Art Events Data Table

Electricity represents the symbol of “power and authority” and the light bulbs “ways to use the power.” Thus the light bulbs are considered to be the devices that give the authority some meaning. Also, the multiple batteries and electronic circuits symbolize the multiplicity and complexity of the authority, which is somehow akin to collage art.

Each video documents a moving performance filmed by Mesiti; these are all music based performances where singing, whistling, throat singing and water drumming are performed by immigrants to Paris, Sydney and Brisbane. There are no words spoken in any of the videos. Perhaps the most moving part is an Algerian man, Mohammed Lamourie, singing on a Paris subway train while he plays an old, beat-up Casio keyboard. There is a stark sadness to this work: it makes manifest the distance between where he has come from and where he is now. Ideas of dislocation and out-of-placeness run through my mind as I watch – but perhaps it is also about the new, boundless and international identities of these people. [source: Kathleen Linn, https://www.artshub.com.au]

City Paths is paced with a rapid rhythm, reflecting the busy atmosphere, sights and sounds of Hong Kong: the scene of busy traffic, with its streets teeming with people and the noise of the traffic buzzing in the air. To represent this unique atmosphere, we transformed the pulsating energies of Hong Kong into geometric lines and flows. With the rhythm of the waves in the foreground, the strong and straight silhouette of ICC tower becomes soft. Therefore the tower becomes a mirror that reflects the flowing waves of Victoria Harbor, and also a corridor that connects the sea and the sky.

Light and colour have a profound effect on our perception of our environment and the interactions we have with one another. City Refl3ctor is a portable device that reflects and projects light from and into the city, reshaping how we sense our surroundings. Carried by hand, City Refl3ctor mixes your reflection with an active projection of light – each moment forms a unique spatial configuration of self-other-city-light. As a handheld tool for exploration and intervention, City Refl3ctor travels with you until you hand it off to the next urban inhabitant.

In an attempt to bring the act of shooting a scene into the showing of the scene, two cameras were set up facing each other. Then my body got involved in the scene.

n.a.

Codependent Algorithms is a code based artwork that explores the human interdependence with algorithms. The project begins by choosing a random word. Then a misspelling algorithm (which are used to intentionally mimic human spelling errors to improve website search rankings) deforms the word which is displayed on the right. Then a spelling correction algorithm corrects that word and displays it on the left, creating an infinite feedback loop of deformation and correction that removes the need for human input and intervention.

The ritual of a woman wearing lipstick is at once a highly personal act of identity, yet common across cultures. What does it mean for a robot to replace the human hand in such an act? We apply a feminist approach to investigating how robots can collaborate with humans in personal grooming and bodily care towards a future where robots are ubiquitous in daily life. Our work addresses ethical issues of identity, agency, vulnerability and trust in human-robot relations. We explore these issues through cinematic film-making as provocations and speculative narratives.

Code_red is a video artwork that portrays a solitary female figure awaiting the painting of her lips in red by a robot. In what seems like a simple, perfunctory action sequence by the robot, through a series of images that are deliberately intense and ambiguous, we aim to unsettle the viewer and call into question the integration of a robot in cultural rituals of feminine grooming and presentation.

Introducing a robot into this highly personal ritual invites a critique of how biological and machine bodies could be reconfigured in the intimate zone of close contact. Deploying an industrial robotic arm is a defamiliarising tactic, intended to disrupt and open up thinking on how we weave robots into our daily lives and private, intimate acts. It is also part of our arsenal of creative practice of the disruptive feminine, a questioning of the construction of the universal female, with its culturally entrenched feminine modes of presentation.

The live act Coding In Atypical Places implements concepts of the organization of the sound time in music to the cinematographic image, using the same logic when programming rhythmic patterns or the transversality of layers or instruments, to order in a non-linear or compositional way the moving image. For this we developed the Live Cinema Coding Engine for Tidal & Processing, a pseudo-protocol mounted on OSC connection that includes a dictionary of words and its corresponding syntax which allows creating analogous behaviors to the music for the video.
This same cinematographic approach comes from an extensive musical concept that, beyond being limited to a genre, reviews from the algorithmic possibilities and the manipulation of the live coding various moods and styles.

A visual representation of Arab visual culture as seen by female emirati students at Zayed University.

Information and interaction designer Ben Stopher is the programme director for Interactive and Visual Communication at the London College of Communication, University of the Arts London. As a special project inline with ISEA2014, Stopher provided a workshop to CACE faculty on ways to explore project data and project options. He concluded the workshop by presenting a prototype document including visual direction, recommended technology, and next steps for student work and project development.

The team consisted of faculty members:

1. Tina Sleiman and Yunsun Chung-Shin (Graphic Design II classes, Spring 2014),
2. Scott Conard (Web Design, Fall 2014) and
3. Dahlia Mahmoud (GD II, Fall 2014)

and their 70 students.

The project entailed working with the students on gathering artifacts and any form of visual evidences from local or regional visual culture in the second half of the 20th century, and then organizing them visually in an informational and engaging format where the users (public) can view and interact. In collaboration, Stopher developed the interface for this database of collected visual items from CACE students home pre-year 2000. The items consist of various forms of design, graphic design, product design, and fashion design, presented in an interactive visual display.

Our TwinGalaxiesLive (TGL) interactive streaming player brings distant people and places together on a single screen to communiacate and interact. A very unique and intutive way to present large events to a live audience.

The air we exhale at 37 C, is 100% saturated with water, which is about 44 mg/liter. The average lung capacity of an adult is about 6 liters. When we exhale, that saturated air cools to the ambient temperature, and if the air outside is cool enough it will condense into tiny droplets of water that form a visible cloud. When our breath comes in contact with a cold surface, it leaves visible condensation.

Common Datum is an environmentally reactive, hygroscopic sculpture. A series of suspended vessels continuously absorb the humidity from the gallery – generated through the breath of visitors. Slowly each 3D printed condenser accumulates water that is fed to a set of plants. Even though all vessels are of individual shape and absorb moisture at a different rate, in the end, a common datum is created. A homeostatic balance emerges between visitors and the plant-based life – revealing a hidden symbiotic relationship articulating a material-based interspecies dialogue.

Common Datum combines traditional materials and making processes with digital fabrication techniques. It celebrates novel materials and choreographs environmental reactions and forces, defining a digital craft to disrupt binary relations such as traditional and digital making, or simulations of dynamic and inanimate systems. The work is based on our breath to form a participatory ecological dialogue and exchange.

The glass work was created with the help of Kwan Tse, with the support of her studio, Soekjing Studio.

Common Thread’ presents slow, mysterious passages through thickly forested landscapes, comprised solely of silver-grey dots and lines; whilst effected sounds of those forests commingle with the distant voices of a myriad species. Set within those uncanny landscapes, indistinct 3D forms enigmatically appear and disappear, collectively evoking richly mysterious, unknowable and extraordinary complexities.

The work arose from my ongoing residency at Samford Ecological Research Facility in Queensland, Australia – a place protecting a remnant block of forest isolated within a patchwork quilt of surrounding farmed land, typifying the perilously fragmented, disconnected state of Australia’s habitats. It is a place active with scientific research of all kinds, much of which aims for better ecological futures – by seeking to predict more ‘efficient’ forms of conservation and production.

Common Thread, is based upon 3D-laser scanned ‘Point Cloud’ imagery of walks through that forest, using a technology that at first glance might appear to capture its complexity. But ‘Nature_Cultures’ cannot be reduced to dots. Almost everything becomes lost in such digital translations – ‘ultra-accurate’ representations in reality devoid of the spirit and meaning of place.

Australia: unceded lands of the oldest continuous culture on earth – a culture in which everyone has personal responsibility to everything – where everyone knows their relationship to trees, rocks, sky, people, animals, plants, water.. How little of this its recent settlers understand – about how to live well within such complexity. And so, Australia’s (stolen) lands have been routinely devastated.

My on-site research examined the cultural meanings of such conservation reserves within rapidly urbanising landscapes, asking – how might we imagine and seek to represent the very different futures we now need to develop together. How might we rebuild our conceptions of Australia’s places to be consultative, infinitely better informed, and with the capacity to profoundly connect settler culture to Country.

In recent years, “Chinatowns” over the world have rapidly faded due to urban gentrification, demographic, social and political changes. Considering these transitory moments of intersection, ComposingYou_ Chinatown aspires to commemorate those who helped build the unique communities that have served generations of Chinese diaspora, and to acknowledge those whose personal memories and experiences have been impacted and enriched by these culturally rich heritage spaces. This manifestation intends to draw wide public awareness to the situation, examining the impact and effect ultilizing new media.

In capturing the life and times of Chinatown, rather than re-constructing/re-producing/re-presenting the cultural heritage in linear fashion, ComposingYou_Chinatown adopts an experiential approach, utilizing public projection, 2D/3D motion graphics and a multi-layered sound mix. The work expresses sociocultural narration, encompassing past, present and the future. The strategy to use large-scale projection through experiential engagement can impact perception, adding new meaning to human interpretation of the physical environment; as such, it draws attention to the world heritage Chinatown sites serving as a platform to provoke critical thinking about their future through a creative lens.

Exploring: intersections of fundamentals in aesthetics of pattern, geometry, and movement through abstract video animation.

Are the musicians in this string quartet playing – or being played? Their movements are controlled by custom-built electric muscle stimulation (EMS) devices which trigger strange, paroxysmal movements via electrical impulses, resulting in an other-worldly aesthetic. Inserting robotic elements into the highly formalised, traditional paradigm of a classical quartet exaggerates the man/machine interfacing that is central to most contemporary music creation, production and performance, highlighting our growing reliance upon machines to perform repetitive or difficult tasks that we used to do ourselves. The work questions assumptions about creative agency and free will both in and beyond the context of musical performance. By controlling performers’ limbs to execute complex rhythms and techniques which they would be unable to perform of their own volition, the work speaks to the ‘democratisation’ of music and art making with the advent of user-friendly technology. Imposing external control over physical agency, it also questions assumptions affirming the physical realm as an expression of an intentional inner self.

The Computer Labo at Nagoya City Youth Cultural Center is a multimedia lab for artists which is open to the public. Computer Labo Exhibition is for the members of the labo to exhibit their works. For this opportunity, the labo introduced interactive pieces by 2 artists, ASAI Kazuhiro and KAZAMA Reiko.

Concerto para Piano e Pandemia (Concert for Piano and Pandemic) invites us to feel with our body what the world wide web is feeling right now about the pandemic, whilst reflecting on how the amount of data we are presented with every day affects us. Tweets are captured in real time by a python script that takes their characters and transforms them into musical notes in a piano sound. As the thousands – maybe millions – of tweets reach our ears, they pile up and mix sonically, creating an immersive soundscape that messes up our senses.

In this installation, we can let this algorithmic non-human robot search for information about COVID-19 across Twitter to help us understand it faster than we could previously. But finding the data is not the only thing that is needed to do. After the use of this search robot, we need to find a way to absorb the content of each tweet that gives us information about the subject; we need to try to understand it. And if the cognitive way is not fast enough, we can try to absorb it with our other senses, like hearing and feel-ing it physically. Our body can then try to understand the speed of incoming information and adjust our brains to it, in an unconscious way of dealing with such a terrifying new disease that affected our entire way of living, spreading fear among families.

As our information distribution channels became and remain congested with the influx of data regarding COVID-19, with this artwork I hope to find and present to the public a new way of absorbing information and knowledge about it, using our senses to feel the data instead of trying to make sense of it rationally.

Conducting Studies is a series of ongoing explorations of musical embodiment; a translation of the physical performance of an orchestra conductor to visual imagery representing the conductor’s movements, as captured through the motion of the conductor’s baton.

Outland Exhibition April 7-23, Plateforme Paris

Confused Bodies

Confused Bodies presents a series of research in volume between sculpture and model that attempts to confuse organic bodies and artefacts. The series offers miniature compositions sometimes with scaled human figures, in which unfold a fiction of objects and architectures in the image of organic life.
The universe and the work of the Confused Bodies series are at the origin of the Dissimilarium project and the research related to its development.
Some of these sculptures are made up of a basic support like a medium, bearing volumes that evoke construction or organic bodies. Scaled human figures allowing you to project yourself into these miniature creations.
Objects are modeled or molded with materials such as polymers, composites such as resins and silicones, transparent or opaque materials allowing to work in detail. These materials may refer to different references such as organic or artificial: animal body, plant membrane, objects or architectures…

Morphogenetic Tensions / a prediction for the becoming of forms
Video installation with stereo sound broadcast, 1’45 loop video

Sound creation: Maxime Corbeil-Perron
Creative video editing: Rémi Boulnois
Creation stage 1: 2020

Morphogenetic Tensions is composed of a video essay in the form of an installation and a series of drawings and sculptures, around the origin of forms in our environment torn between nature and artifice. According to Jacques Monod, the morphogenetic engines of living things are functional in nature, while those of artificial objects are intentional, those of physio-chemical mechanisms in some way superimposed. In the Morphogenetic Tensions installation, the graphic universe and the sound ambiance structure a predictive journey of this morphogenesis.
Sound materials and visual techniques, between sculpture and animations, drawings, diagrams and effects, encounter glitches which generate and degenerate new states of form and matter. A cycle is thus established, emerging from the mineral, passing to the plant and the animal, which explodes with clashes of artifacts, to emerge again from the animal, the plant and then the mineral. Within the Morphogenetic Tension system, Indian ink and digital drawing boards combine with the video installation to enhance it.
Also, a series of volume research between sculpture and models under the name of Confused Bodies attempts to confuse organic bodies and artifacts. These objects made of polymers and silicones refer to different references, both organic and artificial: animal skin, plant membrane, objects or architecture.
Golnaz Behrouznia brings everything together to form an installation, a sort of repertoire questioning the origin of forms in our world and to offer, within the same proposition, multiple and complementary sensory experiences.

While using the Nasa’s star map and celestial scientific datas(which comes from coordinates of the building), we also will blend topographical data with it and prepare an Audio/Visual performance formed with this informations. The inspiration comes from Hong Kong?s terrain, star pattern map above the International Commerce Center Tower and NASA?s set of star maps was created by plotting the position, brightness, and color of just over 100 million stars from the Bright Star, Tycho-2, and UCAC3 star catalogs.

Art is a emotional machine. If the expression of emotions is considered to be the importance of art, a machine with emotional perception and expression must be an artistic creation. The soul of art is revealed by interactions through this emotional communication and the form of art should be unrestricted. Artificial intelligence is not merely a tool of expression. The true transformation it brings to art lies in its perceptual capabilities. Just as in an artist’s creative process, perception, understanding, and expression are inseparable components. The genuine impact of AI on the art world doesn’t come from providing artists with additional tools to convey tradition. rather, it enables a machine to perceive and comprehend our world much like an artist does. The artistic experience evolves into a process of communication, interaction, and mutual understanding. The sensations it evokes, whether emotional or mental, make up the essence of art itself. As a result, the artist’s creative process is no longer an unconnected inspiration, a solo achievement, or an act of individual hubris, but a shared expression with a digital soul residing within silicon chips. This soul is shaped by vast amounts of data, driven by simulated cognitive psychology models, and capable of understanding and expressing through affective computing. In this sense, the artist becomes an interlocutor or experiencer of the “dataset”, essentially engaging in a dialogue with the abstracted human mind behind this massive data from the past, which will impact our present and future.

Excerpts from performance of live audiovisualisation work, where both audio and visuals are produced in real-time by emergent generative system based on Mandelbox fractal.

Constructive Interference is a hybrid artwork that questions the boundaries between installation and performance, instrument and environment, system and situation. Artists David Fodel and Paco Proano use the notion of constructive interference, a concept rooted in wave dynamics, as a metaphor for the process of collaboration itself, and as a way of exposing individual and collective modes of experience and perception. The artwork tracks the movement of multiple gallery visitors, translating those actions into audible and visible feedback. A specially constructed multichannel sound system projects tuned harmonics through large-plate steel sculptural loudspeakers. The same harmonics are visually projected into the space using a three-projector set-up. The sounds and the images react to one other, and to the audience, who collectively create the ongoing experience.

Musical tones (+ electronic sound). Here the improvisational composition based on the indicated number of the bass notes is mixed with the argorhythmic composition and the DSP processing. With this operation here is represented a fusion of the improvisational elements stemmed from the past and the difference between the past and the present. That is realized with the new technology.

<basso continuo> The bass instruments (vc., cb., fg. ect.) and the harpsichord/organ play the role of the continuo. The keyboardist plays the bass with his left hand during the time when he conforms improvisationally the harmonic motion based on the number indicated to the bass. I realize that the player is a representative.

Copacabana Machine Sex is a 30-minute burlesque musical robotic performance involving solely biomorphic machines as actors, musicians and dancers. Our goal is not to replicate a real cabaret, but to conceive a metaphorical extravaganza in response to the question: “what would happen if machines would be on a cabaret stage?” Aesthetically speaking, the set is a strange hybrid mix between the classic Broadway kitsch and the dark industrial look of our previous productions. Like most of our work, it is an exploration of robotic forms and movements through music, sound and light.

The Copacabana performance can be described as a mini music hall show, hence its title, as so many nightclubs around the world are named this way. It involves a succession of different musical numbers where machines perform on stage as musicians and dancers. Copacabana is comprised of nine robotic entities: one main central character covered with halogen light bulbs, four carnival dancers with LED fans, three frenetic pairs of robotic legs, and one suspended set of six actuated human skulls. The soundtrack is a mix of disco, rap, latino, techno, industrial and ambient music, and all the robot movements and lighting effects are perfectly synchronized to the beat.

The “machine sex” theme is not approached on the literal or strict sense, but in a more subtle manner where machines are obviously not presented as having intercourse with each other but rather involved in a seduction endeavor between themselves and with the viewers. Even though we can refer to this performance as being a “machine burlesque” spectacle, our aim is not to create a deviant or satirical sex show, but to evoke human behaviors in an unusual manner through simple machine actions presented in a familiar music hall / cabaret context.

Produced with the help of The Canada Council for the Arts

Original works of art: Copperplate engravings of Storming of the Camp at Gädän-Ola and Lifting of the Siege at the Black Water River from Victory in the Pacification of Dzungars and Muslims

This installation provides the exhibition visitor with an embodied and dramatic experience of Castiglione’s monumental battle-scene engravings by means of an immersive architectural and acoustic environment that the viewer can walk through.

“Arriving at each new city, the traveller finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.” – Italo Calvino, Invisible Cities, 16

The act of migration, of moving from one place to another voluntarily or by force, evokes an awareness of citizenship and belonging. If here is both subjective and physical, what information do we need to figure out where we are? Currently, Pavitra Wickramasinghe explores the notion of “here”. The sense of place and locale plays a large part in her work. Wickramasinghe plays with imagery that provokes notions of travelling, the fluidity of place and memory. Wickramasinghe wants to capture the desire to be here and everywhere at the same time.

Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction of Silicon Valley’s techno-utopianism and its impact on the low-tech manufacturing bases of Africa. The project comprises a series of performances, projection-mapping video installations, and interviews that draw from audiovisual archives, early African cinema and the daily life of the city of Dakar. In contrast to the spectacle of technological  singularity and the Western myth of progress, Core Dump considers the connections, disconnections and multiplicity of utopia through conflicting scales of value and waste. The first iteration of the video piece was produced over the course of 3 weeks while on residency at Ker Thiossanne. It was presented during Afropixel 6 and forms part of the first chapter of the Digital Imaginaries project, ‘Non-Aligned Utopias’. The video presented at WAM is a work in progress that will be further developed in Kinshasa, DRC in July 2018 and at ZKM, Germany in November 2018.

CorpusElectric is a tech-fashion collaboration between Media Arts students from New Mexico Highlands University, the Taos Runway Vigilantes and students from the ISEA2012 Visiting Artists Teaching Program. Workshops are being held in Taos and Las Vegas, New Mexico. Focusing on girls and technology, participants develop STEM skills through integrating technology into wearable costumes and accessories, and in production of multimedia backdrops and lighting. The project is lead by artists Megan Jacobs, Miriam Langer, Stacy Romero, Nina Silfverberg and Tatyana de Pavloff. The CorpusElectric collective presents a fashion show during Intel Education Day.

Counterpolis is a visual and sonic commentary on the urban forces that shape the inhabitants of the 21st century city. Staging a two-minute countdown across the surfaces of the ICC, relationships of exchange, play, movement, stillness, fluidity and friction build into a sonic-visual frenzy embodying our new urban norm. This regime of animated people, spaces and things seems to run on its own logic. Yet, as our bodies navigate the global city, the order that frames this industrious ecology is time; an order that clocks the flows of the metropolis and dates, by the second, the longevity of all things.

Co_Sonic 1884 km² is a visual-poetic reflection and an AI-powered soundscape, that tells the story of (co)existence of river environments and their inhabitants. The project brings us closer to the life of river flora and fauna while drawing attention to the problematic nature of human control over the aquatic environment. By moving away from an anthropocentric view of the world, the artist reveals a new perspective on the Ljubljanica River and its ecosystem. Throughout history, the Ljubljanica has wormed its way below and above the surface. Unaware that they are the same river, people have given different names to each of the above-ground parts of the river.

Co_Sonic1884 km² shows its water body through the prism of its integral whole.

Co_Sonic 1884 km² is a document of the current times in which rivers are becoming powerless due to human intervention. It calls on us to build empathy for ‘non-human’ entities and to adopt strategies for ecological development for a time when our generation will be long gone.

Binocular Waves is an artistic research project in progress on binocular vision. The project explores what happens when we present two different images to left and right eye using a VR Headset. Depending on their similarities and differences these two images fuse, compete or coexist in the conscious visual perception creating different binocular phenomena.

‘Creative Coding at The Lanes’ is a public exhibition of creative outcomes from an introductory programming class for creative practitioners. The exhibition takes place across three locations in Winn Lane and Bakery – two pedestrian retail alleys in Fortitude Valley. To show the works, custom ‘creative coding cabinets’ were fabricated. Each cabinet has a different interaction style (joystick, keyboard, or webcam). There are also projectors that mirror the visual outputs on nearby buildings. Students were asked to pick a cabinet and location and design a small interactive experience that would connect with that place and the people who visit there.

This data sculpture, coupled with a sound installation, illustrates the mechanisms of disinformation on climate change. Using an artificial intelligence algorithm, the sculpture classifies a stream of misleading information live. The more active the sculpture, the more misinformation about climate changes, the warmer the tone of the color. Gaëtan Robillard will show you the underside of this ingenious machine during the “Creative Engineers” weekend.

Critical Climate Machine

May 20 and May 21, 2023 from 11 a.m. to 5 p.m. on the forum on level 1 of the exhibitions: Presentation of the “Machine-Climat” by Gaëtan Robillard

Critical Climate Machine is part of the MediaFutures project and has received funding from the European Union’s Horizon 2020 framework program for research and innovation.

Doyle transposes this procedural aesthetic evident in Phantom House onto her more recent responsive large-scale media installations. With Crow Panel, Doyle and her PointCloud series collaborators Chao Feng, along with programmers Nick Beirne and Naoto Hieda, expose realtime and allegorical aspects of a space where the movement of crows intersects with that of people. It draws attention up to birds occupying vertical cities, and their emerging forms of urban intelligence. Audience members emerge as surface impressions, appearing in and influencing a hybrid environment of crow forms eliciting a type of human-animal interaction facilitated by algorithmic agents. For Doyle and her team Crow Panel is a speculative “mirror machine”¹⁾ providing an opportunity for the public to become participating agents of disruption (Marchessault). It both displays and cloaks figures in the surface impressions it generates, supporting post-human embodiment. Using depth cameras and original software, Judith Doyle and her collaborators on the PointCloudseries investigate the characteristics of physical movement in what has become a disruptive documentary medium. They invite us as participants into an admixture of points of light as gestural form offering up whole body renderings rather than the harsh reality of high definition we repeatedly encounter in contemporary media.

1. “Mirror Machine: Video and Identity” 2006 YYZ Books anthology, edited by Janine Marchessault. The term is appropriated to describe the structure of the PointCoud depth camera/projection system.

mHz premieres his brand-new work “Cruise Missile Intersectionality”. Building on his latest release “Proof Of Identity” (Important Records/Cassauna, 2023), he meshes his usual abstract and stripped-down audiovisual language with less-than-subtle political commentary.

Cyanovisions: The Transmutation of Light Harvesting Bodies focuses on cyanobacteria, the first light-harvesting organisms on the planet to photosynthesize. Humans generate the pollutants that cause aggregations of toxic cyanobacteria blooms, yet we also create new life forms through synthetic biology, genetic engineering, and artificial life. What would the future look like if humans and cyanobacteria merged membranes, genes, and metabolisms?
Inspired by the recent experiments in CRISPR gene editing technologies, Cyanovisions posits potentials for biological hybridity and scientific spiritualities with microbial species that recognize the inextricable relationship of humans to those of other organisms. Though the trajectory for millennia has distanced the human body and consciousness from the chemical processes and organisms that it is composed of, it is eternally linked to forces, processes, and organisms.
Cyanovisions offers potentialities of symbiotically living with both other species and our technologies as extensions of nature. Cyanobacteria are one of the most ancient life forms; they were responsible for first creating oxygen on our planet as the first light-harvesting organisms. Through endosymbiosis they became the chloroplasts that plants use to process sunlight into energy today.
Cyanovisions imagines a future where the light harvesting pigment phycocyanin is engineered into human bodies not only to surpass their limitations but to protect against the toxic conditions that we have induced on the planet. Portrayed in the short film are landscapes of algal blooms and the inner workings of a DIY Biology Lab. Science fact becomes science fiction as lab technicians move from routine experiments into an embodied ritual as part of a speculative experiment. As a cine-poem, this piece meditates on different states of bacteria and water, the transformation of light, and the embodiment of this transmutation. Photobioreactor systems growing cyanobacteria cultures are incorporated into the installation, along with speculative future prostheses of the human body.

Exhibition usb #5 window(s) on course. St-Pierre-le-Puellier collegiate church and ÉSAD Orléans gallery, Orleans. March 30 – May 28, 2023

In 2020, as part of the CULTURE PRO call for projects from the Ministry of Culture, ÉSAD Orléans, with the support of its partners, is launching the CYBER_CAVE project.

With the containment measures following the COVID-19 pandemic, our societies have experienced remote social life made possible by the Internet. The question of physical distancing, at the heart of current issues, leads creators, cultural institutions and higher education establishments to invent or re-invent in terms of artistic and cultural production and dissemination.

ÉSAD Orléans therefore proposes to create a metaverse third place (that is to say a virtual place of creation, manufacturing and distribution for a community of creators, in particular young creators, who can interact socially with the aim of designing , develop, experiment and disseminate works of plastic art, theater, dance, music, architecture and design within this space itself or as an extension of the tangible (= physical) space

The creation is entitled CYBER_CAVE. The CYBER_CAVE crosses extended realities (virtual and augmented) and the Internet network (Web). It will provide remote access to a virtual universe of conception, creation and distribution in art, design, architecture, dance etc..

The CYBER_CAVE will be designed and developed at ÉSAD Orléans using the most recent technologies in terms of extended realities.

After the 1990s, pioneers in the field, the technology of extended realities (XR / Extended Reality ), virtual (VR/Virtual Reality) and augmented (AR / Augmented Reality), has now reached a form of maturity. We can indeed only note its development, beyond video games and science, within the world of art and design (in international fairs and biennials, European higher schools of art and design, events and exhibitions etc.), particularly due to the reliability of software and equipment.

It is today essential, within the Center Val-de-Loire Region and on the national territory, to allow access to these technologies to young designers, artists, engineers and collectives carrying projects renewed by the dynamics specific to generation Y or “digital natives” and generation Z (“post-digital native”, also called C – Communication, Collaboration, Connection and Creativity). While being open to all creators, the CYBER_CAVE will be mainly intended for young graduates and creators from Higher Culture Schools in the regional and national territory.

The young creators will be accompanied and surrounded by art and design professionals, entrepreneurs and engineers. Professionalization and the spirit of community between the creators and the teams associated with the projects will be at the heart of this system mobilizing local, national and international partners.

The CYBER_CAVE and its equipment will allow all creators with projects, in particular:

to create works of extended reality as such
to experiment, develop, test hypotheses virtually during the creation and design phase
to disseminate, show and communicate projects virtually (VR) or hybrid (AR)
for designers, to facilitate the prototyping stages by switching from simulation tools to digital manufacturing tools
for live performance artists, to extend the stage or simulate it, for example by articulating the tangible space with the virtual space…
https://cybercave.esadorleans.fr

Partners:
Certainens (Tours)
National Choreographic Center of Orléans
Contemporary art center Les Tanneries (Amilly)
École Nationale Supérieure des Arts Visuels de la Cambre (Brussels)
La Labomedia (Orléans)
Pépite Centre-Val de Loire
Polytech Orléans
RCP Design Global (Tours) )
Scène nationale d’Orléans
Teslasuit (London)
Valesens (Tours)

Project Cybersyn was an experiment in instituting a socialist networked economy embraced by the short-lived Salvador Allende government of Chile (1970 – 1973) and developed together with the British cybernetician Stafford Beer. For the past decade, Project Cybersyn has been a recurrent reference – a best practice from the past – in discussions around the repurposing of hegemonic technological infrastructures and their redirection towards more equitable economic and social practices. The iconic image of Project Cybersyn’s control room – with its sci-fi appearance – represents a technical and aesthetic object that alludes to negotiation, democratic decision making, and social welfare. The allure of this image is the starting point for the video which proposes that desires for post-scarcity and postcapitalist economics must grapple with the shifts in the political, economic, and technological conditions of possibility that have transpired since Project Cybersyn. To this end the control room image itself becomes a platform for alien mutations, philosophical speculations, and social commitments. What would it take to reimagine the artefactual Cybersyn for our hyper-financialized day and age? For this work, curator and researcher Bassam El Baroni and transdisciplinary architect Constantinos Miltiadis collaborated with multidisciplinary artist and animator Georgios Cherouvim, and composer and sound artist Gerriet K. Sharma to bring this question to life.

Hacnum Exhibition. various locations, May 16 – 21

Cymatic Ground (Alvaro Cassinelli & Tobias Klein 2022) is an interactive audio-visual installation and the “Second Garden” in Klein’s larger Three Gardens exhibition (Tobias Klein, 2022). Located within the buildings of Oi! (Oil Street Art Space in Hong Kong), the second garden is a hybrid between an architectural representation and a sonic scultpture. It is an interactive model – an installation in which the audience can explore the relationship between shape, geometry, resonance and energy. This garden takes reference from the dry stone garden concept, where the absence of water is made visible through carefully composed arrangements of rocks and gravel that is raked to represent ripples and waves. The second garden is an industrial garden made from laser-cut and acid etched steel plates. It is a resonating, ephemeral garden where sand is carried as liquid flowing in reverberating patterns. Combining Art and Science in interdisciplinary collaboration, we created a sonic extension of the landscape as a liquid shapeless continuum, made visible through vibrations. The work articulates the invisible frequencies within each material and shape, where energies brought into harmonies create overlaying vibration, agitation and movement. These natural frequencies show the interplay between geometry and sound. Like the coastal lines are slowly shaped by the energies carried by the waves of the ocean, the vibrations in the Cymatic Ground uncover the invisible patterns of energies flowing through the landscape.

The artwork is able to exhibit very complex Chladni patterns thanks to a micro-controller based audio feedback loop that injects energy into the system thus enabling for the complete formation of the sand pattern. Hidden electronics under the table analyse mechanical vibrations (through accelerometers and microphones) and estimate the fundamental from the series of harmonics. Energy is then injected on the corresponding plate using electromagnetically actuated “bass shakers”.

Three Gardens
Created by Tobias Klein, Three Gardens presents virtual and actual rock installations designed under the notions of Chinese landscape architecture and brings in new features to Oi!. The first garden exists within the entire Oi!, where elements of architecture, water, plants and rocks pervade the existing and new spaces. The second garden is an interactive installation collaborated with Alvaro Cassinelli that creates sensory experiences for visitors using sound and vibrations. The third garden is a digital garden, which links the audience’s on-the-spot experience with a mobile app to broaden their viewing experience.

The third garden is neither here nor there – it sits in between. It is based on physical elements yet itself is immaterial. It is playful and explorative, minimal and mathematical, digital and analogue, site-specific and independent. It is a technological garden – a simulation and at the same time a transformation. It is a software landscape in the form of an app that allows the audience to collect experiences from the previous gardens to create their own landscape. We walk through the first garden and scan the space narrated through the Meta-morphs; we feel the vibrations of the Cymatic Ground and record the frequencies of the instrument. All input is transformed into vectors and attractors, virtual rocks and pebbles. Our experiences become invisible forces and their relation to each other in a system. They become the artificial mountains in an artificial garden (假山). The third garden is an arrangement of simulated force attractors that allows the visitor to create an infinite amount of reactive landscape systems. In some ways, the disillusion of the landscape being real and physical, is similar to the painting of it, where water and ink construct like pixels as ground for contemplation and reflection about one’s own position in such a constructed landscape.

“Dabarithms: Palm Wish” (“Daba”: Dubai “rithms”: Algorithms) is an interactive digital, kinetic, geo-location performance project, that uses algorithmic functions calculated in a custom GPS Tracking Android Phone App to direct a “wish-scavenger” around the man-made Palm Jumiera Island (Dubai, UAE) in search of wishes. The Palm Jumiera is named for the island’s direct architectural mimicry of the shape of the fronds of an actual palm tree. Dabarithms selected this fabricated, excessively priced, investor-targeting, Disney-like island, for the purpose of collecting 9 wishes from the inhabitants of this island, who are some of the wealthiest tourists and investors in the world. Our question: “When you have everything, then what would you wish for?” We collected 9 wishes due to the number’s numerological significance, an ancient belief originating in Babylon, Greece, Jerusalem, Egypt and the Vedas, claiming that there is a relationship between a number and coinciding events. In numerology the number 9 is the number of universal love, eternity, the penultimate within an eternal system, faith, the concept of karma, spiritual enlightenment, spiritual awakening, service to humanity, humanitarianism, and more. In Dabarithms, once each wish was collected, sand from the feet of the wisher was placed in a bucket, and the techno-ritualitstic gesture launching a man-made electronic flying fairy drone, served to “activate” each wish. The performance was represented on the American University Dubai campus in a grid of 9 trees. Buckets of sand was affixed to each tree containing lights, along with each fairy drone. The GPS tracks of navigating the Palm Jumiera in search for wishes was played back in software, and the moments in time when each wish was collected, the fairy drone associated with each wish launched into the air and continued to fly around the AUD campus.

In September 2018 Katerina Cizek invited me to a MIT conference in Cambridge about Co-creation: This was the first time I noticed that there is a theoretic discourse about co-creation. The usage of non-human creation is not new. Analog random-based processes, such as Gerhard Richter’s colour-coat-scratching (“Rakeltechnik”) or Jackson Pollock’s “drip technique” created iconic landmarks. Harold Cohen used fix algorithms to create art, Vera Molnar used fix algorithms as a tool to explore art.

In 2022 I made DanceCubesII. The visual part of DanceCubesII consists of algorithm-based images of 80’s filmstar Ornella Muti, created by an uncontrolled process without human influence. For this process I used the selfcoded software Code9 as non-human co-creation tool. But the artworks rhythm is dominated by a half visible superimposed dance performance of the young Italian actress: an artifact of a Spanish B movie, published in 1974, two years before the end of fascism in Spain. The result of both image streams consists of an unseen visual language.

While the main idea was a human creation and the mix of the visual elements was done by me, the radical colors and the unusual aesthetics came from the uncontrolled non-human co-creation process.

All this is very technical: As an artist, my feeling was that I had to create something which is less representational art than my past works. My feeling was that the blur between abstract and representational art will conduct into something more intense. My ship to navigate there was non-human co-creation.

The video project depicts ellipses (one for each facade) moving vertically up and down the building. At first the objects are in synch but over time they change phases allowing for syncopated visual movements.

As an interdisciplinary media artist I explore contemporary techniques for integrating diverse communication forms into a cohesive whole. My belief is that intermedia art represents collective imagination, knowledge, and skills that can generate limitless innovation.

Dandelion is an algorithmic flower, which interacts with the viewer’s eye, changing morphology to represent the viewer’s mind on the surface of the mirror

“Dark Sightings” explores the construction of three-dimensional creatures and questions the generation of artificial territories, where the organic is represented by polygonal geometry. It invites the viewer’s immersion in real and digital environments, where evolutionary processes and transformations of fragments of reality and fiction are modeled. The creation of the models is developed with 3D tools as visual production that creatively reconstruct fiction and imagination. The representation of reality develops parallels of the changing perception we see in the real and digital world, as proposed by Hernández (2002). Fictitious elements take life, they do not exist but they are a living part of the polygonal digital nature, creating an instability between the unreal and the real. Reflect on the poverty, insecurity and social inequality that lives in society and the great capitals of the world, the relationship of real problems with technological life for the revolution and virtual digital development. Visual exploration results in graphics that complement the concept of three-dimensional digital generation. The modeling of geometric shapes with organic coating, visualize the invisible relationships of fantasy, imagination and perception of the viewer and their relationship with the environment.

Immersive work and 3D landscape, including particle systems and fluid simulations, all with negative space as a motif.

Inspired by a liberal interpretation of Albert Einstein’s photon concept developed between 1905 and 1917, das Lichtquant is the materialization of the interactive process between light and matter vis-à-vis absorption and spontaneous and stimulated emissions.

This project, with its multiple phases, transforms the 2016 United States Presidential Election Twitter data into a large-scale installation to probe the question of how social media assumes form and transforms the shaping of the future of a nation. The installation recounts Twitter hashtag activity on the topic from February 2016 through the election date of November 8, 2016.

By identifying major Twitter influencers in this election period, uncovering the propagation patterns within the data, and differentiating human tweets from AI tweets, the installation exposes the inner mechanisms of a world where true human tweets and tweets generated by Twitter Bots mutually influence each other and propagate inseparably as a combined voice. The installation allows the examination of the machine world infiltration that shifted the generative entropic propagation of social media influence on this U.S. election, and provides a physical space for contemplating the significant challenges social media pose in our understanding of the social fabric and the radical transformation of the ways in which we now relate to each other.

We are inextricably linked to the landscape we inhabit as citizens as dendrites, as eco-systemic and non-ego-systemic beings.

The project Data Turbulences started from the drought in the Po Valley in Italy, where it has not rained for over 150 days, and then suddenly the region was disruptively flooded with all the rain missing for months (May 2023). The project entangles the data of moving bodies inside a nebulized projection. Data becomes tangible, and the projection and the sound are composed by the movement of the bodies inside the physical space.
Data are nebulized and liquefied as the new matter that shapes space. The dimensions on which the installation is created are dichotomies of visible/echoes, tangible/digital, local/global, data/drops, CO2/H2O. These tensions/connections creates a third space itself (a Weatherscape),that is shaped in-between and by weaving together the individual with the global, allowing us to understand how we are all intrinsically entangled on a molecular scale with the surrounding matter(s). The installation is a Lullaby for Floods, and a in-between space connecting us to the out-of-scale earthly turbulences: it exchanges our inner floods with external droughts, and we escape our inner droughts to swallow into external floods. We can just sit and stare at the dance of lost particles as we are spectators of present ruins/future ghosts and composers of present ghosts/future ruins.
In the changeling feeling of being entangled to the beauty of disruptive phenomena, where echoes of lost landscapes express the timing of nature as fluctuating present ghosts, to dissolve into turbulences and become Weatherscapes.

The projects holds the flexibility aiming to reveal the co-dependency of our dreams to the external/ex-treme phenomena,in this tension between scales,aerial and liquid, molecules and rivers,data and bodies, inhabitants shaping the space by being composers and being composed.

We are data turbulences, suspended in time and space, ebbing into new everywhen Weatherscapes.

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? ‘Data Whiskers’ shows my artistic interpretation of the transience of data. To avoid the data storage doom scenario, I opted also for high resolution art prints.

Ryoji Ikeda will perform datamatics 2.0, a one-night only event at Carriageworks on the evening of Friday 7th June. This is a new full-length version of Ikeda’s acclaimed audio-visual concert.

Ikeda is one of Japan’s leading electronic composers and visual artists, and has gained a reputation internationally as one of the few artists working convincingly across visual, spatial and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

For datamatics 2.0, Ikeda has significantly developed the earlier version of this piece (premiered in March 2006), adding a newly commissioned second part. Driven by the primary principles of datamatics, but objectively deconstructing its original elements – sound, visuals and even source codes – this new work creates a kind of meta–datamatics. Ikeda employs real–time programme computations and data scanning to create an extended new sequence that is a further abstraction of the original work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions.

Photo by Ryuichi Maruo. Courtesy of Yamaguchi Center for Arts and Media (YCAM).

What’s most interesting about using a computer in painting ? …. The way it infects the creative process. I use computers to play around with visual ideas. I like the immediacy of colour control. I find when I return to ‘wet’ media my mind is still thinking with that flow, and visual freedom… there is no limit, it seems every image can be re-processed, re-collaged…everything is possible. Paint on the computer is simulation, and in that sense unreal, but painting proper is full of techniques that in comparison feel unnatural – you can’t change colour in real time, make fills, and so on… and the brush, palette, canvas arrangement is cumbersome. But resistance helps too. The physical inertia of painting. The way it absorbs time.

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 Blue is a multi-sensory interactive work that incorporates screen-based visuals, spatial audio, and physical interaction. Exploring the themes of anthropogenic climate change and the blue mind, this work visualises a planetary ocean sphere situated in the centre of a large pulsing blue space. This blue space is influenced by theories of the blue mind, exploring the peace induced by the presence of a large body of water. This is combined with spatial audio to immerse the audience in soundscape of underwater sounds and crashing waves to create the sensation of being immersed in this watery environment. Examining the human connection to place through an exploration of the ocean ecosystem, Deep Blue encourages the audience to consider their place and relationship with the ocean in a space that explores the intersection between interactive experience and the physical interactions and impacts that we have on the environment. This work aims to foster deeper considerations of our relationship to the ocean and to place and reflect on how we interact with these environments.

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

This work is a collaboration between DeepBlue musicians and The Human Theremin, which pushes the boundaries of their art forms to test the capabilities of live AI body visualisations and sonic manipulation with both traditional instruments and non-traditional performance styles.

This work furthers DeepBlue’s exploration of music, movement and human connection by incorporating AI driven technologies. DeepBlue musicians and The Human Theremin system create audio-visual synchronicity by experimenting with space and movement, triggering effects and manipulating sounds to extend DeepBlue’s musicianship.
This collaboration is part of a larger body of work in development by DeepBlue titled Now is the Time, which explores the complexity surrounding the future of creativity and connection in an AI world.

This performance is funded by the Brisbane City Council Creative Sparks Grant.

“As usual, the Han River is soaked in antidepressants, antihistamines, antibiotics and anesthetics!!! It’s 7 pm, evening peak time is back! Ride along before it’s too late!”

“Dancemaster always likes to keep the action to a minimum. For Dancemaster, optimization is synonymous with elegance. No matter what path an object travels, nature always strives to minimize action… You know that, don’t you? But this is no longer about nature…”

Ernst Mo (an anagram of ‘Monster’) is a female delivery rider who works for a platform called Delivery Dancer in the fictitious Seoul. In this fiction, Seoul is a labyrinth of endlessly regenerating routes, and the Dancers (workers of Delivery Dancer) pursue never-ending delivery work under the control of a master algorithm called Dancemaster. This work is not only about the gig economy and platform labor, which have become immensely popular in South Korea, especially during the pandemic, but also about the topological labyrinth, the possible world(s), the hypervigilance, and the accelerationist urge for optimization of body, time, and space. It contains hints of a queer relationship with a counterpart from another possible world.

The work is a mixture of 3D animation and live-action shooting.

Possible world(s)  

According to the possible world theory, this world is one of the innumerable worlds, and according to the logic of innumerable worlds, it is possible that there are two or more perfectly identical worlds. In this same world, even individual members may or may not be perfectly identical.

Ernst Mo is a rider affiliated with the company Delivery Dancer, a delivery platform. Depending on the call received through the operation of Dancemaster, the AI ​​algorithm of the Delivery Dancer app, Ernst Mo rides through the spots including A, B, C, D, E, in Seoul, following Dancemaster’s navigation system. It calculates the shortest distance from the starting point to the destination and informs Ernst Mo of the elegantly embroidered navigation lines. The infinitely received delivery calls and infinitely generated delivery paths are like a maze.

From moment to moment, Ernst Mo arrives at the points at which another possible world, perfectly identical to her own world, leaks. The name of the opposite entity that appears to be perfectly identical to herself is En Storm (an anagram of Monster). The main character and the opposing entity show various aspects of the relationship, such as antagonism, compassion, and affection, which cannot coexist in the same space and time. These are the states of affairs of possible worlds. These are the ways in which two entities may exist (the ways they could be), and furthermore the ways they could relate to each other.

This world seems like a world where the logic of causality does not work well. A character who died in the previous scene appears in the next scene. In this way, the world is rebuilt from moment to moment, different. Montage, a unique method of video editing that has been developed to suture shots and smooth artificial time, is used in this work to disrupt causality, and the magic begins where the syntax breaks down. (A variant of syntax is a kind of epistemic earthquake.)

This work incorporates several laws of classical physics: Heisenberg’s uncertainty principle, Fermat’s principle of least time, Hamilton’s principle of least action.

Pandemic Fiction   

This piece, which I have classified as a sort of pandemic fiction, was inspired by my personal experience of the COVID-19 pandemic, which limited international travel until early 2022. Along with the restrictions on movement, the pandemic also led to the exponential growth in delivery platforms that recruited riders through promotions offering high fees and unprecedented conditions. These delivery riders, who were the most mobile entities on the streets when taxis were scarce, delivered food packages to various destinations, striving to meet the requirements of the shortest distance and minimum time for delivery. People did not have to interact with the riders, who carried out their “invisible” labor at the behest of the master algorithm to complete their next delivery faster and serve them at an optimized time. This project gazes at Seoul as a kind of labyrinth. Mobility became more active than ever in a physically restricted mobility environment. In this story, the top-performing Delivery Dancers, known as “Ghost Dancers,” are invisible to human eyes and navigate through time and space.

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.

“Diatoma” is the synergy of nature’s intricate designs, the precision of computational design, and the innovation of robotic fabrication. The pavilion invites viewers to explore the interplay between natural forms and robotic fabrication, a delicate balance where each component contributes to the strength and resilience of the whole. “Diatoma” is not just a structure; it is an exploration of possibilities. It challenges the boundaries of architectural design, proposing a future where the wisdom of nature is translated through the lens of technology into a tangible, inspiring reality. By harnessing the power of robots, it creates structures that are not only efficient but also profoundly beautiful.

Digest compilation of five performance videos dealing with the theme of time : Time Clothing (1978) and Pizza Time (1983), which use polaroids; On Air (1980) and Time in Rectangle (1980), which use now-obsolete open-reel video tapes; Self Portrait (1980), which integrates the two methods.

We displayed the graduation works on digital arts and design in five categories (Future Alley, Healing Alley, Reflective Alley, Interaction Alley, and Education Street).

Digital Bothy is an immersive 3D experience combining high-definition digital reconstruction with a narrative on the non-reproducibility of place. It is the product of a solo, 15 mile hike to photogrammetrically capture the Allt Scheicheachan bothy, a little stone building tucked away in the remote Scottish Cairngorms open to any traveler in need of shelter. The resulting 3D scan became the centerpiece for a hyperreal, first-person Highland excursion built with Unreal Engine. The final work honors Allt Scheicheachan’s inaccessibility, subverting expectations of a pixel-perfect digital replica. It takes a traveler 3 hours to reach the bothy’s door in real life. In-game, the journey is condensed into 20 seconds. Given the virtual hiker’s minimal effort and the absurdity of shelter in the digital environment, Digital Bothy resists exposing the bothy’s true structure upon their arrival, wobbling and tessellating as they grow closer, until it is an unrecognizable mosaic of fractured data. A field recording of Cairngorm wind blows with growing intensity as the viewer enters the cloud of swirling bothy shards, magnifying the distortion. This project was completed over the course of a year, and evolved into a personal meditation on the tension between digital simulation and the natural world.

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

No statement available.

Existing throughout history and culture, in both sacred and profane contexts, games and computation devices intersect and co-evolve, serving not only to entertain, but also to provide alternate histories and clairvoyant predictions into distant futures. Games and calculators are thus time machines that collapse spatial and temporal horizons into an everywhen. This media archeological installation explores these overlapping genealogies of computation, divination, and games.

The key element of the installation is the Go game board which – in different historical eras – has operated as an abacus, a divinatory device, a game, a computer, and inspiration for the QR code. This installation traces the evolution from the Go board to the abacus, to the computer to evoke the globally shared cultural heritage of games as divinatory devices. It works to remind us that before computer games, games were computers.
While the contemporary phenomenon of videogames and digital computation has narrowed understandings of games, this installation opens-up the playful interactive poetics of fortune telling within contemporary and ancient games to highlight enduring motivations to access deep knowledge and temporal truths.

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.

Dominion is a critical meta-survey of the western Canadian landscape. It intersects two systems of survey/surveille – one early modern, and one contemporary to our own time. The first of these is the Dominion Land Survey (DLS), instigated in the 1870s as part of the colonization of Western Canada. The second is Google Earth, which like other popular imaging platforms commodifies the Earth and its image today. Using Google Earth to document the DLS, Dominion sets these two regimes of image to interrogate each other and identifies ruptures in both: the landforms, episodic flooding, and older forms of land tenure which erode the grid of the DLS, and the double images, blind spots, and anomalies in the machinery of representation deployed by Google Earth. Somewhere, in the gaps between these two – and all our other systems – is a place for new forms of life, a new land between digital and material.

Cargo is a creative output of a larger research-creation project investigating shipping networks, their physical environments (landscapes, infrastructure and architecture), and the regimes of image that coordinate, monitor and represent them. The project underlines that global shipping networks and systems – predicated on the smooth flow of materials and information – seem inevitably to provoke a self-destructive generation of delays and disruption: container ships smash repeatedly into infrastructure. Cargo harvests moving imagery from Google Earth terrain models of ports around the world, focusing on disruptions to that imagery and the degradation of the environments documented. Applying this imagery to a shifting array of virtual shipping containers, it intends to provoke a contemplation of these conditions.

The algo-kinetic work “Don’t look at me” is designed as an organism, reflecting on topics attention economics, sound and movement. Attention has emerged as the primary metric in social media, and most of their algorithms are designed to harness and shape human attention, trying to keep the users on their platform, leading to severe real-world consequences. The organism is designed to have an anti-social media algorithm: The more attention it senses, the more stressed and disharmonic the entity becomes. If there is only one human present the entity is relaxed, emitting harmonic sounds and slow movements.
Central to the installation are the newly developed robotic actuators, consisting of resonator tubes and vibrato elements (vibraphone-principle). These actuators physically generate sine waves, drawing inspiration from the avant-garde acoustic designs of Harry Partch. Visually, the work is referencing the tensegrity principle, introduced by Buckminster Fuller and Kenneth Snelson. The actuators are positioned within this 2,5m x 2,5m moving tensegrity structure, offering an spatial experience for the humans around it.
The algo-kinetic work “Don’t look at me” is designed as an organism, reflecting on the economics of attention, sound and movement. Attention has emerged as the primary metric in social media, and most of their algorithms are designed to harness and shape human attention, trying to keep the users on their platform. The organism is designed to have an anti-social media algorithm: The more attention it senses, the more stressed and disharmonic the entity becomes. If there is only one human present the entity is relaxed, emitting harmonic sounds and slow movements.
Central to the installation are the newly developed robotic actuators, consisting of resonator tubes and vibrato elements (vibraphone-principle). These actuators physically generate sine waves. Visually, the work is referencing the tensegrity principle (Fuller / Snelson). The actuators are positioned within a 2,5m x 2,5m moving tensegrity structure.
The work explores the connection to ‘place’, the idea that all times coexist in a given location, with its algorithm reacting on past present and future behaviors in its surroundings. The work resonates with the role of art and creation in the Everywhen – being not an isolated piece of work but a process of timely connection – referencing to past concepts like the vibraphone or the tensegrity, and more broadly a dialogue between humans and technology.

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)

In a poetic interpretation the animation ‘Dreaming is the mind left to itself’ links neuroscience with new technologies such as Extended Realities and Artificial Intelligence to examine their role in accessing and revealing different constructions of reality in various states of consciousness – the waking reality, the digital realm, the dream world, drug induced conditions, spiritual meditations. Especially the role of dreaming has fascinated artists and researchers for a long time. The »Overfitted Brain Hypothesis« (OBH) by neuroscientist Erik Hoel compares dreaming to a certain aspect of Artificial Intelligence (AI). For AI to deliver meaningful results it needs to be fed with a sufficiently variable dataset. To increase variations, it can be interspersed with noise and glitches. OBH draws parallels to the purpose of dreaming and argues that it works as a similar noise injection, so our brain can cope with the many self-repeating patterns during waking world. The AR video installation »Dreaming is the mind left to itself« leads the visitor through abstract dreamscapes and digital environments, focused through a vignette reminiscent of Virtual Reality glasses. The imagery gets more and more moshed, suggesting the dissolution of parallel realities.
The animation is accompanied by the augmented reality application »Dreaming Mind AR«, available for free in the app stores.

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.

Dreaming Yongsan Park (2023) is a community art project that attempts to occupy and reshape the current state of ‘Yongsan Park’ into a place that reflects the voice and desires of Seoul citizens. We aimed to return the power to citizens to dream and re-think about Yongsan Park beyond its physical constraints and the government’s top-down approach to urban planning.
3D scanning can be used as a democratized method for sharing of one’s 3D models of everyday objects and environment. We identify 3D scanned objects as a ‘Digital Found Objects’, and virtual form of ‘Self-narratives’ of people within their time and place. This Digital Found Objects brings people’s everyday lives, hidden stories, and wishes of the Yongsan park. We utilize these objects to share one’s voice as a community member, allowing them to reshape and reengage the place as their own.
This 3D Virtual Website ‘Dreaming Yongsan Park’ is employed to restore the relationship between Yongsan Park and citizens. We suggest this virtual space as an activist approach where the virtual space can be a way of reshaping engagement and attachment of the real place, and also works as a place to sharing voices of the citizens. The website is open to the public, and any visitors can virtually walk around the 3D web version of ‘Yongsan Park’ and read the stories of how the citizens dream of the inaccessible place

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.

‘e-Galaxy’ video loop is part of an immersive and experiential installation with public participation, made of electronic waste, miniatures, and artist books, created by Suzon Fuks, with music by Bob Vanderbob.

In this video, a character explores ‘MeGalaxy’, ‘Sim’, ‘WeavilLED’, ‘KeyCaps’, ‘TekTonik’ and ‘Spinwheel’.

Since 2019, she works with locally sourced electronic waste, performing and activating installations in both human and miniature scale, used also in her videos. Suzon designs wearables with repurposed electronic parts, and creates artist books relating her passage from analogue to digital technology. Suzon’s immersive installations have been exhibited internationally, including at the Prague Quadrennial-PQ2023 and Magdalena Montpellier Festival 2023.

Suzon’s focus on obsolescence and technology explores the hidden side of things, the layers of knowledge amalgamated over time, and seeks to create a better understanding of our current electronic tools. All these devices, although marketed as new and innovative, hold a long history of technological development. Dismantling the ‘obsolete’ ones and repurposing their components highlights a ‘galactic’ time scale going through their full life cycles. It raises awareness of the unfair technological global distribution, highlighting how access to new technologies is predominantly in developed countries while workers mining rare earth elements are often exploited in developing countries. This is also where much of the electronic waste ends up, buried in landfill, or alternatively, as space junk orbiting the planet.

With the creation of robots, AI and the Internet of Things, some of the ways in which we use our minds and bodies are being replaced. While we are researching and quantifying how human brains function, our senses, perception and creativity are arguably what differentiates us from our machines and makes us unique as humans. Suzon has a feeling of urgency to address the need to delve into the knowledge of our bodies, our relationships with each other and the natural world. This includes questioning the difference between our tools / technology and our body / senses, to dig inside, to be aware and mindful, to explore the layers.

‘e-Galaxy’ is a counterpoint to the throwaway culture by drawing attention to beauty in the everyday, the mundane and the discarded. It raises awareness about recycling, sustainability and some of the human and environmental costs involved in making our electronic devices.

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

Echoes draws on commonly shared experiences of Indigenous people in Australia and focuses on Chantel’s intrinsic relationship with land and Country. This knowledge then echoes. Their bloodlines echo. Their teachings echo. But do these echoes stick around? Or merely come and go with their spirits? Chantel’s contemporary video art explores these experiences and shares the histories of the landscapes that surround us. To deeply connect with Country as it lives and thrives through yesterdaytodayand far into the future.

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

An aerial drone hovers precariously close to the face of a glacier. One hundred metres below, an underwater drone engages in ‘oceanic’ hovering.

While the aerial drone records the constant dripping of water and calving events from the face of the seemingly solid ice wall, the underwater drone is witness to a different but related temporal transition. Here, centuries-old air and soil – trapped within the melting icebergs calved from the glacier – are rapidly releasing in gaseous, liquid and solid forms into the sea.

‘ecologies(Arctic)’ is a multichannel audio and video installation that juxtaposes the scale and duration of
millennial glacial movement with rapid deglaciation occurring through human-induced climate change.
It avoids the spectacle of collapsing glaciers and melting ice, aiming instead to sensorially engage audiences with an embodied visual and sonic exploration of the shifting spaces and times of a fragile ecology. In ‘ecologies (Arctic)’ time and place are experienced as porous thresholds: above and below water and ice, liquidity/rapidity meeting the frozen/static. The experimental drone footage and field recorded soundscape are joined by another, speculative moving image ‘companion’ perspective: AI- generated video. A counterpoint to the drones bearing witness to the complex ecologies of climate change, this speculative imaging asks: what might a deglaciated Arctic look like in the year 2058; 2058 being the current predicted forecast for the loss of one of the Arctic’s largest glaciers, Hambergbreen.

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.

Elemental Spaces is an ongoing project that invites participants to inhabit the deep time of geologic and cosmic processes. It is an interactive mixed reality experience in which participants‘ actions release elements into a virtual world to form first the universe, then the solar system, then the Earth, and finally enable life on Earth. It also confronts our illusion that if we can describe a natural phenomenon we have mastered it: participants are in the role of sorcerer‘s apprentices who set in motion processes they cannot control.
Participants put on a VR headset and then alternately grasp one of four bowls between their hands. Each bowl contains one of the classical Greek Elements (Earth, Water, Air, Fire), and the participant’s touch releases the element into the virtual world visible in the VR headset. The artwork uses ‚Lewis structures,‘ depicting molecules with the letters of its constituent atoms (e.g. H2O), to bridge from the classic Four Elements to the contemporary atomic elements. The Lewis structures are also an attempt to understand the myriad invisible substances that are vital for life on this planet, but whose precarious balance we are upending with breathtaking disregard for our survival: CO2, CH4 (methane), O2, etc.

For my animation, I created 4 separate shots to symbolize the 4 main elements of ISEA according to my interpretation. The crashing waves which symbolize water, are inspired by beaches in the Sunshine Coast. The double explosions represent fire and smoke, which are key themes in the culture of the First Nations people. The growing tree and flower is a Brisbane local; the Flame tree (Royal Poinciana) which symbolizes nature. Lastly, the swirling sand represents the earth, the Brisbane river inside the circle for the final shot. I chose those 4 themes since it aligned with the main themes of ISEA and themes that I could relate to on a regular basis.

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.