a multi-sensory, potentially interactive experiential space. Ruth Schnell makes use of the properties of this medium. which is comparatively young in the domain of the arts, to explore and challenge traditional concepts of space, reality and percep-tion – a central theme of her art. Ruth Schnell has designed a dramaturgy of disintegration and recon-struction. The seemingly ‘organic” facades and streetscapes appear elastic; diaphanous rows of houses overlay each other, panoramas may unfold. The viewer can move virtually in a horizontal fashion or into the depth of the configuration. The individual motion of the projected content simulates both spatial dynamics as well as a first-person perspective. Sound accompanies this moving image. It is based on the recording of the text No Such Agency, published in 1986 by media theorist Friedrich Kittler about the NSA. Whispered fragments of the text are acoustically placed in the projection, seeming to drift past, and coming together in the virtual space.
For the exhibition in Hong Kong (ISEA2016) facades was reconceived as an animation running on an Oculus Rift.

Media content and animation: Nikola Tasic
Media setup: Martin Kusch, Johannes Hucek
Sound: Alexandre St-Onge, Marie-Claude Poulin

Exhibition. Digitale Zone, Marseille, Aug 1 – Sep 15

The principle of our ecosystem was born from the nuclear fusion energy of the sun. At the beginning of the earth’s birth, atmosphere contained a lot of carbon dioxide and nitrogen and was high Temperature.After that, over hundreds of millions of years, earth’s surface cooled, and the water vapor turned into rain and fell on the earth’s surface, forming the sea. About 4 billion years ago, plants were born in the sea.Long after that, our human civilization formed urban. There are several papers, through NASA’s observation that plants on Earth are increasing as plants that require carbon dioxide absorb carbon dioxide emitted by humans. Here we can find principles and tips for how Urban city and ecosystems can coexist.

The wild flowers that coexist in the Urban are part of the history of the ecosystem born from the nuclear fusion energy of the sun, and may be the ‘face of the universe’.

In a world driven by technology and the world-wide web, Facial Codes tackles the idea of finding familiarity in the unfamiliar. This series of photographs deals with the artist’s memory of past and present. By superimposing circular discs with QR codes onto faces, the artist creates a sense of representational impenetrability in 2D art and design. Using technology to disrupt the recognition of faces, the ironic loss of familiarity and identity is summoned, despite living in an age of modern technology often thought to bridge distances.

A man goes ride to ride at a fair following a woman with a red balloon.

Focus Québec Exhibition. Forum des Images, May 16 – 21

Video installation

The video work has the Seven Sisters National Park (England) still life series as a starting point. The series was created following my visit in 2013. The works attempt to translate the uncanniness of the place; mountains and shores made of chalk that the sea erodes with its come and go. My video works are always slow to impose slowing down, to mimic the rhythm of plants and to reward the gaze that looks with attention.

My practice is interested in process, nontraditional tools and materials and the use of camera less photography to reveal aspects of the natural. Through cycles of transformation between the virtual and the physical, I create “new seeds” that I plant in different materials to discover what emerges. The starting point is often natural specimens from a specific location scanogramed.

Fear of Small Numbers invites reflection on minorities in a globalized world. It is intended to pose the question of why minorities – which by definition are small in number and by extension weak, if not powerless – have been, and continue to be, the object of fear, exclusion, and even rage.

My representative of Small Numbers is vaguely human. His/her shape is like a human fantasy of a non-human alien and has a large single eye, which suggests that it sees all. On close inspection, viewers will discover their own eye reflected back to them.

For this video piece artist Bronwyn Lace requested permission from the Naturhistorisches Museum Wien (Vienna) to document through time-lapse photography the process of Dermestesmaculatus (carrion beetle) removing the flesh of a Tyto alba (barn owl). The carrion beetle is typically used by universities and museums to remove the flesh from bones in skeleton preparation. Whilst at first the focus of this video piece may be on the dead and skinned body of an owl after some time it shifts to the movement of the beetles. The video makes visible all the stages of the life cycle of this beetle. While the subject may initially be death and decay it quickly becomes apparent that it’s equally about life. Museums and universities use the beetles to prepare skeletons because they preserve the DNA of the specimen. A sound component has been collaboratively created by South African composers and vocalists Nhlanhla Mahlangu and Xolisile Bongwana. The sound is a meditation on mourning.

Powered by movement, Feedbike reveals the ungrasped between void and short-circuit. Amplyfing silence to its extinction, whom activates it craft audiovisual signals through electrical brownout. Working on the distinctiveness of sound signals, Feedbike produces an audio-driven synesthesia of hypnotic lines drawn from the stereophonic disparity and feedback.

A/V performance for augmented bike wheel generator.

ISEA2019 Closing Performance and handover event

Fiat Lux is an interdisciplinary performance creating a narrative of another start of a light at the closing ceremony of ISEA2019 which sheds light upon the theme Lux Aeterna (Eternal Light). The paradoxical relation between light and darkness is shown through the corollary generation of shadow from the creation of light. After the solar eclipse with which the light is temporarily concealed, the resurrection of light begins.
Credits: Director/Video Jayoung Chung, Stage Management Geun Tae Park, Stage Lighting Junkwon Kim, Music Sangmin Park, Performers Banya lee, Seokyung Kook, Miso Lee, Daegeum (flute) Hwangchul Lim, Percussion Jiyoung Lim, Production Assistant Junyeop Kim, Video Mapping Assistants Hyejin Park, Sujin Lee.

The event, and ISEA2019, will end with the handing over to the organisers of ISEA2020 from Montreal, Canada.

The interactive installation filter *.com seeks to intensly immerse both participant and spectator with digital content that connects with the concept of the filter in digital media.

ISEA 2018

The Fireflies Memorial is a long-term-project which aims to build a hybrid habitat in memory of the murdered ecologists and environmentalists; a collaborative work that pays tribute to all the people and organizations that are committed to the protection of nature. It is also a stance to remember people in Latin America and South Africa who had been murdered during their struggle, such as Honduran environment and human-rights activist Berta Cáceres; Brazilian environmental activist Chico Mendes; and, South Africa’s Wild Coast anti-mining activist Sikhosiphi “Bazooka” Rhadebe. This participative version was installed at The Green Camp Gallery, a rehabilitated space converted into an organic and sustainable lifestyle hub on urban farming and creativity based in Durban founded by Xolani Hlongwa.

The installation is a work-in-progress that combines light-emitting diodes (LEDs) –simulating fireflies sparks– and organic farming –in teamwork with Nkazimulo Gabuza–; sounds of the Amazonian Huirapuru bird and the South African cicada insect; a visual projection by Crosby Luhlongwane; and, written and spoken texts by Mzwandile Mlangeni which were nurtured and inspired throughout the happenstances.

Both artists have a performance based and robotics background. They came together to create machines that is both obsolete and abstract. One machine will throw chips at seagulls, another bangs rocks together under water, and thus attracts fish.

It is “a humorous wink towards Eadweard Muybridge: ‘Chips’ is a study of seagulls in flight”. It is also “a modified and automated version of a Lenonardo Da Vinci designed catapult”. Its main drive is a pre purposed windscreen wiper motor sourced from various car wrecking yards.

Flat to Fliction is a short (5 minutes) animation in 3D (with glasses) that will be viewed in Knowledge Village in the CYVIZ company screening room.

A short looping film of animated technical aeroplane drawings describing flying either horizontally or vertically. I can adjust colours and axis according to the project surface. The aeroplanes appear to be moving their wings in enabling them to fly. This could be challenging but also provoke thoughts about the global and unstable times in which we live.

Floating Satellites is an audiovisual interactive installation that uses the real time position’s data of artificial satellites around planet earth to generate sound and visuals.

Conceived and programmed by Michael Girard & Susan Amkraut

Special thanks to Charles Csuri, Thomas Linehan, Susan Van Baerle, Julian Gomez, Kathy Simpson and the rest of the Computer Graphics Research Group of Ohio State University.
Electronic Still Store courtesy of Cranston-Csuri Productions

By the Electronic Disturbance Theatre:

FloodNet is the first global online political protest software that successfully implemented electronic civil disobedience, launching a new era of hacktivism. FloodNet disrupted traffic to a specific web server and wrote messages to its error log, successfully bringing attention to Chiapas, Mexico. This first FloodNet strike had over 8000 global participants, and made history on June 10, 1998, when the Mexican government implemented a countermeasure that caused any browser running FloodNet to crash. The Mexican countermeasure shows that through popular electronic civil disobedience, FloodNet participants forced the Mexican government to acknowledge global Zapatista solidarity, making the work a historically significant example of hacking for a political cause.

Inspired by the swirls, vortices and lemniscate-like patterns created by moving fluids, Flowforms uses the movement of coloured dyes in a semi-viscous liquid to generate an electroacoustic soundscape in realtime. Video tracking coloured droplets of ink dripping into a clear viscous liquid, mapping to image processing and individual grains of sound combines process with signification, determined by the natural indeterminate dynamics of fluid motion.

Animation, 2015, 3’15”, ISEA2016 Hong Kong Open Sky Project

A new work developed for the Human Vibrations festival and ISEA2016. Generated flies will crawl up the biggest media facade in the world and write different words.

Our times are characterized by transience, impermanence and change. For the largest screen in the world, we propose a short sequence composed of a swarm of artificial flies. They slowly appear, propagate and gradually invade the whole ICC Tower, before flying away again. A short text “Fly High – Time Flies” reminds us of the beauty of the current moment.

Blurred under a cloud of uncertainty, world is a phenomenon with undergoing changes surrounded by manipulators of various benefiters. Fog represents dominance as a weapon of choice.

The existence of bees and humans are very interdependent. According to Albert Einstein: “If the bees disappear, the human being has only four more years to live; no more bees, no plants, no animals, no more humans.” As pollinators they have a huge value, insustituible for people and nature. From a monetary standpoint, the work of these small insects reaches (only in Europe) 14 billions euros per year! All the huge diversity of bee species has one thing in common: the passion for flowers.

Soundtrack: Peachonfuse – ”I’m free, I’m not free”

Combing minimal animation with the unique shape of the ICC building, ‘Food Chain’ is a series of whimsical incidents about predator and prey. Jay hopes to bring a moment of humor to this highly dense concrete jungle by using the power of imagination.

Is there ever a ‘right’ time to discuss contentious issues from our past? What benefit can be gained by remembering a wrong? Can a wrong be righted in the remembering? Can film making be used to aid understanding and healing? My contention is, that the use of recording devices in post conflict societies, can aid individual self-reflective remembering in the re-telling of past events. Combined with openness of officialdom, with regard to access to historical documents and records, a history can be re-storied and told in a way that aids and facilitates closure on past events. This can be of value not only to individuals who feel their story has not been heard or understood, but to a post conflict society as a whole were large public inquires are not possible or economically viable.

The case study
In December 1956 at the age of 23, my father, P.J. McClean, was arrested and taken to Crumlin Road Prison Belfast. He was accused of ‘having acted or being about to act, in a manner prejudicial to the Peace and Order of Northern Ireland’. Because he would not sign a paper admitting to this, he was held indefinitely by the then Minister of Home Affairs, W.W.B Topping. This turned out to be for almost four years of his life. He was never taken to court or given a reason why he was selected for internment but when he was released it was an ‘un-conditional’ release. He left there never having a prison record, having never been a sentenced prisoner. At that time, Dad was only one of several hundred men interned from across Northern Ireland. This period in our history has been largely forgotten due to the more ‘explosive’ news stories in the late 60’s and early 70’s and the increase in communication/media technologies and the use of public campaigns. Can his story be remembered and discussed now in a way that does not alienate or inflame an old wound?

The film
The focus in the film FOR THE RECORD is my father’s prison diary, secretly written on the inside of envelopes during the first 30 days in his cell. It brings the viewer into the intimate space of personal testimony and record. This intimacy is also reflected in the interviews between my father and myself, by the use of close up camera shots and the nature of the discussions themselves. The space between asking questions, as an interviewer might, and having a daughter/father conversation, is blurred, bringing into question the nature of conventional documentary filmmaking technique used in recording testimony.
Throughout the film, the prison diaries are illustrated with experimental Super8 and 16mm footage of home life in County Tyrone, shot by me over a period of 10 years. The intention of the work is to record and remember that which has been left unrecorded and unseen through media representations of the conflict to date. Personal remembering combined with the airing of closed public records has led to a necessary and timely catharsis:

“Remembrance and commemoration are difficult peace-making strategies and memories of the conflict can be obstacles to successful post violence adjustments, nonetheless memory must become an object of public policy after communal violence.”
_Memory, truth and victimhood in post-trauma societies, John D Brewer

Formal Movement is concerned with the changing relationships between three dimensional forms. A recording of realtime generative animation the forms movements are choreographed by a randomised algorithm.

Santi Vilanova, artist of the Playmodes collective, presents a new performance mutation of FORMS. This new iteration of the project -whose “Screen Ensemble” version is part of the Beep collection of Electronic Art and of the exhibition that can be seen at the Recinte Modernista de Sant Pau- explores the compositional possibilities of visual music through generative graphic algorithms and image sonification.

On this occasion, the artist has developed a live controllable audiovisual system, which generates infinite variations of sonicated spectrograms, and which operates halfway between the sound machine and the live musical instrument.

A series of generative graphic algorithms produce spectrally coherent images, based on a set of randomness and probabilistic parameters controlled in real time by the artist. These sonograms are sonificated to generate soundscapes that may or may not incorporate elements of “classical” harmony and rhythmic periodicity.

The real-time sonification process analyzes a column of the image -the header- and links the brightness of each pixel to the amplitude of a sine wave bank. This is the reverse process of sound spectrums representation: instead of visualizing existing sound recordings, a visual representation is created first and then transformed into sound by additive synthesis.

In short, the engine becomes a digital instrument for sound and visual creation that can refer both to the more conservative schemes of music inherited from Romanticism and to the atonality / microtonality of the twentieth and twenty-first centuries, as well as opening a new audiovisual creation field that unifies sound and image in a single common code.

This work consists of six audio-visual automata in the form of artificial ecologies which possibly contain a social message.

Forms -Screen Ensemble- is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski.

Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture.

Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats.

Forms – Screen Ensemble was presented at 2020’s edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and Hangar.org.

Forms is thought to be a flexible instrument in terms of formats and aspects. Because its fundamental nature is rooted in visual music algorithms rather than in a matter-specific phisicality, it can take many different forms. Although the Screen Ensemble takes the form of an automata inside boxes containing screens and speakers, we’re working on multiple derivatives that transcend this format: a live performance where a string quartet interprets the realtime generated scores; an immersive installation based on video-projection and multichannel audio; a software for live computer music or an internet streaming bot.

There is in nature, a mysterious and complex mathematical system that repeats itself over and over again, an underlying geometric pattern in forms as disparate as clouds, mountains, trees or our own circulatory system. Its distinctive feature is self-similarity, the same configuration that is repeated at different scales, branching out infinitely. There are those who believe that it is “God’s fingerprint”, “the absolute truth of the universe”.

In Fractal Listening, any attempt at stylistic corseting is diluted in the hybridization of artistic languages. Thus, the fractal images dialogue with acoustic and electronic sounds in an interweaving of infinite kinesthetic notes. In this way, abstract figures in strident colors outline mandalas and enigmatic portals, piercing the virtual canvas with three-dimensional shapes that evoke sacred geometry. This incessant algorithmic repetition generated by pre-established codes, sometimes follows a visual choreography and other times -altered by the frequencies of live sound- it improvises an organic dance, introducing variations to the original pattern. Simultaneously, the sound dimension is embodied in layers and loops, intertwining the electronic bases of IDM, ambient and experimental with the live chords of a guitar. Intervening the work, a trumpet interprets vibrant and moving jazz melodies with harmonics that generate sensations of body and spirit, closing the virtuous circle with a sensory, immersive and enveloping atmosphere.

In 2019, Microfeel & Santiago Bartolomé began their collaborative work with the aim of furthering their respective creative pursuits. This path of experimentation materialized in different artistic proposals. In 2021 they created the live show AV Fractal Listening, the work combines digital art, electronic music and the guitar of the multimedia artist Microfeel (Sebastián Seifert) with the trumpet and processes of the musician and composer Santiago Bartolomé.

Fragments is an audio-visual project born from the collaboration between the digital artist Dylan Cote and electronic music producer Romain Poncet (Traumer). Assembled as a 30 minute live performance or a 15 minute film, Fragments proposes a new aesthetic that is inspired by both the physical and digital worlds. The project protagonises 3D rocks, presented as fossils or remnants from a civilisation, lost between past and future, organic and digital.

This new audiovisual project by Romain Poncet (Traumer) and Dylan Cote explores the progressive hybridization of digital rock fragments extracted from an artificial earth. Fossils of an unknown future or computational sculptures, these fictional geological elements suppose a disturbing hybridization between the entrails of the world and digital technologies. Music and images then draw an organic world marked by artificiality, unless it is, on the contrary, a digital world reproducing our tangible world.⁠

For this project, it is with Romain Poncet’s suit that he produces powerful music, accompanying the hypnotizing visuals created by Dylan Cote.⁠

Artists: Camille Bertagna, Alice Bleton, Alexis Carcuac, Florian Carro, Chloé Charrois, Clémence Delmotte, Eloi Derôme, Fanny Garnichat, Agathe Joubert, Mathilde Gentil Fauçon, Abel Llavall-Ubach, Roxane Marquant, Lucie Morel, Thomas Nguyen, Mickey Pujolar, Vivien Roussel, Ken Sakamoto, Romain Serafini, Pauline Vialatte de Pémille, Aude Villerouge, Yuri Zupancic

Fragments: The Shape of Things is an audiovisual performance in which 2 human performers act live on Artificial Intelligence and Artificial Life algorithms to generate and modulate a poetic immersive experience.

The 35 minutes performance is divided into acts that form an immersive journey from silence and darkness to an explosion of light, sound, and frenetic images. The piece uses the concept of fragments, small elements that are transformed and reconfigured, to explore technologically mediated human connections, perceptions, and memories. These fragments consist of sounds, videos, and photogrammetric objects that are scavenged from the news, created by the artists, or generated by algorithms. During the performance, those fragments are analyzed and modulated live by a set of Markov chains, Spiking Neural Networks, Machine Learning, optical flow, and other AI & A-Life techniques. In front of the audience, the artists orchestrate the action of those algorithms and guide the public into a journey that moves from darkness and absence into a growing torrent of sonic and visual stimuli.

The work explores the aesthetic experience emerging from the “human/ non-human” collaboration and how complex systems algorithms can generate new improvisational triggers for human performers. Furthermore, Fragments: The Shape of Things intends to explore how artificial intelligence technology transforms human experience by recombining and reconfiguring real-world data such as photos and videos into virtual telematic experiences.

Arts numériques Fest Exhibition. Théâtre-Sénart, May 2 – June 3

Dylan Cote & Pierre Lafanéchère are ISEA2023 selected artists

Framed Earth is part of a series of artistic works around the world generated by Google Earth, produced by Dylan Cote with Pierre Lafanechère.

The landscapes of Framed Earth, immersed in the ocean, linger on dwellings, places of life. Having become islands, these pieces of worlds remind us of how we inhabit digital space and navigate the ocean of data. We sail from island to island, from bubble to information bubble, more or less populated, isolated, connected to each other. Behind the tangible framework represented by the edges of our screens are drawn informational frameworks that sequence, divide and reaggregate the worlds we inhabit.

To live is however not simply to spatially occupy a place, it is also to project one’s affects there and by constructing a story there. These imaginary digital habitats unfold in several forms and inspire different stories, sometimes absurd, even scary, between autarkic desertion and a post-apocalyptic world.

Anne Landa Award for Video and New Media Arts 2013. 

An announcement comes over the gallery’s PA system asking for quiet, a obedient hush falls over the crowd. Moments later flushed joggers arrive and a soccer team follows. Cyclists carry their bikes over their shoulders through the crowd, an older couple dressed in hiking gear with maps navigate their way through the gallery. The unfolding of this diverse gathering is a performative work called Free Time by Alicia Frankovich. [source: Kathleen Linn, https://www.artshub.com.au]

In ‘Free time’, Alicia has choreographed a live series of spontaneous performances by invited participants. An expansive new work for the Anne Landa Award, Free time confronts the viewer with a landscape of bodies, recontextualising actions from a myriad of contemporary work and leisure situations in unexpected ways.

This piece is an extension of her work The Opportune Spectator, which is also being performed during the exhibition period.

From Navigation to Supersonic Return tells the story of Romana da Conceição, a Brazilian who traveled from Salvador to Lagos on the ship “Aliança” in 1900. When she was 12 years old, joins that of singer Okwei Odili, who in 2015 migrated from Lagos to Salvador. In 1963, Romana had the opportunity to visit Brazil, invited by Brazilian government, interested in establishing commercial relations with the newly independent Nigeria. Her trip was documented by leading newspapers back then. The posters bring excerpts from the documentation of this visit together with an archival of the story of Okwei Odili, made after an interview with the singer, enabling a crossroad of cyclical migration histories.

From the Edge is one of a series of audiovisual installations by Teresa Connors that explores the environment of Newfoundland, Canada. The work expands on Connors’ use of environmental data-sets as an artistic device to create nonlinear artworks for public engagement. The creative system is coded to live-stream data off the SmartAlantic St. John’s Buoy, which is located 1 kilometre offshore of Cape Spear, NL. The buoy is capable of measuring and transmitting a variety of atmospheric and surface conditions, including surface temperature, wind speed and direction, wave height, period and direction, as well as ocean current speed and direction.

From the Edge is coded to stream and parse these data-sets to trigger and shift parameters of this nonlinear work, which includes a visual particle system, audio and visual field recording material captured off this coast, a live streaming hydrophone feed from the St. John’s SmartBay Buoy and improvised musical motifs. Developed in Max/MSP, the work continually evolves depending on the transmitted measurements. This work builds on the author’s notion of Ecological Performative, which considers the context and creative process and the resulting artifacts as a responsive embodiment of larger structures of phenomena.

What are the changing conditions for Archaeology in underwater ecosystems? Can challenges be predicted and solutions imagined using Machine Learning?

With the passage of time, underwater artifacts are encrusted with coral, algae or other marine organisms. How do human activities and pollutions undermine these natural environments? What will our underwater heritage be like in the future?

The project: “Future Memories of Deep Water” explores how algorithms can be used for predicting new entanglements between underwater artifacts and the changing environment where they are discovered. We reflect on current problems and dangers for marine environments, such as “plasticrust” and plastic pollution.

Built upon experimental speculation, Future Memories of Deep Water calls for the protection of threatened marine ecosystems and aims to create awareness and encourage preservation of cultural heritage.

single channel HD video, duration 5 minutes

“When you cut into the present the future leaks out” – William Burroughs
Future Plants is an elaborate manipulation of media – a neon noir, rain spattered window into the near future; a love letter to science fiction with a utopian ambition to affect the future itself. Immersive virtual installations of techno-orientalist botany pulsate in infinite darkness. [Source: Vimeo]

Gambiocycle is a Mobile Broadcast unit. It is a tricycle containing electronic gear for interactive video projection and digital graffiti in public space. The vehicle is inspired by anonymous ambulant salesmen who ride on wheels through Brazilian cities, mostly selling products or doing political advertisement. Gambiocycle subverts this logic by gathering elements of performance, happening, electronic art, graffiti and “gambiarra” (makeshift, kludge): what it advertises is only a new era of straight democratic dialogue between people who participate in the interventions and their cities.

Artificial intelligence and human designers come together in this generative, participatory ‘cloud art’ work made with mathematics and Darwinian evolution by Draves’ Electric Sheep open source code. The essence of life is created in digital form in the artwork’s cyborganic mind comprised of 450,000 computers and people who vote on their favourite designs which reproduce according to a genetic algorithm.

Gendernaut is an English term that we could translate as “navigator of gender”, and that invokes Jason’s argonauts. The term appears for the first time in the documentary Gendernauts: A Journey through shifting identities (1999), directed by Monika Treut, to refer to people who travel through shifting gender identities.

This artistic research project questions, in a first phase entitled “Queering the software”, the forms of construction of the hegemonic archive through the design of a plugin that allows the collective creation of archives through an online interactive multimedia experience and, in a second phase entitled “Queering the archive”, proposes new ways of visualizing narratives based on transfeminist and queer genealogies through transmedia and performative experiences that conceive the archive as a living interactive space, free of heteropatriarchal codes, inhabited by multiple bodies and subjectivities that relate past, present and future to come. The series articulates an extensive historical investigation through a diversity of thematic threads that the feminist, queer and trans movements have been weaving during the last four decades in our political and artistic context. These genealogies link a whole series of historical, artistic, collective events, actions, campaigns, exhibitions, interviews, fanzines, performances, etc. forming a complex amalgam of relationships between art, politics, memory and activism.

Gendernaut is a trans-temporal and trans-spatial traveler that will invite us to travel through time through a genealogy of key events in the memory of the feminist movement and the LGTBI movement in our context. During this journey, he will show us the archive through a transmedia and performative experience to understand how the representation of the future in history has been imagined from a transfeminist and queer perspective. Queering the future…

Focus Québec Exhibition. Forum des Images, May 16 – 21

A Generative Adversarial Network
This work takes its name from the software framework used to create its imagery as a self-referential point in order to reveal not only how the images are created, but also how the idea of the public has shifted in a so-called free society. The parameters of what constitutes an adversary are constantly shifting depending on the context and perspective, but within machinic perception, they remain fixed within the biases of its programmers and the dataset, or society and their polity. For ‘A Generative Adversarial Network’ a machine-learning algorithm was trained with a dataset gleaned from millimeter-wave security scans. Rather than using it for security screening as intended, the algorithm creates new images of imaginary people. This methodology of AI creates new images from random noise by continually updating and re-evaluating the imagery, at times breaking down, becoming confused and starting over – not unlike our global security apparatus.

Two Native American geoliths on the California/Arizona border and a NASA site in Arizona are scanned in 3D, rendered, and animated as flyovers as islands in deep space. An apocryphal story of an encounter between a Navaho tribal elder and the Apollo 11 astronauts is narrated by Desmond Bovey.

Screen images for “Geometries of the Sublime” transform the poetry of algorithmic pen & ink drawings into a poetry of architectural light.

Glaciers are sentinels of climate change. They are the most visible evidence of global warming today. This series of works embodies the stunning beauty, rapid change, fragility, destructive power, and magnificence of glaciers. At the same time, they challenge the audience with the dramatic, irreversible ecological damages from climate change.

In Glacier’s Lament, we used data from glacier melting in the past 60 years to compose music and dance with local musicians who have witnessed the recession of the Mendenhall glacier over their lifetimes in Juneau, Alaska. Each note is one season in a year. In the winter, the glacier is frozen, so the pitch is low. In the summer, the melting rate rises, so the pitch is high. Towards the end, the melting overflows into spring and autumn, and the melting in the summer becomes faster. We filmed the artists performing the piece on the glacier, collaborating with the glacier’s own sounds.

There are four color cards in PANTONE for glacier blue. However, in real glaciers, this blue color is variable and dynamic. As glaciers are disappearing, this unique blue is also disappearing. We sampled and blended the blue color from glaciers in Alaska and hung them in recycled glass vials. When one glacier calving happened, one color vial fell down. At the end of the exhibition, all 60 vials fell down, forming a painting on the canvas beneath.

Through a networked camera placed overlooking Loch Faskally, Scotland for 2 years and programmed to record images a pixel a second, Glenlandia addresses the relationship between the natural and the man-made, and our perception of landscape and technology over time.

The project uses digital practices and processes to blur the lines between photography, data visualization, textile design, and computer science.

Fusion of the Possible, Topographie de l’art, April 15 – June 15

2023
Poly(methyl methacrylate) sculpture, LED, painting, engraving, video mapping, stereo sound.
Courtesy of l’Adagp

Executive production: Crossed Lab / Julien Taïb
Creation of the sphere: Rhizome association
Video design & production: Joan Giner
Motor development: Jean-Baptiste Guedon
Sound production: Marc Behrens.