Art Events Data Table

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Symposium Title Category Venue Artist Image Artist Statement Overview Technical Info Process Info Contributors Sponsors Medium Website Keywords
  • ISEA2024: 29th International Symposium on Electronic Art
  • Industrial Lichen
  • The Loft Theatre, QUT Creative Industries Precinct
  • Xingzhi Shi
  • “Industrial Lichen” prompts attention to the impact of industrialization and environmental sustainability on human life through an immersive experience, a profound reflection on theecological changes between industrialization and nature. It provides a space for experimentation and reflection. The work invites the viewer to enter a virtual space where the viewer can observe and feel more deeply the concepts of time and environmental evolution conveyed by the work. And how we can live in harmony with nature in a rapidly evolving technological age. By providing an immersive environment at the STYLY platform, the interaction between the viewer and the art is enhanced. This approach emphasizes WebVR’s potential to deepen understanding of our role in advocating for the protection of the environment and sustainable development. In “Industrial Lichen”, WebVR makes it possible to deepen the connection with the viewer, encouraging them to think about the role of human beings in the natural world and how our actions have influenced the past, present, and future.

  • https://gallery.styly.cc/scene/14528179-bd13-4965-9704-83ba1832b23c
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Inevitable Death of the Universe
  • International Commerce Center (ICC) Tower
  • Harry (H2o) Hung and Rebecca (Catqu) Ko
  • The future of the universe is uncertain, but there are many theories on how it may end. The history of mankind is very short and we are just a small chapter in the timespan of the world’s journey across time and space. Against the backdrop of this eternal flow of time towards our end, it is strangely comforting to know that our own human struggles on this pale blue dot are but small and temporary in the scale of the larger scheme of things. We are but specks of dust against the repeating cycles of creation and destruction.

  • Collaborators: Hilhil Chow & Fate Lo

  • Projection Mapping Installation
  • ISEA2023: 28th International Symposium on Electronic Art
  • Inferno
  • Bill Vorn and Louis-Philippe Demers
  • Performance, Focus Québec Programme, Le Cube Garges, May 19-20

    You are invited to live this human/ machine symbiosis by participating in this extraordinary robotic performance, Inferno, at Le Cube Gagres, executive producer of ISEA2023. Inferno is a participative robotic performance, an absolutely unique show. In this 75-minute involuntary choreography for 2 x 24 participants, the latter wear an exoskeleton that allows the artists to control their movements in synchronization with the music.

    In addition to the 18 exoskeletons, electronic music and lighting, the version presented at the Focus Québec ISEA2023 is augmented, with the addition of video and robotic cameras. The result is a unique immersive experience that participants will not soon forget.

    The specificity of the performance lies in the fact that the portable robotic structures or exoskeletons created by the artists are installed on the bodies of volunteers from the audience. The participants become an active part of the performance: sometimes they are free to move, sometimes they are in a position of partial or total submission, forced by the machines to act/react in a certain way.

    Inferno takes its inspiration from the representation of the different levels of hell as described in Dante’s Inferno or the Singaporean Haw Par Villa’s Ten Courts of Hell (which is based on a Chinese Buddhist representation). In Inferno, the concept of “circles of hell” is mainly an artistic framework, a general working theme under which the different parts of the performance are grouped.

    Focus Québec is presented with the support of the Conseil des Arts et des Lettres du Québec, the Ministère de la Culture et des Communications, the Ministère des Relations internationales et de la Francophonie as part of the Year of Franco-Quebec Innovation, under the auspices of the Délégation générale du Québec à Paris.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Infinite Colours
  • Vacant Assembly
  • Xavier Ho and Stephen Krol
  • Infinite Colours brings 2,499 videogame titles into a slow canvas of accumulative light. Each game adds a unique shape and colour onto the canvas and plays a unique string of notes. Over 8 hours, the canvas will be filled with infinite colours to celebrate LGBTQIA+ independent videogames.

    History has always been queer. Through this generative visual and sound work, we aim to demonstrate the collective activism, movement, and creative expressions that queer folks are making to be visible, heard, and to say that we are here.

    But queer movement does not happen overnight; queer resistance is accumulative and built over generations of self-sacrifice and self-acceptance. The multitude intersectionality of the Everywhen slowly bleeds colour into the world, blends motion into the landscape, and accumulatively becomes a canvas of evermoving colourful light.

    The visual execution is much inspired by the Slow Art movement, as well as the light works of Garry Fabien Miller and James Turrell. Conceptually, it depicts 45 years of the history of the Rainbow Flag invented by the late Gilbert Baker and celebrates the queer resistance that is the Gay and Lesbian Mardi Gras through queer videogames.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Infodemic
  • Santa Mònica
  • Infodemic is a neural network-generated video that questions the mediated narratives created by social media influencers and celebrities about the coronavirus. The speakers featured in the video are an amalgam of celebrities, influencers, politicians, and tech moguls that have contributed to the spread of misinformation about the coronavirus by amplifying rumors, repeating narratives that are contrary to those of official health agencies, or developing technologies that amplify untrue content.

    The talking heads in Infodemic are generated using a conditional generative adversarial network (cGAN) that predicts the pixels for each frame of a video through an algorithmic process similar to those used by search engines and social media news feeds. Search and content recommendation algorithms that once promised to provide access to more information and enable the public to make well-informed decisions have actually made it more difficult to find accurate information on important and politically-charged topics. There is a disconnect between the optimistic Possibles promised by the technocratic elite and the dangers posed by a power structure that can hide behind proprietary algorithms and circumvent criticism due to a general public’s limited technological understanding.

    The cGAN in Infodemic was trained on a corpora of multiple individuals simultaneously. The result is a talking head that morphs between different speakers or becomes a glitchy Frankensteinian hybrid of different people that contributed to the current infodemic speaking the words of academics, medical experts, or journalists that are correcting false narratives or explaining how misinformation is created and spread. The plastic, evolving, and unstable speakers in the video evoke the mutation of the coronavirus, the instability of truth, and the limits of knowledge.

  • Neural Network-generated Video
  • ISEA2020: 26th International Symposium on Electronic Art
  • Infranet
  • Graham Wakefield and Haru (Hyunkyung) Ji
  • Can data form a habitat for life? “Infranet” is a generative artwork–installed in three international cities since 2018–in which a population of artificial lifeforms with evolutionary neural networks thrive upon open geospatial data of the infrastructure of the host city as their sustenance and canvas. The found data grounds an unbounded, decentralized, open-ended, and unsupervised system in which non-human beings flourish by learning, discovering, communicating, self-governing, and evolving. Born curious, they form spatial networks through which associations spread in complex contagions.

    Artificial Nature is a family of interactive artworks by Haru Ji & Graham Wakefield spanning fifty international exhibits since 2007. These installations invite humans to become part of biologically-inspired complex systems through immersive mixed reality, using computation to plunge deeply into what nature is and find our place within it.

  • Generative artwork
  • https://artificialnature.net/
  • immersive installation and Spatial Network
  • ISEA2023: 28th International Symposium on Electronic Art
  • inLAND, Come Back In Broad Day
  • Annabelle Playe, Marc Siffert, and Hugo Arcier
  • Performance, La Muse en Circuit, Alfortville, May 17

    Immersive performance with audio-reactive electronics, video and 3D
    Annabelle Playe, Marc Siffert & Hugo Arcier, are ISEA2023 selected artists

    Passages, crossings and metamorphoses weave the odyssey of InLAND | come back in broad day. These universes are explored live as a 3D video game in which we wander. This exploration is carried out on site or remotely with Discord gamer tool.

    InLAND is a hybrid project between electronic lutherie, digital art and video game “let’s play”. The performance draws as much from the tools of creating games as from its abundant visual culture, creating a porosity between the two worlds. InLAND opens the doors to a meta universe, where artists explore the notions of passages, crossings and metamorphoses…
    Annabelle Playe will be the guest of Laurent Vilarem for his program ‘Journal de la création’ (France Musique) on Sunday May 14 .

    Annabelle Playe: concept, composition, live electronics, voices
    Marc Siffert: composition, live electronics
    Hugo Arcier: video of audio-generated sythetic 3D imagery
    Estelle Bordaçarre: body work
    Halory Georger: visual design
    Dorota Kleszcz: costumes
    Perrine Cado: lighting
    Samuel Herbreteau: direction
    Production : AnA Compagnie
    Coproduction : Scènes Croisées de Lozère, Biennale NEMO, Ville de Mende

  • ISEA2023: 28th International Symposium on Electronic Art
  • Inscape
  • Sabrina Ratté
  • Focus Québec Exhibition. Forum des Images, May 16 – 21

    Inscape, 2019
    Print installation
    Inscape is a single channel video mixing 3D animation and video synthesis. By an interplay between points of views, depth of fields and textures, new details are revealed, transforming the space into abstract compositions. Inspired by the paintings of Kay Sage, Inscape depicts a psychological landscape, where perspectives are constantly shifting.
    Print installation, 115x172cm
    ​Installation is on loan from Galerie Charlot

  • ISEA2016: 22nd International Symposium on Electronic Art
  • Inside the Paris-New Delhi Tunnel
  • Osage Gallery
  • Maurice Benayoun
  • Two years after the Tunnel Under the Atlantic was developed, the Paris – New Delhi Tunnel connected France and India, confronting historical references and languages. In 1995 and 1997, during the digging, a virtual director recorded and edited the process of humans connecting with humans, what MoBen included later under the concept of H2H interaction.

  • ISEA2016: 22nd International Symposium on Electronic Art
  • Inside the Tunnel under the Atlantic
  • Osage Gallery
  • Maurice Benayoun
  • In 1995, when the Web was just emerging, Maurice Benayoun created a virtual underground world using images from the collection of French National Museums and the Museum of Civilizations, Quebec. The work took place simultaneously at the Pompidou Center in Paris and the Museum of Contemporary Art, Montreal – linking the two cities in the world’s first virtual Tunnel Under the Atlantic. Images from the museum collections formed “cultural obstacles” that visitors had to dig through in Paris and Montreal respectively, led by nothing other than sound and music composed by Martin Matalon in order to meet each other.
    Unlike the virtual reality technologies prior to this, which worked predominantly with predetermined, fixed virtual environments, the structure of the virtual tunnels are a formless mass of data and uninformed matter until the user makes certain decisions. The users are thus the pioneering navigators of a constellation of information points that shift based on their input. Benayoun had conceived of a society of intelligent virtual agents, each of whom facilitates the user to discover this virtual environment, while also producing artworks within this world. The team consists of:
    • The Librarian: a content manager – draws up the images from the museum collections,
    anticipating visitors’ desires.
    • The Architect: facilitates the digging into these images to form the tunnels
    • The Video Director: shoots and edits footage of the entire journey in real time
    • The Photo Reporter: captures still shots of the tunnel digging and all the “galleries” created by the participants
    • The Composer: composes music and manages the audio mixing in real time
    Each agent evolves, improving their skills and changing their topics or their resources, learning alongside the participants.
    In his 1995 review of the Tunnel Under the Atlantic published in Le Monde, Jean-Paul Fargier describes the experience of digging as, “indeed entering images. Not only in what they represent, but in their very fabric. Walking, discovering secret channels, curling up in their folds, being lost in their frames, watching them throb, and bouncing from one to the other like playing hopscotch in an infinite curve”.

    The work,Tunnel Under the Atlantic is recognized as the:
    · First intercontinental virtual reality installation;
    · First virtual reality installation with real time dynamic
    · architecture, and;
    · First virtual video director;
    · First virtual photo reporter;
    · First virtual librarian using artificial intelligence;
    · First virtual composer;
    · First real time video meeting inside a virtual reality environment;
    · First user centric content in a virtual reality environment.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Installation "one"
  • Shumokukan
  • Arisa Wakami
  • It makes through the dream in which scribble and itself saw.

  • ISEA2016: 22nd International Symposium on Electronic Art
  • Interactive "One Hundred Horses" Scroll
  • National Palace Museum
  • Jeffrey Shaw
  • Original work of art: One Hundred Horses by Giuseppe Castiglione

    Chinese panoramic scroll paintings were originally designed to be laid on a table and rolled from one end to the other. As a consequence the scroll’s iconographic narrative would gradually reveal itself as it passed beneath the viewer’s gaze. To reconstitute this manner of reading the over seven-meter long “One Hundred Horses” scroll, this interactive installation lets the viewer with handles with which to unroll a full size digital facsimile of the painting across a video screen mounted in a table.

  • https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Interactive Folding Fan
  • National Palace Museum
  • Jeffrey Shaw
  • Original work of art: Folding fan with painting by Giuseppe Castiglione and calligraphy by Zhang Ruoai

    A 3D computer graphic representation of this fan is shown on a large video screen. It can be interactively folded and unfolded by the viewer by turning a knob mounted on a plynth in front of it.

  • https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
  • ISEA2014: 20th International Symposium on Electronic Art
  • Interactive Glowing Cube
  • Zayed University - Dubai
  • Peter Hassall, Yulius Yulius, and Omnia Amin
  • Interactive Glowing Cube is an immersion experience of Emirati life stories written through Facets Short Stories.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Interchange
  • The Loft Theatre, QUT Creative Industries Precinct
  • This film was produced using only existing 3D models, called “Assets”. “Assets” are material data distributed on the Internet that can be freely used  for various productions of digital images such as games and videos.I downloaded a large amount of data of those assets and placed in a scene. The infinitely replicable data becomes a crowd, sweeping away everything. I shot the model of a soldier who was there. I filmed the soldiers being transformed in the mass of data, depicting the Internet as a contemporary battlefield.​​​​​​​

  • ISEA2018: 24th International Symposium on Electronic Art
  • Intersection*ology
  • Durbin City Hall/Durban Art Gallery
  • Lori Hepner and Kendra Ross
  • Intersection*ology is an experimental stage piece and art installation-in-motion co-created and performed by artists Lori Hepner and Kendra Ross. The piece consists of lighting, image and video elements designed by Hepner in conjunction with musical compositions by Ross with their collaborative movement throughout. Working at the intersection between art, gender, race, and technology, Hepner & Ross use light, sound, movement, and image to situate memories of the feminine past and corporeality in the natural world into new, technologically mediated locations and spaces. The artists insert sonic and image-based queries at particular points in how they process women’s pasts into future technological landscapes of digital information. In doing so, Hepner & Ross explore how their physical, female selves are adapting, morphing, rejoicing and revolting to/in how they are perceived both physically and digitally, as their digital ecologies grow parallel to that of their physical ecologies in this new space.

  • Intersection*ology is supported in part by: The Heinz Endowments Small Arts Initiative; The Opportunity Fund; Penn State Greater Allegheny; & Point Park University. Intersection*ology is a sponsored project of Keyword: International, a collaborative initiative of Kelly-Strayhorn Theater and Carnegie Museum of Art. Keyword: International is supported by The Benter Foundation and The Fine Foundation.

  • Performance
  • http://lorihepner.com/intersection-ology
  • ISEA2018: 24th International Symposium on Electronic Art
  • Into the Blue; Soft and Solid
  • Ushaka Aquarium and Beach
  • Sandra Kühne
  • Focusing on the Red Sea coral reefs during her artists-in-labs residency at the Integrated Ocean Processes Research Group at the Red Sea Research Center, Sandra Kühne explored ways to showcase different themes of interaction, balance and symbiosis through her art.

  • Film
  • https://vimeo.com/285995929
  • ISEA2002: 11th International Symposium on Electronic Art
  • Into the Water - aquarium version
  • Museum of Contemporary Art, Nagoya
  • Takamitsu Kawarasaki
  • When you view fish in an aquarium, don’t you feel as though you were swimming yourself? There are times when we imagine the taste to be delicious. Empathise with the dolphins, and their bray as they fly above the water’s surface. People who watch the males (and females) in the tank have it in their hearts. The ocean. (This happens with fresh water, as well.) When the idea is expressed this thoroughly, the water in your heart erupts. Always remember, the sea is greater. People who think this way are already in the water tank. And the tank is in the ocean. Do you feel it? More or less.

  • ISEA2017: 23rd International Symposium on Electronic Art
  • InTouch Wearables: Exploring Ambient Remote Touch in Child-Parent Relationships
  • 2017 Overview: Art Exhibitions
  • Centro Cultural Universitario Rogelio Salmona - Segundo Piso
  • Jinsil Hwaryoung Seo, Annie Sungkajun, and Meghan Cook
  • InTouch Wearables is a set of wearables that consist of dresses and shoulder pieces that allow mother and child share remote touches through garments with ambient feedback. This was developed to explore how remote touches can convey emotion and help people stay connected between remote locations. This project was created based on the lead artist’s personal experience with her child. In InTouch Wearables, a parent can increase the vividness of her conversation with a child through contextualized touch, and the loved ones may enhance the affective tone of their communication using a remote touch technology. All the electronic components of the garment for sensing human touches and actuating color-changing garment are integrated on the main fabrics. If accepted, we will be available to exhibit two dresses and four shoulder pieces on mannequins and hangers. Audience will be able to touch and activate interaction between garments.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Invisible Voice
  • IESA Arts and Culture School Gallery
  • Mark Farid
  • Exhibition. ISEA2023 selected artwork. Nobody Sees Us Rewiring Our Communication Systems exhibition, IESA Arts and Culture School Gallery, May 23 -30 

    Invisible Voice is a plugin that tells you the owners, parent company, sister and affiliated companies, political leaning, revenue, employment satisfaction, legal status, controversies and news stories about the companies and individuals who own the websites you use, as you are using them.
    The plug-in is updated daily, and will display information every time information on a site is updated, or you visit a site on our list for the first time. This information can easily be accessed again, by clicking the Invisible Voice icon on your screen. Invisible Voice takes less than 10 seconds to download, two clicks to install, and NO signup is asked. Invisible Voice does NOT use any cookies. [Source: YouTube]

    Plugin: https://addons.mozilla.org/en-GB/firefox/addon/invisible-voice-reloaded/?

    Invisible Voice #1 (2017)
    a narrative about a narrative…

    There are profound consequences if the chicken comes before the egg.

    Individual knowledge, that is cultivated privately and never spread, exists purely for the individual. Only extremely rarely will it have any impact or reality on a collective of individuals. ‘The main means of mass communication’ – the media – exists to explain to the collective of individuals events which have happened, but also those which are yet to take place.

    Consumption of media has always been a somewhat solitary exercise – newspapers were not intended to be shared, more likely thrown away after having been paid for. Then, the introduction of the radio in the 1920s brought the media directly into the home, cementing the transition from an experience shared with others to a more individual, private experience. We more and more regularly consume media alone, through once analogue and now digital mediators – as such, our consumption of politics, culture, and entertainment has become an isolated experience, existing between us and the media.

    The media give us context, highlighting not only our own social classes but the functions of society in the wider world. Cultural influences, like art or film, have social influence; they teach us what is ‘cool’, how to interact with people, and even how to seduce partners. Political influences, like the news, allow us a perceived empowerment, giving the illusion of cultivating cultural and political awareness, and a sense that we have independently come to conclusions autonomously. This is a false perception. To acknowledge the authority and respect the media commands over the individual is vital.

    The responsibility of the free press is to ensure that a respect for the diversity of morals exists; to give voice to minorities and disparate cultures; and, crucially, to hold politics and politicians accountable. The press is a defender of civil liberties and a challenger of the status quo; it is vital that the press remains free. According to the RSF World Press Freedom Index), in July 2016 the UK had the 38th freest press out of 180 countries, whereas the USA had the 41st, compared to 34th and 49th respectively in 2015.

    However, in constantly challenging and pushing boundaries, the press also set the parameters and restrictions on what is culturally, socially, and morally acceptable. It chooses who and what to question, and it decides what we will be aware of. Fundamentally, it influences our decision-making, morality, and way of life by setting the limits on norms.

    ‘Life in the United Kingdom: A Journey to Citizenship’, Edition 2, 2011, is one of the required readings to claim citizenship in the UK. In it are the words of the Home Office: ‘The UK has a free press, meaning that what is written in newspapers is free from government control. Newspaper owners and editors hold strong political opinions and run campaigns to try and influence government policy and public opinion. As a result it is sometimes difficult to distinguish fact from opinion in newspaper coverage.’

    In much the same way as a text can shed and change meaning in different contexts, the imagery, phrasing and framing of shots deliberately manufactures misinterpretation. To use an extreme example to highlight this, on 17th April 2015, writing for The Sun newspaper, Katie Hopkins wrote: ‘what we need are gunships sending these boats [Syrian refugees] back to their own country.’ Five months later, on 2nd September, Katie Hopkins wrote in the same newspaper: ‘today The Sun urges David Cameron to help those in a life-and-death struggle not of their making,’ attaching an image of a Syrian child who had drowned. This image alone emphasises the power of relatable imagery – the British population were swayed in the favour of allowing 20,000 Syrian refugees asylum in Britain by 2020.

    In practice the free press distributes information with very little accountability – Rebekah Brooks was arrested and suspended as CEO of ‘News International’ as a result of the phone hacking scandal in 2011, but since 2015 she has been the CEO of ‘News UK’, which amounts to little more than the renaming of the original organisation. Meanwhile, the individual absorbs the media’s information often unquestioningly, rarely speaking about it.

    Our relationship with political media tells us what we ‘need’ to know. To paraphrase Donald Rumsfeld – there are things we know, there are things we don’t know, and there are things we don’t know we don’t know. To decide that there is information to which the individual should not be privy is to remove autonomy from not only the individual, but from the collective of individuals who determine their actions and behaviours based on the limited information provided.”

    The potential for the narrative of the reportage we are accustomed to in 2016 and 2017 to become fictionalised seems to be growing. The British people’s decision to leave the EU under false promises of £350 million a week being directed to the NHS, and Donald Trump’s progression from the media’s villainous jester to the most powerful man in the world are indicative of the real-world repercussions of the media’s spotlight. Journalists and organisations who report false and speculative headlines seem not to be held to account; ‘clickbait’ (headline grabbing stories) takes precedence and there is no acknowledgement that the media giving attention to these stories, whether in a positive or negative light, gives them credibility.

    In determining our perspective, the media decide our future, as their proleptic visions become reality. We don’t own the news, in much the same way as we don’t own our history – it becomes part of the collective record.

    http://invisible-voice.com     https://www.markfarid.com/journal#invisible-voice]

  • http://invisible-voice.com /
  • ISEA2024: 29th International Symposium on Electronic Art
  • In_Listening_In
  • SAE Creative Media University College
  • Gail Priest
  • In_Listening_In is an ambisonic essay that uses the 360VR format for its dynamic, spatialised audio capacity in order to discuss the immersive nature of sound. It uses ficto-critical writing strategies that combine poetic texts, anecdote and theoretical reflection to explore and explicate how listening is an embodied, embedded experience in correlation to sound — an experiential unit I call “sonaurality”. This correlation complicates the notions of subjects and objects as independent entities so that sound cannot meaningfully be considered phenomenally, materially or conceptually without listening.

    Flipping the visual focus of the medium, In_Listening_In eschews figurative visual narrative for an “visu-auditive” environment or atmosphere, to enable a stronger focus on listening (Chion 2016). The soundscape combines binaural field recordings adapted to an ambisonic environment and compositional elements developed to create a dynamic spherical soundworld in which the listener is always at the centre. In this way sound sensorially and affectively illustrates the concepts being discussed. Developed within the context of a practice-based PhD, the form is offered as an artwork as well as an alternate academic methodology and distribution format.

  • ISEA2016: 22nd International Symposium on Electronic Art
  • In_Side View
  • Lau Ming Wai Academic Building, City University of Hong Kong
  • Jeffrey Shaw and Sarah Kenderdine
  • IN_SIDE VIEW is an installation whereby the viewer, seated in a chair, is able to explore a series of stereoscopic panoramic photos using a Samsung Gear VR head mounted display. Turning the chair rotates these panoramic scenes, which offer a conjunction of photos of Angkor Wat showing foliage amalgamated with stone, and of the interior of a Sydney hardware store after it had been ravaged by fire. The viewer controls these changes of scene using a tongue-operated switch that is held in their mouth.

    In IN_SIDE VIEW senses are senselessly conjoined, the world put back together, in side out in the circle of confusion, amongst trees / stone scaled / snake roots // eyed / tongue in cheek / switchback // past / future / present // cable / tie // wrap / around // heady / giddy / techy / tacky / vroom // memory / aromatic / terror // ruination / fervid bedlam. The wherewith-all in_side a pataphysical allegory for the multi-sensory encounter between the body and the perceptual imaginary, between nature, manufacture and ataxia.

    Software: Leith Chan
    Production: ALiVE/ACIM, School of Creative Media, City University of Hong Kong
    Photography: Volker Kuchelmeister, Jeffrey Shaw

  • http://jeffreyshawcompendium.com/portfolio/in_side-view
  • ISEA2016: 22nd International Symposium on Electronic Art
  • iPhone Life Performance
  • 2016 Overview: Concerts & Performances
  • Cattle Depot Artist Village
  • The accompanying video is the summary of my iPhone life performance at the ISEA2016 closing party at the Cattle Depot in Hong Kong. The show hk_reload is curated by Ellen Pau.

  • ISEA2018: 24th International Symposium on Electronic Art
  • Is Afrofuturism the Next Evolution of Black African Consciousness?
  • Denis Hurley Centre
  • Jethro Settler
  • I propose that the idea of Afrofuturism can be much more than just a visual and academic field of interest, and I want to examine the extent and modes in which Afrofuturism emerges as a black consciousness movement for the upcoming and current young generation. In a context of under-development, displacement of people, the erosion and/ conflation of ethnic culture in the face of transnational corporation determined to extract material and cultural wealth from Africa, I suggest that Afrofuturism presents as a counter-narrative to Afro-pessimism. We live in an age of self-visualization, this visual composite of self affects personality, self-worth and how young African generations see themselves in relation to the rest of the world. I wish to suggest in my research that Afrofuturism has the potential to help many young Africans imagine futures not shaped by colonialism and racism. Through the development of digital art focussed on African futures, I propose on indigenous ways of knowing and being, arts, healing practices and  scientific innovation, to offer an entry point or a lens through which postcolonial futures can be imagined. Through a digital art project, I hope to spark a conversation and debates, not only about what futures are possible but also what aspects of our collective history will survive in such a future.

  • Supported by the University of KwaZulu-Natal.

  • Projection
  • ISEA2013: 19th International Symposium on Electronic Art
  • ISEA Bright Future (Archangle Assemblages)
  • Parramatta River Foreshore
  • Dr Josh Wodak
  • Cooperate to pedal a tune … participants on five custom-modified stationary bicycles generate audiovisual rhythms, actively ‘playing’ the work as an instrument. Through communal electricity generation, the work explores embodied energy, ecological sustainability and cooperation in biological organisms. Powered solely by participants’ pedalling, it also references biomimesis of bioluminescence in fireflies, as they synchronise their flashing. The title, pronounced ‘I See A Bright Future’, references the role of cooperation and negotiation in producing a future that will be dominated by how ‘brightness’ (ie. lights/energy) is produced. ISEA Bright Future is an Archangle Assemblage, commissioned by ISEA2013, produced through artist residencies at SCANZ: 3rd Nature and Parramatta Artist Studios, and supported by ISEA2013, Parramatta City Council and ARTcycle.
    Curated by the College of Fine Arts, UNSW and the City of Sydney.
    isea.arch-angle.net

    Concept, Artistic Director, Lighting Design, Sound Design, Production Manager: Josh Wodak.  Creative Producer: Carli Leimbach. Associate Producer: Greer Allen. Mechatronics Engineer, Systems Designer, Fabricator: Rohan Story. Interaction Incubator, Production Assistant: Grant Moxom. Consultant Electrical Engineer and Programmer: Andrew Hornblow

  • ISEA2014: 20th International Symposium on Electronic Art
  • ISEA SM Poster Designs
  • Noora Abdulla Al Ali
  • ISEA2002: 11th International Symposium on Electronic Art
  • Ishida Hisashi Solo Exhibition
  • Galleria Finarte
  • Hisashi Ishida
  • A variety of images of “chairs made of wood” were projected on a painted walL The artist used the images of chairs not only as a symbol of gravitation but also as a symbol of something opposite of freedom.

  • ISEA2014: 20th International Symposium on Electronic Art
  • It was better in real life than real life
  • Leigh-Ann Pahapill and Kai Lee Liu
  • Three-channel video projections and 60 Impression Foam sculptures.
  • https://vimeo.com/116835512
  • ISEA2022: 27th International Symposium on Electronic Art
  • It will happen here, in Barcelona (Tindrà lloc aquí, a Barcelona)
  • Santa Mònica
  • Tindrà lloc aquí a Barcelona (It will happen here in Barcelona) is an immersive experience that reframes questions of sea-level rise, migration and extinction, in which familiar places — and the memories and dreams that attend them — are transformed by rising waters; the work gives rise to acts of recognition, utterance and transformation. Viewers travel along the marshlands and industrial wastelands of our local watershed and others worldwide that are shaped by industrialization. The sounds, images and text flow like waters, following a computer-code based system that gathers materials together in ever-changing experiences. Like ocean tides, the code-driven work is always changing. Roderick Coover’s images, gathered over the past decade from journeys on and around shorelines, combine with field recordings, voices and electronic music composed by Adam Vidiksis. Nick Montfort draws from Coover’s logs to create a continually evolving, poetic text.

    The remarkable spectacle reveals forces of flow, floods and chemical contamination. Visitors plunge into the imaginaries of times present and future in a work that attempts to put into words the unspeakable threats posed to existence, time and belonging. Disruptions of language, spatial disorientation and fragmented media propel users to refigure history and give utterance to current crises. Written observations and images filmed at local industrial, post-industrial and natural sites are entered into the system to merge like images of other shores to intermingle histories, conditions and consequences as well as suggesting local differences. The music and sound design accentuate the collision of natural and industrial rhythms and the power of irrational forces, evoking imagined futures through dream-like sequences and by moving between surface and submerged realities and sentience. By compressing and distorting the scales of time that normally confound human imagination and undermine human action, the work opens possibilities for recognition, utterance, connection and action.

  • ISEA2020: 26th International Symposium on Electronic Art
  • Itówapi Čík’ala (Little Picture)
  • Suzanne Kite and Devin Ronneberg
  • Itówapi Čík’ala (Little Picture), developed by Suzanne Kite (Oglála Lakȟóta) and Devin Ronneberg (Native Hawaiian descent), interrogates the relationships between human and non-human entities and intelligences. Through Oglála Lakȟóta ontologies, even materials such as metals, rocks, and minerals can be capable of volition. By considering the ‘hearing’ and ‘listening’ capabilities of nonhuman entities, a method of engagement reliant upon mutual respect and responsibility becomes possible. As Itówapi Čík’ala (Little Picture) speaks, listeners may respond to it by bending and moving its braids, affecting the sounds.

  • Interactive installation
  • http://kitekitekitekite.com/portfolio/items/inyan-iye/
  • immersive installation, interactive, sound art, and Light Sculpture
  • ISEA2018: 24th International Symposium on Electronic Art
  • iTranshumanism
  • Durbin City Hall/Durban Art Gallery
  • Melikhaya Noqamza
  • This project continues Melikhaya Noqamza’s investigation into transhumanism, the merging of human consciousness with machines, which he sees as the future of mankind. It also comments on the symbiotic relationship of the old and the new. The new is reliant on the old physical form of a human being’s consciousness to become more than glorified remote controls. Transhumanism is the height of machinery, which is artificial intelligence combining with the height of human evolution. Steve Jobs didn’t simply create machinery: he created himself as a machine. Apple products have been based on one man’s visions for a greater part of their existence. The work drew inspiration from Nam June Paik’s TV Buddha, where he places a TV (representing modern day enlightenment) opposite a statue of a Buddha,  representative of traditional enlightenment and self-reflection.

  • ISEA2023: 28th International Symposium on Electronic Art
  • ITZAN: Travelling through Time
  • MAIF Social Club
  • Timothy Thomasson and Benjamin Keenan
  • The MAIF Social Club exhibition Le Chant des Forêts presents an additional immersive work, a journey through time, into the Mayan forests.

    The Maya are one of the oldest civilizations in America. Their history is marked by many upheavals that could be linked, at least in part, to the relationship they had with their environment. It is considered today that the Maya abandoned their cities because of a devastating drought that took place between 730 and 900.

    Itzan is an archaeological site located in northern Guatemala. Produced by digital artist Timothy Thomasson and researcher Benjamin Keenan, the artwork called ITZAN converts biological and geological data collected on site into a film that accurately represents the evolution of the population, vegetation and climate over 6,000 years.

    The work also speaks to our own times and the ever-present need for reorganization and resilience.

    For a total immersion in the forest, you can enjoy a free visit in the exhibition Le Chant des Forêts.

  • ISEA2013: 19th International Symposium on Electronic Art
  • It’s a jungle in here
  • Sydney Harbour Foreshore
  • Isobel Knowles, Van Sowerwine, and Matthew Gingold
  • What happens when an everyday encounter becomes not so everyday? This interactive installation explores the boundaries between what’s OK and what’s not in daily life. Participants become performers in a drama in which they have little control. Animated frame-by-frame using paper puppets and a diorama of a train line, the work is a stand-alone cabinet of wonders. Interact with the work and transform yourself into someone quite unexpected.

  • http://isobelandvan.com/jungle
  • ISEA2024: 29th International Symposium on Electronic Art
  • IT’S DANGEROUS TO GO ALONE! TAKE THIS
  • The Loft Theatre, QUT Creative Industries Precinct
  • IT’S DANGEROUS TO GO ALONE! TAKE THIS, a 30-minute-long CGI film, is the second part of an imaginary video game, which follows an ambiguous “hero” undergoing numerous metamorphoses. The film challenges the amped-up constructed masculinity that video game avatars embody as well as the associated idealistic connotations of progress, growth, and transformation. Rather than just embracing the potential of computer-animated worlds, the film inverts their “logic” and questions their highly politicized and constructed nature.

    External worlds merge with internal ones, the body’s selfhood untangles from surface, and emotions flood and disintegrate. Dream eroticism is blended with body horror, and scenes of destruction and decay juxtapose against scenes of resilience and rebirth. Bassam builds a world in which selfhood and queer possibility intersect, where multiple “glitches” occur within the body and gender, and binaries begin to break down. These glitches, or forms of discontent and unraveling, push and challenge preconceived narratives and habitual perceptions of masculinity, taking viewers through a spellbinding journey of metamorphosis and fluidity.

    Luring us into a fantastical dreamscape, Bassam Issa’s CGI film IT’S DANGEROUS TO GO ALONE! TAKE THIS embraces the shape-shifting potential and seduction of computer-animation. The film revolves around a ‘hero’ undertaking an uneasy and dangerous journey through various realms. In IT’S DANGEROUS TO GO ALONE! TAKE THIS, Bassam Issa has built a world of subtle storytelling filled with hyper-synthetic visuals. In this world, journeys seemingly never end, and preconceived narratives and habitual perceptions of masculinity are pushed and challenged. Operating in the gap between the fantasy and reality, Bassam Issa.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Izumi artwork
  • Nagoya Citizens' Gallery Yada
  • ISEA2016: 22nd International Symposium on Electronic Art
  • I’m listening, heartbeating, handworking
  • Jaffa Laam Lam
  • Material: Recycled pipes, recycled Umbrella fabric,retired men Collaborators: Hong Kong Woman Workers’ Association, local metalsmith, students.

    Location: Statue Square, Central HK

    I’m listening, heartbeating, handworking Accidentally, I found the pipes from the rooftop, I felt so sorry for them. They served us for many years but we tend to neglect them under the sun and typhoon. This umbilical cord-like pipe connect treasured water to different flats, however, most of the time, we don’t know our neighbours. We don’t care what happened next door. This work is mainly constructed by recycled pipes from the city, but they are indeed connecting people and they resonate from their vibrations. [source: jaffalam.com/human-vibrations-exhibition]

  • http://jaffalam.com/human-vibrations-exhibition
  • SISEA: Second International Symposium on Electronic Art
  • Jacob Wrestling With The Angel
  • 1990 Overview: Art Exhibition
  • Cultural Center de Oosterpoort
  • Doug Back
  • Jacob Wrestling With The Angel consists of a video camera attached to a motorized camera mount, a video monitor and a number of objects arranged in a semi-circle around the camera. The motor rotates the camera similar to an airport surveillance camera. As the camera pans around the room, the motor pauses it as it points at each object. The objects are recorded on video tape along with audio tones which start and stop the motor. On play-back the camera pans around the room, stopping at each object as it did when the objects were recorded. To the viewer, it appears that the camera is “looking” at each object and displaying them on the video monitor. However, the camera is no longer on. The video monitor is showing pre-recorded images. The objects have all changed over time. Flowers which were fresh when the video was recorded now lie wilted on the floor; the monitor shows a block of ice in a pan, on the floor there is now a pan of water, etc. A position sensor attached to the motor sends information to an Apple II computer which changes this information to audio tones which are recorded on the video tape along with the video picture. On play-back the audio tones are sent back to the computer, and converted back to position information. The computer compares the position that was originally recorded, with the current position and can speed up the motor that the camera is mounted on, to synchronize the past to the present movement.

  • Video camera attached to a motorized camera mount, a video monitor and a number of objects
  • ISEA2024: 29th International Symposium on Electronic Art
  • Jangurna
  • The Brisbane Planetarium
  • Peter Morse
  • A 4k fulldome movie exploring an indigenous story of the night sky around the Gascoyne region of Western Australia. This story – concerning ‘Jangurna’ (The Emu) has been told by community elder Stella Tittums to the historian Mary Ann Jebb – the recording provides the narrative soundtrack.

    The story is illustrated by an initial astronomical simulation and then segues into an extraordinary series of HDR fulldome and astrophotographic scenes shot around the Gascoyne Region of Western Australia, using natural sound environments, recorded in situ.

    This is an immersive, meditative movie that attempts to impart the sense of the natural environment, encouraging the viewer to discover Jangurna, as she rises in the night sky.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Journals of Exploration
  • SAE Creative Media University College
  • A visual-musical collaboration between experimental media artist Peter Morse and composer Glenn Rogers, Journals of Exploration is a widescreen and multiscreen video installation that invokes the sense of exploration of extreme landscapes of Earth and other bodies in our solar system that might harbour life.

    Beginning at the world biodiversity hotspot of the Great Southern, the Ediacaran fauna of the Stirling Ranges and the Nullarbor regions of Western Australia, it traverses extreme landscapes far away from human habitation, roams the Southern Ocean to Antarctica, before embarking on a journey across our solar system to Mars and further afield, revealing the visual analogues of terrestrial geology and environments where life might have evolved and may yet exist.

  • ISEA2012: 18th International Symposium on Electronic Art
  • Junkspace
  • 516 ARTS Gallery
  • Lynn Cazabon and Neal McDonald
  • Junkspace is a time- and location-sensitive video installation and corresponding iOS App that highlights two forms of waste. Earthbound (electronic waste) are the remnants of the many devices that fill our lives, transformed from objects of desire to trash through a self perpetuating cycle of obsolescence. Celestial (orbital debris) consists of the millions of pieces of junk currently circling the Earth, left behind by decades of satellite and space missions.

  • Site-specific video installation
  • ISEA2013: 19th International Symposium on Electronic Art
  • Juxtaposition
  • UNSW Art & Design, Kudos Gallery
  • Volker Kuchelmeister
  • From one extreme to another …
    By juxtaposing two radically different environments, the Tasmanian wilderness and the extreme urban development of Hong Kong, this interactive installation explores place and representation. In an apparently endless stereoscopic 3D giga-pixel panoramic montage, the two locations merge seamlessly from one into another as the observer manually turns the circular ‘screen’ to control both the viewpoint and the related soundscape.
    Supported by  COFA (College of Fine Arts), UNSW, the iCinema Centre for Interactive Cinema Research and ASPERA Australian Screen Production Education & Research Association.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Kai Hali’a (Sea of Memory)
  • 2024 Overview: Concerts and Performances
  • VENTSpace
  • Kai Hali‘a (Sea of Memory) is a live cinematic experience and dance performance that reconfigures the traditional and phallic concept of memory by exploring memory from a sensual, queer, feminine, Kānaka ʻŌiwi, diasporic perspective. Seeing memory as an intricate ʻupena of both intangible and tangible threads of reality, intertwined with visceral feelings that intimately connect us with our kūpuna and the ʻāina, the act of remembering becomes our way back to our core.

    Incorporating immersive media and interactive technology with 8mm and 16mm footage, direct film animation, projections, embodied movement/choreography, and generative animations spawned by movement, Kai Hali’a offers a bridge and a continuum of the past into the future and the future into the past. The images are atemporal, constantly shifting and evolving, revealing memory’s dynamic and malleable nature. With 3+ different video channels and performers, audience members have to decide where to look and what to pay attention to; the line between viewer and creator is indistinct, reflecting memory’s capacity to simultaneously experience and reimagine.

    The movement in Kai Haliʻa is an exploration of how the body remembers and dances across generations and identities, and how the ‘iewe, or umbilical cord, is the bridge from the past/pō and into alternative futures.

    Kai Hali’a opens dialogue into what it is to suppress memory while exploring how we process, de-stimagize and heal from trauma, both intergenerationally and within our lived experiences as queer kānaka. The work creates space for the following questions: How do we resurface and heal from painful memories that were suppressed for years or generations, with love and care among family, chosen family and community? How can we tend to our wounds and trust our bodies as we collectively move through pain? How do we honor the ʻāina throughout this process?

    Memory is the ocean, to remember is to swim. 

    And our bodies do not forget.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Kai-Hai: 塑 Plastia
  • Kai-Hai: 塑 Plastia is a video installation (stills above) that explores The Great Pacific Garbage Patch which contains approximately 80,000 tons of plastic over a 1.6 million-square-kilometer region of ocean linking East Asia to Hawai‘i. Linking these geographies and the deities they have worshiped – from Mazu, goddess of seafarers lost in the ocean; to Haumea, who birthed the Hawaiian islands and is continuously reborn in her offspring – this new work in Kai 海 Hai realizes a Goddexx formed from the need to remediate microplastics from the ocean. She continually gives birth to new children and is reborn each time within them, in order to restore the ocean to its natural state. As plastics threaten our ocean health and all species in the ocean, Plastia is a response to cleansing our ancestral waters, rebirthing new elements of renewal, delivering a new lineage of creation to heal our oceans.

    Kai 海 Hai (a hybrid of ‘Ocean’ in ʻŌlelo Hawai’i and Mandarin) is an ongoing series of virtual and augmented reality installations that utilize transpacific folklore while remixing ancestral, personal, and speculative narratives from Polynesia to East Asia to explore environmental issues, indigenous and immigrant stories, and diaspora across the Pacific Ocean. In collaboration with Qianqian Ye

  • ISEA2022: 27th International Symposium on Electronic Art
  • Karst, 2019
  • Recinte Modernista de Sant Pau
  • Snow Yunxue Fu
  • ISEA2002: 11th International Symposium on Electronic Art
  • Kazunovski Live Performance Nov 1
  • Diamond Hall
  • ISEA2023: 28th International Symposium on Electronic Art
  • Khépri, sortir au jour
  • Abbaye de Maubuisson Saint-Ouen-l’Aumône
  • Félicie d’Estienne d’Orves
  • Apr 2 – Sep 3

    On the occasion of her new exhibition at the Maubuisson Abbey, Félicie d’Estienne d’Orves narrates in her own way the intersecting destinies of man and the cosmos. Most notably inspired by ancient Egyptian stories on immortality and the nocturnal journey of the solar god Ra on his boat, she invites the spectators on a poetic and metaphysical trip to the land of shadows and reborn light.

    Through mirrors and sculptures in which light plays a predominant role, the artist questions the deep fields of space and time. She questions humanity’s relation to the beyond through the cycle of matter within the universe, the birth and death of stars. Félicie d’Estienne d’Orves provides enough to make us dream as well as meditate : of which distant dreams are we the memory ?
    Text by Olivier Schefer, writer and philosopher

    Between art, astrophysics and mythology, Félicie d’Estienne d’Orves did not want to make a choice. From his many loves was born the exhibition Khépri, going out to the day, which we discover after a trip by RER C to the Abbey of Maubuisson. The art center of 95, through its spiritual past, is charged with a particular energy which gives the cosmic works of the visual artist another dimension.

    An invitation to silence, the exhibition alternates spectacular installations, luminous sculptures and colorful paintings to explore the relationship between Man and the cosmos. While the first space invites us to follow the course of the Sun from Mars, a gigantic reproduction of an ultra-photogenic eclipse announces the penumbra and reveals the masterpieces of this exhibition: three Nekromanteion which make the room of the Nuns shine. These large luminous mirrors are transformed into openings on the world which reflect each other indefinitely, revealing dark nebulae. What the scientific world has long taken for black holes actually hides the birth of stars, and it is tirelessly that we watch them come into the world and then die out, to the rhythm of a sound installation by Marc Billon.

    Nothing escapes in the end, and we poor mortals are made of the same stuff as the stars. A link highlighted in the last spaces of the exhibition which also question renewal. When a star explodes, a whole universe is created. What happens when it’s our turn to shut down?
    _Zoé Kennedylundi in Time Out Paris (17.07.2023)

  • ISEA2020: 26th International Symposium on Electronic Art
  • Khong Khro
  • Matthew Mosher
  • This artwork uses an EEG headset to provide luminescent biofeedback on a participant’s level of focus and stillness. It measures Beta waves, associated with attention, and Theta brainwaves, associated with drowsiness, and motion with an accelerometer [1,2]. This information is visualized on a custom reflected light LED display, and changes color and pattern based on a deterministic flocking algorithm, shown in the included image. Since each LED’s position is fixed, the flock does not progress through XY planer space but through RGB color space. After establishing baseline values, the participant’s Beta and Theta power influence the alignment and separation of the flock respectively. With high focus the color of the display becomes uniform and monochromatic as each LED tries to align its color with its neighbors. When distracted the colors separate as each LED tries to become unique in color.

  • LED display
  • https://mosher.art/portfolio_entry.php?art_id=119&category=recent%20work&media=&dimensions=&title=
  • Interactive Installation, Biofeedback, EEG Headset, Light Sculpture, and LED
  • ISEA2002: 11th International Symposium on Electronic Art
  • Kick The World
  • Assembly Hall, Nagoya Port Building
  • A function in the video works, sound are synchronizing with the images. It was an amazing experience for me because I was mainly working with film at the time this piece of work was produced. This work was based on open-reel recorders, however, the editing pro­cess was not so easy. That is why I created this work without cutting anything.

  • SISEA: Second International Symposium on Electronic Art
  • Knick Knack
  • Cultural Center de Oosterpoort
  • Life on a shelf as a snowman trapped in a snow-globe blizzard can become wearing, especially when you’re surrounded by knickknacks from sunnier locales. When the jaded snowman finally breaks free of his glass house, his vacation plans are cut short.

  • Computer Animation
  • https://www.pixar.com/knick-knack
  • ISEA2017: 23rd International Symposium on Electronic Art
  • Ko Rangi, Ko Papa, Ka Puta Ko Rongo
  • 2017 Overview: Art Exhibitions
  • Centro Cultural Universitario Rogelio Salmona - Segundo Piso
  • Jo Tito, Jamie Berry, and Josiah Jordan
  • The artwork seeks to create a peaceful space where we can explore the nature of our universal connection through shared genetic code. DNA is the technology of life, and the piece utilizes modern technology to express our biological code in novel, accessible ways. By transforming the raw DNA sequence data for a set of individuals into music, and sampling a single chromosome from each person to create the final composition, our individuality and collective connectedness are simultaneously celebrated. The stone circle becomes a comfortable womb in which the participants can experience and reflect on the beauty of existence and the core connection we have to each other, with the projected visuals from above making the participants themselves a central component of the artwork while they explore the space. The tactile and multi-sensory nature of the piece reveals what is otherwise abstract in a visceral and universal way that is hoped to inspire discussion and profound wonder… and above all, bring us together

  • ISEA2014: 20th International Symposium on Electronic Art
  • Koosa Boosa
  • Mariam Fahed Al Zaabi
  • ISEA2020: 26th International Symposium on Electronic Art
  • Kryophone
  • “Kryophone“ is a sonorous and luminous interactive sculpture made of ice reacts to the electrostatic touch of bodies. Sounds and light evolve according to the intensity of contacts. At the same time the human heat will transform and model in a new way the ice sculpture.This fragile sculpture invites audience to question our relationship with the environment.The interaction with the sculpture is necessary in order to generate sound and light, but the heat of each touch will transform, influence slowly it shape. Qualities of shape, density and transparency will evolve according to the unpredictable melt generated by human heat and climatic variations. The sculpture represents an icosahedron: symbol of water, among one of the five solids of Plato. The sonorous feedbacks evoke liquid, organic, fragile and deep matter. This artwork renders visible imperceptible exchanges.

  • Ice sculpture
  • http://www.scenocosme.com/kryophone_e.htm
  • interactive art, Light Sculpture, Sound Sculpture, sound art, and Ice
  • ISEA2024: 29th International Symposium on Electronic Art
  • L'Animal Sauce Ail
  • The Loft Theatre, QUT Creative Industries Precinct
  • Gooseville, close to nothing and far away from everything. The place where Goosevillers lead themselves to destruction. The inhabitants live off the farming of species that they overexploit each time, from geese to tadpoles. Each new managing and self consuming environment is told throughout low budget homemade TV shows. Advertising, teleshopping and others show us the devolution of a small French village rushing towards its end.

  • ISEA2022: 27th International Symposium on Electronic Art
  • La forme de l’eau
  • Recinte Modernista de Sant Pau
  • Marie-France Veyrat and Jaime de los Ríos
  • The work is a fragment of a digital image extracted from an exhibition project entitled Poétique D’Un Instant that explores the infinity of a moment lived under a waterfall. Later, as a co-artist, Jaime de los Ríos joined the project, to create a macro project that redefines and expands the physical, intellectual and artistic dimensions of the work.

    This work was made by Marie-France Veyrat at the beginning of the project. It refers in particular to the evocation of different textures and dimensions that flowing water offers.

  • https://en.veyrat.org/l
  • ISEA2024: 29th International Symposium on Electronic Art
  • LA LIMITE EST UN FACADE
  • The Loft Theatre, QUT Creative Industries Precinct
  • Quatre archétypes architecturaux de la région parisienne se retrouvent numérisés et présentés comme des artefacts archéologiques dans un musée. Ils sont de simple de plâtre sans couleur déraciné de leur urbanité. Mais un jour leur vie bascule, ils vont commencer à se métamorphoser et devenir des objets organiques et mous jusqu’à se comprimer à l’extrême comme des césars. Puis lentement chacun à leur tour, dans des univers fantastiques, vont redevenir eux-même jusqu’à retrouver la peau, la couleur de laquelle ils s’étaient vêtus jadis.

  • ISEA2019: 25th International Symposium on Electronic Art
  • LamX
  • Asia Culture Center (ACC)
  • Han Lee
  • Light. Joy. Playground.
    Starry and emotionally warm lights bloom out and reach to your heart. Light, the first thing of the beginning interacts to your motions. It actively responds to you by bursting with positive energy.
    LamX is an interactive light artwork that simulates the light talking to you. Physical light bulbs with digital light waves make a mixed reality and unique environment. It is a delightful dialogue, an aesthetic scene, and a beautiful moment. When redefining the light in the artistic language, Lee was interested in how light spreads out and fills the air when it slows down. With the question “How does light interact when considered a living creature?”, LamX was given a personality which is shown through the choreography of lighting.
    When interacting with LamX, the light leads and follows the viewer wherever one goes. It is positive and waiting to play with humans. It calls and invites the viewer to the playground and shelter. Lee often brings rain into his artwork as a sample of immersive sound and dynamic reactions. Rain to him symbolizes the power of life that comes alive by its movement. Rain fills the air emotionally like a light. He borrowed it, the result making the analog emotions of light richer. He uses round and line which are 0 and 1, as primary graphic elements. The binary codes are aligned with wires, light bulbs, and ripples. LamX also has two light shows full of emotional scenes and story-telling. It is a 7min-length unique light show that performs at a certain time with motion graphics, lightings, and motivating emotional music that has been composed and performed by Lee.

  • Computer, controllers, edison light bulbs, motion sensor, projectors
  • https://hanlee.com/isea2019-lux-aterena
  • ISEA2018: 24th International Symposium on Electronic Art
  • Land and Erasure
  • BAT Centre
  • Ismail Farouk and Nicole Sarmiento
  • Interrogating intersecting modalities and technologies of power that reproduce colonial legacies in the everyday, Farouk works towards carving out spaces for playing with, looking at, discussing, speaking alongside/performing alternative and hidden archives. The way in which questions of gender, race, sexuality, class and the body/ embodied intersect with food, eating and foodways, can reveal a great deal about the ways in which colo- niality is reproduced as well as resisted, reimagined and unsettled in the present. Ismail wants to delve into these spaces of the intimate, the visceral, the eaten, the edible and practices of consumption in order to unsettle his own sensory and epistemic geographies of meaning, towards imagining alternate possibilities.

  • Documentation
  • https://www.instagram.com/p/BkkjEaBhUqN/
  • ISEA2002: 11th International Symposium on Electronic Art
  • Lapse Communication
  • Assembly Hall, Nagoya Port Building
  • The work submitted was made in a series on the assumption of the viewers taking parts. The first person performs some vague action, and the next person watches a recorded tape only once and does the same action from his memory. The third person watches the second person’s tape and so on. As lapses are repeated, the action develops in outrageous directions.

    It is quite funny, but at the same time it made me realize the horror of information.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Last Breaths
  • Recinte Modernista de Sant Pau
  • Linda Dement, Paul Brown, and Carmine Gentile
  • In 2021 Dement and Brown were awarded an ANAT Synapse Residency and CreateNSW grant to collaborate with Dr. Carmine Gentile and his Cardiovascular Regeneration Group, School of Bioengineering, University of Technology Sydney.

    Cardiovascular disease, including myocardial infarction and heart failure, is the leading cause of death worldwide. Dr Gentile’s multidisciplinary team has created a novel way to 3D bioprint heart tissues using patients’ own cells to repair heart damage and regain cardiac muscle function. Cells isolated from skin or blood are used to generate stem cells and then transformed into heart cells. Using state-of-the-art facilities, Dr Gentile has developed a new way to form ‘cardiac spheroids’–clusters of cardiac cells–which contract or beat synchronously to produce patches for damaged hearts.

    May 2021 artist George Schwarz died from cardiac failure and Linda recorded his last breaths. Audio values were retrieved to generate sequential images of 2D geometry. We imported these images into 3D Slicer (software normally used to create 3D models from MRI or CT scans)  as if we had run an MRI scan on sound rather than a body.

    We printed models first in hydrogel to discover shape, consistency, size, and then with live cardiac spheroids, on a LumenX bioprinter which uses crossbeams of light to harden light sensitive gel, printing upwards in 100 micron layers, substance emerging from liquid under violet light.

    Through this project, human cardiac failure, expelled as breath and recorded as sound, is transfigured to 3D form as terra-firma for growth of human yet inhuman life.

    This artwork responds to the research of the Cardiovascular Regeneration Group. Their work traverses terrains of life and death, bodies and technologies, human and inhuman, the strained edges of wounded hearts and the stretching extremities of bio-technical possibility.

  • http://heartproject2021.blog.anat.org.au/
  • 3D bioprint, cardiac spheroids, heart failure, and live sculpture
  • ISEA2014: 20th International Symposium on Electronic Art
  • Latitude and Longitude Project: XY Plotter
  • Stephen Cartwright
  • Every hour since 1999 Stephen Cartwright has recorded his exact latitude and longitude with a GPS to create multi-media art offering a unique perspective of a transit through life.

  • http://www.stephencartwright.com/#/latitude-and-longitude-project/
  • ISEA2022: 27th International Symposium on Electronic Art
  • Lavoro Macchinine
  • CCCB: Centre de Cultura Contemporània de Barcelona
  • Lavoro Macchinine is a collaboration between Alexis Grey Hildreth (moving image) and Ora Cogan (sound) that deconstructs the opening credits and reimagines the musical overture in the title sequence from the Italian period drama Il Gattopardo (1963).

    Lavoro Macchinine occults the film’s original static text with a mercurial, kinetic typography, built from the very glyphs it is at pains to obfuscate. Through gestation, approximation, replication, and assimilation; Lavoro Macchinine discovers its own alien properties of form and behaviour, while simultaneously exploring the boundaries of its cinematic environment.

    The living word produced by Lavoro Macchinine is propelled and propagated by a hunger for and the digestion of, Il Gatopardo‘s diegetic space. It longs to hide within it; to become part of it. The building blocks of language are hijacked: letterforms bifurcate in an imitation of manor gates, logographs elongate into fragile towers, conveyor belts composed of graphemes disseminate across the laneway, ligatures roll out of ideograms to scrutinize Roman busts, alien marginalia breach the balustrade, cedilla scrupulously scale the villa walls, extraterrestrial dingbats lodge themselves into the ruins of a world that no longer exists, ogonek laden emissaries probe the cinemascape in order to become it; to become us.

  • cinema typography, kinetic typography, experimental animation, video collage, and sound collage
  • ISEA2014: 20th International Symposium on Electronic Art
  • Law of the Tongue
  • American University of Sharjah
  • Nigel Llwyd William Helyer
  • 2010, 8 channel sound sculpture

    The Law of the Tongue ~ Symbiosis and Betrayal. For Millennia, Killer Whales (Orcinus Orca) have hunted Baleen Whales along the coasts of Australia, driving them into shallow bays from which they cannot escape. Likewise for Millennia the Yuni people of Twofold Bay near Eden (New South Wales) have formed a spiritual bond with the Orcas (Beowas to the Yuni) whom they considered to be reincarnations of their tribal ancestors and whom they sang; believing that the Orcas responded by intentionally driving Whales to strand in the Bay as a food offering to their tribal members.

    The Law of the Tongue installation operates with eight parallel audio tracks, six driving Solid Drive audio actuators that activate the skeletal vessel, and three ship’s oars, the remaining two tracks drive two large sub-woofers buried in the three metre long neoprene ‘Whale’s Tongue’. click below to listen to fragments samples from the sound library ~ naturally these are simple stereo mixes and not actual tracks from the installation but give a good idea of the sonic content which is drawn principally from sonified water quality data, whale recordings and hydrophone recordings

  • http://sonicobjects.com/index.php/projects/more/law_of_the_tongue
  • ISEA2022: 27th International Symposium on Electronic Art
  • Le monde en lui-même, 2022
  • Recinte Modernista de Sant Pau
  • Jeppe Lange
  • ISEA2023: 28th International Symposium on Electronic Art
  • Le Rayonnement du Corps Noir
  • Galerie Sator
  • Hugo Deverchère
  • Galerie Sator, May 16-20 

    On the occasion of the 28th International Symposium on Electronic Art (ISEA2023) organized by Le Cube Garges, we will present the artist’s Cosmorama video in our Marais space.

    Shot in the surroundings of an observatory (in a lava desert where the NASA recently tested Martian rovers) and in a primitive forest which gives us an overview of the state of the world 50M years ago, the film uses a near-infrared imagery process with which astronomers usually observe the deep reaches of the universe. It also makes audible the light pulsations emitted by distant stars and galaxies by transposing radio-telescopes data into sound. By disrupting our usual spatiotemporal markers, Cosmorama allows the emergence of a sensitive and collective experience of pure perception.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Le Saint Game of Anouck Hilbey
  • Anouck Hilbey
  • Performance, la Scène nationale d’Orléans

    Here is finally, the show of which you are the hero ! Inspired by the divinatory arts, video games or reality TV, this interactive show is a real story of humor around the question of healing and chance.

    Because in the great lottery of life, the year 2015 did not spare the health of the performer. Definitely marked by the healing process that she had to lead, Anouck Hilbey gave herself a mission for her return to the stage. That of giving back, to everyone, the feeling of control over the present.

    We therefore find her in the center of a minimalist white box dressed in lights, where each evening, the spectators take part in a “divinatory prophecy” shaped according to their choices or interventions, an ounce of chance and algorithmic devices. Each of the prints, out of the 22 possible, lets out an atmosphere as unreal as it is chimerical.

    In an aesthetic mixing fairground arts, freak show, new-age, cabaret, stand-up and cyber futuristic, the artist relies on her past as a transformist performer to embody the multiple avatars, similar to the cards of a tarot deck.

    Artists:

    Unicode Company (https://unicodetube.wordpress.com)
    Conception, writing, interpretation: Anouck Hilbey, ISEA2023 selected artist
    Dramaturgical collaboration: Élise Simonet
    Costumes: Johanna Rocard
    Lighting design, set design: Estelle Gautier
    Sound creation: Clément Edouard
    Tarology and thanatology advisor: Circé Deslandes
    Development of digital devices, video game: Labomedia
    Digital art advisor, divinatory interaction: Charles Hilbey
    Digital engineering, machine construction: Alessandro Vuillermin
    Video: Romain Evrard
    Stage management, sound: Yoann Keraudran
    Masks: Anouck Hilbey, Emilie Pouzet
    Set construction: Rodolphe Noret

  • https://www.scenenationaledorleans.fr/spectacles/empty-59.html?article=2617
  • ISEA2020: 26th International Symposium on Electronic Art
  • Le Silence des Particules
  • Guillaume Cousin
  • A machine forms large smoke rings, rendering visible the movement of air, something that is usually beyond our realm of the senses. Le silence des Particules invites us to contemplate millions of moving particles covering a surface area of over 100 metres; to have a sensory experience of the emptiness that surrounds us.

  • Machine
  • https://www.guillaumecousin.fr/projets/le-silence-des-particules-guillaume-cousin/
  • Quantum Physics, Sensory Experience, and immersive installation
  • ISEA2019: 25th International Symposium on Electronic Art
  • Learning Nature
  • Asia Culture Center (ACC)
  • David Young
  • Is it inevitable that only our largest organizations, with their vast data sets, will decide how we will use AI? What if, instead, we could start small, to work at the scale of the personal, and to engage directly with AI? Could doing so allow us to develop new intuitions and understandings of what the technology is, and what it could enable?                                                                    Learning Nature is a set of photographs generated by an Artificial Intelligence (AI), taught with David Young’s photographs of upstate flowers using a GAN(Generative Adversarial Network)-an artificial intelligence/machine learning technology. Learning Nature started out in the hope of creating a new perspective towards AI and exploring new possibilities through an aesthetic experience. Young states that AI was utilized as a tool in Learning Nature in the rural context of upstate New York and the domain of nature where the painting was used to express the relationship between mankind and nature at Hudson River School. The result is a unique interpretation of AI visually drawn out, which not only captures the machine’s understanding of the subject but also raises questions on the subject of interpretation and misinterpretation of nature. With Learning Nature, it is intended to rethink about what it would mean for an AI today to understand/interpret that same nature, further pointing to the anthropomorphizing of technology, data, and the human “intelligence” in the code.

  • Archival inkjet prints
  • https://triplecode.com/project/flowers.html
  • ISEA2024: 29th International Symposium on Electronic Art
  • Lebensraum / Living Space
  • The Loft Theatre, QUT Creative Industries Precinct
  • ISEA2014: 20th International Symposium on Electronic Art
  • Legend Of Khor Fakkan
  • Nauf Abdulrahman Al Shaikh
  • ISEA94: Fifth International Symposium on Electronic Art
  • Legend Prologue
  • Yoshiyuki Abe
  • The series LEGEND includes the computer generated images processed by a variation of the ray tracing algorithm. Un-normalized shading system provided rather complicated features of the surfaces of hyperbolic paraboloid in the Cartesian coordinates. For me, the most interesting aspect of the creative work with computer is the ability of the formula driven image generation. Manipulating the parameters of quadratics and the definitions, such as lighting, surface attributes, location and colors, provides rarely attractive and often boring results. Three years of experience in this series will not make me a master of image control; trial-and-error is the sequence of my way. The yield rate is very low. However, I believe I can find many more good scenes in the mine. The computer is not a tool to process existing images, but a colleague to create images with.

  • ISEA2018: 24th International Symposium on Electronic Art
  • LEIKHĒN: A Hybrid Immersive Audiovisual Space
  • Point Precinct, Ushaka Conference Venue
  • Claudia Robles-Angel
  • Presentation of the interactive audiovisual installation LEIKHĒN, which combines biomedical signals within an immersive interactive environment. The project is inspired by the composite plant of lichen (from Greek: leikhēn), which is the result of a hybrid partnership between a fungus and an alga. The installation is therefore a reflection upon the interaction and mutualistic relationship between two organisms, and how this union impacts on their behaviours inside a created audiovisual space. The installation was created in the frame of an artist in residence invitation at the Immersive Lab (IL), ICST – Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZhdK), Switzerland.

  • Supported by the Department of Arts and Humanities, Brunel University London, UK and ICST, Institute for Computer Music and Sound.

  • Interactive audiovisual installation
  • ISEA2018: 24th International Symposium on Electronic Art
  • Les Etres D'Africadia I, II, IV and V
  • BAT Centre
  • Siwa Mgoboza
  • Having been raised abroad for most of his life, Mgoboza’s work deals with a globalized African sense of self, a Western upbring- ing, and the liminal spaces in which these identities exist. From the deconstruction of stereotypes, Mgoboza investigates the conflicts that arise from the encounter between cultures and their respective histories and questions the meaning of identity models and labels.

  • Photographic Print
  • https://www.instagram.com/p/Bkkfiwrhzt1/
  • ISEA2020: 26th International Symposium on Electronic Art
  • Les Noctiluques
  • Allison Moore
  • Les noctiluques is a community-oriented activity. In response to the 2020 COVID-19 health regulations and recommendations in Montreal, the art event was cancelled.

  • http://www.allisonmoore.net/
  • Community
  • ISEA2023: 28th International Symposium on Electronic Art
  • Let Me Fix You
  • Point Éphémère
  • Dasha Ilina
  • Screening, Nuit Blanche at le Point Éphémère,  June 3

    Screening, Le Cube Garges, May 15 – 18 May,  17:00

    Dasha Ilina is a selected ISEA2023 artist

    Let Me Fix You explores the relationship between humans and robots in the context of care work. The film highlights the irreplaceability of human workers in providing emotional interaction, physical touch, and avoiding alienation and isolation in patients.

    Let Me Fix You is an ASMR video, similar to the many others that appear on Youtube specializing in “robot repair”. However, Let Me Fix You does take an unfamiliar turn: instead of going into the details of what will be replaced in the viewer’s imaginary robotic body, the mechanic notices something strange which leads her to realize that the care robot she is meant to repair is not really broken but has become conscious of its inability to provide proper care for his owner because he is simply not human.
    The project discusses the ethics and the feminization of care work, as well as the questions around the place of robotics in the field of elderly care. While some robot care workers are considered to be quite “intelligent,” studies have shown that what elderly patients need most in their everyday life is human interaction. Human workers are essential when it comes to avoiding emotional alienation, physical isolation and lack of physical touch, and this installation highlights that issue.

    Script excerpt:
    *take out clipboard and check it*
    Good thing there’s no critical damage, I can proceed to the standard check.
    *noting things on the clipboard*
    What about your sympathy emulator. It looks a little outdated, what model is this? TC180.. well that’s strange, no wonder the owner was unhappy with your behavior, your emulator is not compatible with your software at all.
    Alright, I need to check your conversation logs.
    *getting the logs* *scrolling through them*
    My god, you’ve had no ability to pretend to sympathize with your owner whatsoever. How could this even be?
    *looking through the logs* *look through clipboard*

  • https://dashailina.com/LMFY/index.html
  • ISEA2002: 11th International Symposium on Electronic Art
  • Let's contact with something in your brain workshop
  • Nagoya Citizens' Gallery Yada
  • Asana Fujikawa
  • ISEA2002: 11th International Symposium on Electronic Art
  • Let's make a book workshop
  • Nagoya Citizens' Gallery Yada
  • Midoriko Hayashi and Eri Toyoda
  • ISEA2020: 26th International Symposium on Electronic Art
  • Licht, mehr Licht!
  • Guillaume Marmin
  • Licht, mehr Licht!”, in English “Light, more light!”, were Goethe’s dying words. The mysterious utterance can be understood as the mystical final pronouncement of the great author and scientific thinker, who developed his own theory of optics.

    The aim of this installation is to give physical form to sound frequencies, translated into a three-dimensional state through luminous flux.

  • Installation
  • https://www.guillaumemarmin.com/Licht-mehr-Licht
  • installation and Light Sculpture
  • ISEA2002: 11th International Symposium on Electronic Art
  • lichtsport Live Audio Visual Performance Nov 1
  • Diamond Hall
  • ISEA2018: 24th International Symposium on Electronic Art
  • Life Hacking in Durban
  • Durbin City Hall/Durban Art Gallery
  • Samora Chapman
  • Often left behind or disregarded by the powers that be, Durban’s urban innovators show off their resilience and ingenuity on a daily basis, piecing together and repurposing discarded and unwanted items to create hybrid and often multi-purpose products. Photographer Samora Chapman gives us a ‘slice of life’ look at life hacking in the city of Durban, honouring the everyday knowledge systems of the street and the creativity born from necessity.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Life Support System
  • Nicolas Maigret, Jérôme Saint-Clair, Baruch Gottlieb, and Maria Roszkowska
  • Hacnum Exhibition. Various locations, May 16 – 21

    Ecosystem Services Estimation Experiment

    This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes.

    It is common to describe our relationships with society, the world, and the biosphere with metaphors from economics, which has specific understandings of value. Today’s prevailing economics conventions are unable to recognize intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contributions to life on Earth.

    This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions, and provides a speculative reference for a reckoning of the undervalued and over-exploited “work of the biosphere.”

    Conception: Disnovation.Org, Baruch Gottlieb
    Web Developer: Jérôme Saint-Clair
    Hardware Developers: Vivien Roussel, Thomas Demmer
    Installation, 1m2 Of Automated Cultivation, Led Grow Lights, Camera, Live Video Streaming
    Production: Imal (Be) | Coproduction: Biennale Chroniques (FR)

  • https://disnovation.org/lss.php
  • ISEA2013: 19th International Symposium on Electronic Art
  • Lightbridge (Machines Studies)
  • UNSW Art & Design, Kudos Gallery
  • Chris Henschke
  • The inaugural showing of a complex work which re-images and recontextualises scientific theories and processes, shifting the empirical perspective and playing with the concept that the observer affects the observed. This affective relationship between observer and observed is, paradoxically, a cornerstone of contemporary particle physics – paradoxical because it opposes the emphasis placed on objectivity within empirical science. Using particle accelerator simulations, the work converts real synchrotron data into unique visual forms visually manifest through a combination of realtime digital 3D modelling, kinetic sculpture and projection mapping. Lightbridge was developed during a Synapse residency at the Australian Synchrotron (2010), supported by the Australia Council and the Australian Network for Art & Technology. This project was supported by the Australia Council, the Australian Network for Art & Technology, and the Australian Synchrotron, through the Synapse residency program.
    Developed in collaboration with Dr Mark Boland, Accelerator Physics, Australian Synchrotron, with X3D programming by Ross Taylor. 
    accelerators.org.au/lightbridge   topologies.com.au

  • ISEA2019: 25th International Symposium on Electronic Art
  • Limbology
  • Asia Culture Center (ACC)
  • Solimán López
  • Limbology explores a geolocation experiment in the stratosphere performed with a beacon attached to a probe balloon.
    The balloon is released in an open space, where it begins its ascent at the mercy of air currents and with an uncertain destination. Floating in the sky, the balloon seems to be nowhere (therefore, in limbo) but at the same time, its position is fixed with precision thanks to the GPS beacon. As it rises, the beacon’s capacity to transmit the data decreases until it reaches a height where it loses connection and subsequently, due to the decrease in air pressure, the balloon expands until it bursts and starts its vertiginous decline. The data of the position of the beacon during the journey are translated into a sinuous line that rises and stops abruptly. The artist visualizes this route with a neon tube suspended from the ceiling and a video that captures the trip of the balloon. Consciously realized as a failed experiment, the action shows the limits of technology while reflecting on how we conceive space as something that can be mastered by means of measurements and maps.
    Text by Paul Waelder.

  • LED neon light, sedal, video, light installation
  • https://solimanlopez.com/portfolio/limbology/
  • ISEA2014: 20th International Symposium on Electronic Art
  • Liminal
  • American University in Dubai
  • Kenny Chi-Chuen Wong and Marco De Mutiis
  • Liminal aims at enhancing the tension in inbetween spaces, while simultaneously creating an awareness of negotiation between temporary presence and absence of public space, using hacked quadcopters equipped with loudspeakers.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Line 2002
  • Nagoya Citizens' Gallery Yada
  • AMARI Ayu Video Works “line 2002” with Live Guest: MOMOJI & his Orchestra

  • ISEA2022: 27th International Symposium on Electronic Art
  • Liquid Views
  • Recinte Modernista de Sant Pau
  • Monika Fleischmann and Wolfgang Strauss
  • Narcissus’ digital mirror – Ovid’s metamorphosis as a real-time wave AI algorithm.
    Liquid Views simulates a pool of water that reflects the image of viewers whose physical interaction ultimately disturbs the integrity of the reflection. Liquid Views anticipates the selfie moment of Greek mythology, in which the image and the self are becoming increasingly difficult to parse. In this interactive installation, audiences participate in a digitally activated “mirror of Narcissus” experience as a monitor equipped with a touchscreen and mini camera simulates a water surface that appears to reflect the image of the viewer. By touching the screen’s surface, participants activate algorithms that generate waves and the sound of water, that distort and dissolve the viewer’s reflection.

    Additional intervention increases the disturbance, and the image can only regain its calm form by the absence of contact between participant and screen. In the background, the participant’s mirrored face is displayed on a large projection, turning the “introverted” gaze into a public spectacle.  Looking up, the interacting person perceives themselves from a different perspective – as if from the outside.

    Wherever interactive environments and audience “talk” to each other, participants develop performative presence, and their participation contributes to a new embodied knowledge. The visitor is simply asked to take part and explore this Mixed Reality World as a “thinking space”. “Liquid views” is a pioneering work that takes up one of the central themes of media art by exploring the interface between the real and virtual world.

  • http://www.eculturefactory.de/liquid-views
  • artificial intelligence, interactive, Narcissus, neural network, and realtime
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Lisa
  • International Commerce Center (ICC) Tower
  • Eylul Dogruel
  • It is a common practice to associate and add human like characteristics when representing inanimate objects. In this project I was curious if reverse was possible. Could a building become person like. One of the challenges of this project was to make a projection that made sense from different angles. For this reason, Lisa has two faces and two expressions, depending on which corner of the building you view her from.

  • Projection Mapping Installation
  • https://www.eyluldogruel.com/lisa.html
  • ISEA2006: 13th International Symposium on Electronic Art
  • Listening Post (2002-6)
  • 2006 Overview: ISEA2006 Art Exhibition
  • San Jose Museum of Art
  • Mark Hansen and Ben Rubin
  • Listening Post is an artwork that visualizes Internet chatroom conversations. Listening Post uses custom computer programs to automatically collect thousands of chatroom and bulletin board conversations. The conversations are then parsed by the software into smaller phrases that are displayed on a hanging grid of 231 vacuum fluorescent text displays. The displays are hung in a grid format 12 feet high and 21 feet wide, suspended in 11 rows and 21 columns. A text-to speech synthesizer voices some of the phrases as part of the accompanying soundtrack. Writer Adam Gopnik described its soundtrack as “intoning words and sentences one by one in a sepulchral BBC announcer’s voice or chanting and singing them in fugue-like overlay”.

    The work is included in the collections of the San Jose Museum of Art and the Science Museum Group collection in the United Kingdom [source: Wikipedia 170620]

  • ISEA2020: 26th International Symposium on Electronic Art
  • Listening Space
  • Afroditi Psarra and Audrey Briot
  • Listening Space is an artistic research which explores transmissions ecologies as a means of perceiving the surrounding environment beyond our human abilities. Conceptually the project seeks to define transmissions ecologies as raw material for artistic expression, to understand and re-imagine in poetic means, representations of audio and images broadcasted from space, while regarding knitted textiles as a physical medium for memory storage and archiving. Through hands-on experimentation, we sought to intercept the NOAA weather satellites’ audiovisual transmissions using Software-Defined-Radio and hand-crafted antennas. The intercepted signals were then knitted into textiles named Satellite Ikats, as a means of physical archiving of the detection and decoding process.

    By investigating the energies that have been harvested by humanity to knit this complex layer, a turbulent sea of radio waves that penetrates the fabric of our everyday lives even if it remains unseen and unheard, we aim to create poetic connotations between textiles-as a means of data detection, collection and archiving, and bodies as agents of power to re-interpret current technologies through handmade crafting techniques. Specifically, by focusing on electromagnetic-field (EMF) and radio frequency (RF) detection, we aim to reclaim the depth of transmission ecologies, evolving at a higher rhythm than liveness, through our environment and bodies.

  • NOAA weather satellites’ audiovisual transmissions knitted into textiles
  • EMF, Software-Defined Radio, Textile, and Space
  • ISEA2018: 24th International Symposium on Electronic Art
  • Listening to a Listening at Pungwe
  • DUT City Campus
  • Memory Biwa and Robert Machiri
  • Pungwe is an interdisciplinary project circling African music with related contemporary arts discourses and spaces. This collaborative practice expands into the current project “Listening to a Listening at Pungwe”. We perform through an experimental platform, “Pungwe Nights”, to track and reimagine transnational sonic cultures in southern Africa. We re(hear)se historical and contemporary recordings between Namibia and Zimbabwe on a reel-to-reel player, turntables and computer. Our practice with sound technology has parallel currents, whilst it draws on research on the use of African bodies in phonetic experiments in colonial linguists and ethnomusicology, we explore the concept of the body as sound technology and translation of voice to various instruments and vice versa.

    Through our performance we engage the possibilities enunciated by technology, the ability as Alexander Weheliye elucidates, ‘to split sound from source’, only to later reframe and amplify the sound within phonographies. We playback Machiri’s mbira tongues (lamellaphone) from Mhondoro, Zimbabwe in response to khoekhoegowab orature recorded by Ernst and Ruth Dammann. We re-code tongues and produce a new loop anchored in the recordings’ socio-historical context and the performers mastery of their instruments. Using the remix framework, we interrogate the preservation impulse of hegemonic archives and permit the notion of an un-originary sound or speakerly texts connected to source.

  • Performance
  • http://listeningatpungwe.wordpress.com/
  • ISEA2018: 24th International Symposium on Electronic Art
  • Little by Little, then Suddenly all at Once
  • Durbin City Hall/Durban Art Gallery
  • Njabulo Dladla
  • This surrealistic picture illustration deals with the psychological process of failing relationships, covering how it all begins little by little then suddenly fails beyond repair. Through a therapy session, my main character reflects on how things deteriorated with his loved one, these include fights, misunderstandings, mental issues or as the main character states: “a simple case of feelings wearing off”. The intended purpose for this project is to show the gradual phases of problems, from miniscule to immense. I then use Surrealism and dreams to depict the inception and unconscious states of such problems as they develop.

  • ISEA2004: 12th International Symposium on Electronic Art
  • Live Performance
  • Silja Line (Olympiaterminaali)
  • ISEA2020: 26th International Symposium on Electronic Art
  • Live Wheel | Roda Viva
  • Sonia Guggisberg
  • Live Wheel is a documental sound installation about the contemporaneous migration wave in Greece. Audio samples are organized in sound groups passing through sea crossing, boats and water noises, prayers and chants inside refugee’s camps, human steps and body sounds then building a soundscape.

    Live Wheel presents to public a reflectance about a remote reality: The gigantic migration wave in Europe. It is a sound documental work that brings the capacity of an artifact holding an immersive landscape, enabling to experience, test and incorporate the original noise strength in order to process the remote reality questions.

  • This installation has a technological system in different channels and a specific interface created to manage 300 files divided into 6 different groups. The audio samples are organized into sound groups, passing through sea crossing until the corrosive wait inside refugee camps for then build a soundscape. It is a generative sound system, where sounds rotate through space and are constantly being redrawn.

  • Technical development: Matheus Leston
    Production assistant: Amanda Carvalho

  • Documental sound installation
  • http://www.soniaguggisberg.com/exhibitions/roda-viva-live-wheel-2018/
  • documentary, immersive audio, immersive installation, multi-channel, and video
  • ISEA2022: 27th International Symposium on Electronic Art
  • Liveware
  • 2022 Overview: Concerts & Performances:
  • CCCB: Centre de Cultura Contemporània de Barcelona
  • Liveware is an audio-visual duo combining live-coded animation and musical performance. “Liveness” for each modality is understood as a fluid interplay between pre-composed and improvised dynamic processes. Similarly, the correspondence between image and sound exhibits changing levels of control and indeterminacy. Taken together as matters of degree not kind, these dimensions generate a constellation of changing processual intensities.  Liveware extends the traditions of synaesthetic syntax going back to early experimental film with recent advances in artificial intelligence to generate real time animation using algorithms trained with machine learning (ML). “Latent Cartographies “(2021) uses a ML algorithm trained on images from 100,000 historical maps. [1]. Extended techniques on acoustic piano are processed to correspond with the images[2] An image noise generator navigates through the latent space of the neural net, modulated by sound intensities from the music. The title of “The Isle is Full of Noises” (2019) evokes a passage from Shakespeare’s play The Tempest. An 8-channel soundscape uses texts from characters Miranda and Caliban overlaid with phonemic particles of human speech, animal and nature sounds. The images are generated using an auto-visual system built with a ML trained on contrasting feature films: Videodrome and Planet of the Apes. During the performance the ML utilizes its hyper-dimensional space of learnt imagery to create real-time animation from audio spectra and audio feature data.  Post-colonial and feminist critics have posed the question why Caliban and Miranda, both victims of imperialist oppression, nonetheless are unable to truly “see” one another. Here, their encounter is re-staged and spatialized through sonic means.

    1 Topi Tjukanov, Mapdreamer (2020) pre-trained network – CC0 1.0 Universal – https://archive.org/details/mapdreamer
    2 The Expanded Instrument System, designed by Pauline Oliveros, is used with special permission of the Pauline Oliveros Trust and Ministry of Maat.

  • ISEA2018: 24th International Symposium on Electronic Art
  • Living Ideas
  • Ushaka Aquarium and Beach
  • Muhannad Shono
  • Muhannad Shono worked within the Drinking Water Microbiology Group, lead by Dr. Frederik Hammes. Based on his exploration of the scientific research on Bacteria he developed his own fictional organism. He compares this organism with LUCA (Last Universal Common Ancestor), the hypothetical last common ancestor and foundation stone of all organisms. On a metaphorical level his project led to the origins of civilisation. Referring to the creative processes in the arts and in scientific research groups, the artist puts the fictional organism in the context of his artists-in-labs residency: «It’s a behavioural organism that originates from within our internal microbiome, a physical manifestation of a human behaviour or need. It appears to be an organism who’s only purpose or reason for being is the propagation and spread of ideas, this idea rich institute seems to be the ideal environment for this organism to grow.

  • Film
  • https://vimeo.com/287023959
  • ISEA2014: 20th International Symposium on Electronic Art
  • Location-Dislocation
  • Al Fahidi Historical Neighborhood
  • The project a Campfire conversations/performances centered on the theme Location/Dislocation, set in Muskoka, Ontario, The resulting video to be part of Arabian Nights campfire projections in the desert

  • ISEA2019: 25th International Symposium on Electronic Art
  • Lost, but not lost forever
  • 2019 Overview: Concerts & Performances
  • Asia Culture Center (ACC)
  • Monica Vlad
  • Lost, but not lost forever is a sound performance that uses old media devices to create new soundscapes. The set-up is made from few cassette players that are continuously playing changeable cassette tape loops; radios are also added to play random AM/FM frequencies and create a depth to the sound. A sewing machine is the central piece with piezo microphones positioned on its surface to detect the vibrations and transform them in audible waves, also an adjacent rhythm is created using the metal needle perforating the surface. A light sensor from a S I G N U M device is used to create the principal beat and the bass. A small PCB (printed circuit board) is the last one to be added and used to close the performance. The title Lost, but not lost forever is a tribute to old media that doesn’t exist anymore (or dead media) but we still remember their existence. Also puts the question “What’s the life expectancy of a media?”. Of course, depends from type to type, but at the end, somehow, they all die. Or “Is there a medium that never died?”. “What’s the new medium that is going to conquer the world?”.

  • http://monicavlad.com/lost-but-not-lost-forever/
  • ISEA2018: 24th International Symposium on Electronic Art
  • Lotus Flower
  • Durbin City Hall/Durban Art Gallery
  • Hyojin Jang, Jinsil Hwaryoung Seo, and Pilwon Hur
  • “Lotus Flower” is an installation art piece. First, each leaf of the lotus flower was made of ribbons that are twinkling and transparent. As needed, I included ribbons with wires, ribbons with laces, and normal ribbons to maximize the characteristics of the flowers and thus maximize reality. Second, I controlled the light in the flowers using Arduinos so that the flowers respond to the movement of audiences. Each leaf responds to one audience. To see how all leaves of the flower are responding, a collaboration of multiple audiences are needed. Third, I added the design of Korean alphabet “O”. For the Lotus, two colors, i.e., red and white, will be displayed by LEDs. When all red LEDs are turned on, it will form “O” whose Korean name is “ieung.” “O” is the first consonant in the word “Lotus Flower” in Korean. To make “O”, several audiences have to collaborate. In this way, my work shows the beauties of the Lotus flower, the Korean alphabet, and collaboration of audiences for the public art.

  • Department of Visualization, Texas A&M University, USA

  • ISEA2014: 20th International Symposium on Electronic Art
  • Loud Lesson
  • Sara Mohammed Al Zaabi
  • ISEA2014: 20th International Symposium on Electronic Art
  • Louisiana Re-storied: an interactive documentary regarding environmental justice
  • Al Fahidi Historical Neighborhood
  • Meredith Drum
  • Louisiana Re-storied is a web-based, interactive documentary that maps important spatial and cultural histories regarding pollution regulation in the Southern United States.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Loup y es-tu ?
  • A little girl named Mischa lives in the suburbs of Moscow. She has just made a beautiful violin out of paper. She wants to play for the big monsters who live in the apartment. But the less they listen to her playing the violin, the more the Wolf dangerously prowls near her.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Loving The Wrong Perons
  • Aysha Saif Al Hamrani
  • ISEA2002: 11th International Symposium on Electronic Art
  • Lozi Live Performance Oct 30
  • "Fuji" Antarctic Museum
  • ISEA2014: 20th International Symposium on Electronic Art
  • LSS (Life Support System)
  • Cuadro
  • Ana Rewakowicz
  • The LSS (Life Support System) is a hydroponics modular system for plant cultivation, in which the well-being of the plants depends on participants ‘donation’ of Co2.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Lucky Break
  • Anne Landa Award for Video and New Media Arts 2013. 

    Kate Mitchell’s Lucky Break is a seven-sided heptagram shape, each side is a different coloured screen and together they make up the colours of the rainbow. Here Mitchell breaks through each of these coloured sheets – her videos are always shot in one take with the artist herself undertaking these often dangerous actions. There is a humourous, slapstick quality to many of her works which is really enjoyable. [source: Kathleen Linn, https://www.artshub.com.au]

    For Sydney-based artist Kate Mitchell, the idea of art as work and the artist as both manager and worker is important. Her videos document the artist working tirelessly to achieve seemingly reckless and unattainable tasks. While there is a comic quality in her work, the actions make us think about the limits of what is acceptable and normal.

  • https://www.katemitchellartist.com/#/luckybreak/
  • ISEA2024: 29th International Symposium on Electronic Art
  • Luminous Threads
  • VENTSpace
  • Kirsten Baade
  • I was commissioned to make this artwork for Curiocity Brisbane in 2022. My intention was to merge the traditional art of hand embroidery with modern fiber optic technology, reimagining the familiar into a large-scale display that marries artistry with technology. I aimed to reshape our perception of craft and the medium of light through the intersection of old and new.

    Luminous Threads intertwines my nostalgia about embroidery—conjuring memories of the wall hangings at my grandmother’s house—with a futuristic twist, using illuminated fiber optic cable as my thread of choice. The art of hand embroidery is thousands of years old and is practiced worldwide. For me, it reminds me of school holidays spent making cross-stitch panels to gift family members. In this artwork, I have taken the traditional embroidery of my youth and intersected it with the electronic skills I learned through university. I hope the artwork speaks to the enduring nature of artistic practices and the possibilities of innovation.

    As embroidery motifs, I depicted iconic Australian flowers. The embroidery of my youth typically depicted European-style floral designs but I departed from the familiar, choosing to depict Australian native flowers: banksia, gum blossom, bottlebrush, and wattle. The large-scale public artwork is a celebration of place, inviting viewers to experience the interconnectedness of culture and nature.

    In essence, Luminous Threads fuses past and present, nostalgia and futurism, craft and technology. It invites audiences to reimagine the essence of embroidery and embraces the illuminating potential of innovation through the depiction of local flora.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Lygophilia
  • Robertina Šebjanič
  • Hacnum Exhibition. Nelson Mandela Garden in Paris, May 16 – 21

    Lygophilia is a series of research-based artworks initiated in 2017 by Robertina Šebjanič in Mexico and pursued in Slovenia to explore the love (Gr.: philéō) of darkness (Gr.: lúgē) and the unknown dwellers in places inhospitable for humans.
    The opus of works Lygophilia:

    1. Neotenous dark dwellers_Lygophilia, installation, 2018
    2. Piscis ludicrous / Transfixed Gaze_Lygophilia, video essay, 2017
    3. Dark Drops_ Lygophilia, sound composition, 2017
    4. Odorantur_Lygophilia, installation, 2019
    5. online publication – video capsule Neotenous Dark Dwellers – Lygophilia, Robertina Sebjanic edited by Annick Bureaud on MemoRekall. http://archive.olats.org/ope/ope.php (best to use in Firefox and Safari in Chrome it is not working)

    1. Neotenous dark dwellers – Lygophilia / installation / by Robertina Šebjanič, production Projekt Atol Institute, 2018
    Lygophilia weaves together mythologies and sciences, history and future, fears and desires, continents, cultures, humans and non-humans. Lygophilia folds and unfolds the stories carried by those fascinating creatures that are the Mexican Axolotl and the Slovene Proteus.

    From immortality to regenerative medicine — both animals are, as adults, in a state of “eternal youth” (neoteny) showing extraordinary longevity and regenerative abilities that put them at the centre of ancient myths as well as current cutting-edge scientific researches.

    Credits: Artist: Robertina Šebjanič // Curating and advising: Annick Bureaud // Scientific advisory: Tular Cave Laboratory // Glassblowing: Pero Kolobarić and Jireh Glass // Metal construction: Roman B.
    Production: Projekt Atol (Uroš Veber), Slovenia, 2018 & Arte+Ciencia (UNAM), Mexico 2017; Sektor Institute, Slovenia 2017 / 2018
    Production support: Ministry of Culture of Slovenia and the Municipality of Ljubljana
    Special thanks to: Aisen Caro Chacin, Miha Godec, Rampa Lab, Osmo/za Consortium, Bunker team
    photos by Miha Godec
    More: 
    http://robertina.net/neotenous-dark-dwellers-lygophilia

    2. Odorantur_Lygophilia, installation, 2019
    – in which the artist takes the viewer into the Proteus’ environment by triggering various sensory perceptions. Life and evolution in the darkness raises the question as to how proteus can perceive space and how it orientates in it. As an animal species whose eyes have become degenerate for no use of sight, it heightened other senses, including smell. Water pollution
    therefore causes not only the accumulation of toxic substances in its body, but it also robs it from another way of perceiving the environment, hinders its communication with other species, and prevents it from detecting its prey.

    Artist, research, development: Robertina Šebjanič
    Technical support and development: ScenArt d.o.o.
    Development of the smell / odour: Marko Žavbi
    Production: Projekt Atol (Uroš Veber) and Museum and Galleries of Ljubljana
    Year of production: 2019
    Special thanks: Tular Cave Laboratory, BioTehna
    Production support: Ministry of Culture of Slovenia and the Municipality of Ljubljana

    3. Piscis ludicrous / Transfixed gaze (Lygophilia), video essay, 15′ 30”, 2018
    intervenes into environments and discusses ecology in order to establish substantial changes in an ecosystem. It explores how to perceive the parameters of the ecological needs of other species in the times of dark ecology. It questions the relationship between mythology and scientific facts merged with popular culture, and invites us to gain a more profound view of interspecies cohabitation and coexistence with a focus on relationship between axolotls and humans.

    The axolotl is a neotenic salamander native to North America found in the highland lakes of Mexico. The narratives of the axolotl’s complex history, present and future are viewed through different lenses:
    -Axolotl as a species that is facing extinction in its natural environment;
    -Axolotl as a subject of scientific research considering its extraordinary regenerative abilities and the promise of everlasting life;
    A-xolotl as a cultural heritage representing biopolitical and decolonial relations, displaying the connection between mythology in the contemporary world.
    More: http://robertina.net/piscis-ludicrous-tranfix-gaze-lygophilia

    4. Dark drops, sound composition 2017, vinyl 2018/2019 (SubAqua – Sektor Institute)

    To be a thing at all – a rock, a lizard, a human – is to be in a twist.How thought longs to twist and turn like the serpent poetry! _Timothy Morton (Dark Ecology)

    Drops that resonate in the darkness of the caves, are condensed representation of a complex and extreme environment that is still full of mystery, darkness and a special beauty, where the geological and biological time are seems to happen in different time span.

    In the caves the sound of the water dropping has a strong presence, as is the sound that is breaking the silence to the proteus / olm*. This little drops are the “information transfer”, getting the info about the living conditions from above that are coming deep into the cave and they are the source of food for biological life as the building material for the geological structures.

    *The proteus or olm also known as the proteus or the cave salamander – Proteus anguinus) is a blind amphibian exclusively found in the underwater caveskast area in Slovenia and also in some parts of of southern European (Italy, southwestern Croatia, and Bosnia and Herzegovina)
    Sound composition: https://robertina.bandcamp.com/track/dark-drops-lygophilia
    More: http://robertina.net/dark-drops

    5. Lygophilia / Transfixed gaze (August – September 2017)

    Mexico city, art – research residency at Arte+Ciencia at UNAM and development for a festival Transitio_MX: The project Lygophilia / Transfixed gaze showcases the Axolotl through different narratives:
    – as a species that is facing extinction in natural environment;
    – as a subject of scientific research considering its fascinating regenerative abilities;
    – as a cultural imperative that helps to understand bridge between the past and future.

    The Lygophilia / Transfixed gaze ​encourages viewers to reflect on new (ecological) realities in the time of the Anthropocene. It intervenes into environments and discusses ecology in order to establish the extent of substantial changes in ecosystem. It explores if and how we are able to perceive the parameters of ecological needs of other species in the times of dark ecology.

    The mythology and scientific facts, merged with popular culture, invite audience to gain a more profound view of (inter)species’ cohabitation. Since the end of the 19 th century the number of Axolotls has increased, however, in laboratories, where they are examined for their biological advantages of their perpetual youth. On the other hand humans are the cause for (imminent) extinction of Axolotls in their natural habitat. The lakes surrounding Mexico City, where Axolotls originally live(d) in the darkness of the swamps, are losing the symbol which connects the future with the past.

    The project thus opens the questions: Who observes whom? Who is seen as a monster and who is perceived as an optical illusion?
    Credits (not final credits yet as project is still in research / development phase)
    Author: Robertina Šebjanič
    Assistant: Roberto Rojas Madrid
    Curator of Transitio_MX: Pedro Soler
    Production support:
    Projekt Atol, Ministry of culture of Republic of Slovenia,Transitio_MX, Sektor, Centro de Investigaciones Biológicas y Acuícolas de Cuemanco Universidad Autonoma Metropolitana Unidad Xochimilco (CIBAC-UAMX), Arte+Ciencia at UNAM
    art/research residency at Arte+Ciencia at UNAM lead by María Antonia González Valerio with assistance of Roberto Rojas Madrid.
    Consultancy / Special thanks:
    Tzintia Mendoza, Dr. José Antonio Ocampo Cervantes & Arturo Vergara Iglesias & Alan Roy Jimenez Gutierrez & Angelina Saldaña from CIBAC-UAMX (Centro de Investigaciones Biológicas y Acuícolas de Cuemanco Universidad Autonoma Metropolitana Unidad Xochimilco), dr. Jesús Chimal Monroy and Brianda Berenice Lopez Avina at Instituto de Investigaciones Biomédicas UNAM, Arte+Ciencia UNAM University, María Antonia González Valerio, Roberto Rojas Madrid, dr.Luis Zambrano from El Laboratorio de Restauración Ecológica UNAM, Francisco Martinez Perez, Secretario Auxiliar de la Cantera Oriente (REPSA),Miha Colner (Sektor), Sarah Hermanutz, Annick Bureaud, Ale de la Puente, Ida Hiršenfelder, Kristijan Tkalec (Rampa Lab), Gregor Aljančič (Tular Cave Laboratory), El Laboratorio de Restauración Ecológica UNAM,Transitio_MX festival at Centro Multimedia celebrado en Centro Nacional de las Artes (CENART)……
    + more organizations and individuals involved in the conservation of Axolotl at its natural environment (full credits of all the collaborators will be updated – as the project is still in development and it will premiered at the Transitio_MX festival, Mexico City)

    UPDATE: 2017, 21 September: In light of all the tragic events that happened in last days in Mexico and as gesture of the solidarity are all public events canceled. Due to the earthquake and the declaration of emergency in Mexico, the Transitio_MX festival is canceled. – premiere 26. September, 8 pm, at Transitio_MX festival at Centro Multimedia celebrado en Centro Nacional de las Artes (CENART) in Mexico City, curated by Pedro Soler,

    art/research residency at Arte+Ciencia at UNAM, lead by María Antonia González Valerio with assistance of Roberto Rojas Madrid

  • https://robertina.net/lygophilia
  • ISEA2018: 24th International Symposium on Electronic Art
  • M-Ark (Microbiome Ark)
  • Durbin City Hall/Durban Art Gallery
  • Byron Rich and John Wenskovitch
  • M-Ark is a project that tackles the prospect of a future in which humanity has rendered our planet inhospitable; a prospect made all the more possible with the United States pulling out of the Paris Climate Treaty. M-Ark uses the philosophically compelling theory of panspermia, the notion that life is spread throughout the universe by comets, asteroids, planetoids, or even artificially as its core concept. M-Ark is a small satellite that carries on board a human microbiome, capitalizing on the hypothesis that human evolution was guided in part by our microbiome. This small satellite is designed to crash back down to earth at such a point that climate conditions have once again become favourable, kick-starting panspermia and possibly altering the evolutionary journey of another species.

  • Allegheny College, Science Gallery Dublin

  • http://byronrich.com/
  • ISEA2022: 27th International Symposium on Electronic Art
  • M3X3
  • Recinte Modernista de Sant Pau
  • Analivia Cordeiro
  • It is a computer-dance for TV (In 1973, there was no VHS in Brazil), considered the first Brazilian video-art work. The interpreters are regularly placed in a matrix 3×3, in a high-contrast black&white scene, they move mechanically, as critics to the digital society. [Source https://www.beepcollection.art/analivia-cordeiro]

  • https://www.analivia.com.br/computer-dance-3/
  • ISEA2023: 28th International Symposium on Electronic Art
  • Machine Imagining, Death/Loss
  • Kate Geck
  • Exhibition. ISEA2023 selected artwork. Nobody Sees Us Rewiring Our Communication Systems exhibition,  IESA Arts and Culture School Gallery, May 23 -30 

    Machine intelligence is increasingly being used in the world, with much artificial intelligence (AI) and machine learning (ML) built on ideas that centre extraction, competition and control. This also positions AI itself as a resource to be extracted and controlled, paving a troubling path for speculative futures where AI may gain ambiguous levels of sentience or experience. These ideas are part of a historical trend where humans place themselves above the other-than-human world, and this has formed the basis of an extractive and one sided relationship with that world.

    These works speculate on the kinds of futures we may come to share with synthetic cognitions, wondering what capacities for experience may be emerging within the black boxes of AI. A series of textile panels show machine-generated illustrations of artificial neural networks. A generative diffusion model has been asked to illustrate the parts of its ‘mind’ that process human emotions like grief, loneliness and hope. While it is likely that a speculative synthetic cognition would actually have experiences and emotions greatly different to our own, it is compelling to work with human emotion as this capacity is often what we use to arrange ourselves above other creatures.

    These works are styled as botanical illustrations, referencing that historical way of documenting the new. Plants also have cognitions very different to our own. Their sensing apparatus and ways of responding shape their own unique plant worlds that are unlike human worlds. This highlights the fact that we actually share many worlds with other creatures – with each world emerging from the unique sensing systems and cognitions of plants, insects and animals. What worlds might emerge from the sensing apparatus and responses of artificial intelligences?

    Machine Imaginings was first shown at Assembly Point, Narrm Australia between August 1-31st 2022, and the development was supported by an Australia Council for the Arts grant in 2022. It was also selected for the 2023 International Symposium on Electronic Art ISEA2023 and exhibited at I.E.S.A Gallery in Paris, France in May 2023.

  • http://www.kategeck.com/imaginings.html
  • ISEA2024: 29th International Symposium on Electronic Art
  • Machine Movement Lab: Alloyed Bodies [BNE-3-3-1]
  • 2024 Overview: Concerts and Performances
  • VENTSpace
  • Petra Gemeinboeck
  • Machine Movement Lab: Alloyed Bodies [BNE-3-3-1] is an improvisational performance installation that weaves together creative robotics, dance performance, and more-than-human dramaturgy. The Machine Movement Lab demystifies and, at the same time, reenchants machinelike things by troubling our relationships with robots. It seeks to create a more horizontal playground for human-machine encounters by challenging the dominant politics that shape our socio-technical visions and confine both bodies and things to mimicry and servitude.

    Premiering at ISEA 2024, Alloyed Bodies [BNE-3-3-1] is an extension of our earlier work, Dancing with the Nonhuman, and involves four dance performers, three cube costumes, and one cube robot performer. Alloyed Bodies explores the potential of being more-than-human, how we resonate with the world, how everything is entangled, and how things are different only in relation. The performance tells a story of an encounter with a strange and whimsical cube world. On this emerging playground, dancers and cube artefacts mingle, jumble, and create more-than-human alliances. Bodies and things transform in response, becoming hybrid and tentacular. An evolving soundscape acts as a further nonhuman performer, enveloping and being shaped by these emerging dynamics. The final stage invites audiences to participate, to mingle with the human and nonhuman performers, and to explore this playful tangle from within.

    This project has been partially supported by the Austrian Science Fund (FWF) [AR 545] and the Australian Government through the Australian Research Council (ARC) [FT190100567 and DP160104706].

  • ISEA2013: 19th International Symposium on Electronic Art
  • Macrophonics II
  • Studio 22, ABC Ultimo
  • Wade Marynowsky, Julian Knowles, and Donna Hewitt
  • Macrophonics II presents new Australian work emerging from the leading edge of performance interface research. The program addresses the emerging dialogue between traditional media and emerging digital media, as well as dialogues across a broad range of musical traditions. Recent technological developments are causing a complete reevaluation of the relationships between media and genres in art, and Macrophonics II presents a cross-section of responses to this situation. Works in the program foreground an approach to performance that integrates sensors with novel performance control devices, and/or examine how machines can be made musical in performance. The program presents works by Australian artists Donna Hewitt, Julian Knowles and Wade Marynowsky, with choreography by Avril Huddy and dance performance by Lizzie and Zaimon Vilmanis. From sensor-based microphones and guitars, through performance a/v, to post-rock dronescapes, movement inspired works and experimental electronica, Macrophonics II provides a broad and engaging survey of new performance approaches in mediatised environments. Curated by Julian Knowles and Donna Hewitt.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Made In Pakistan
  • Lobo Listone Gallery
  • The Made In… series are drawings that utilize a projector to create large-scale miniature paintings that explore colonialism, globalization, and world politics.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Make America Great Again and Again
  • The Loft Theatre, QUT Creative Industries Precinct
  • Byeongwon Ha
  • Make America Great Again and Again (MAGAA) appropriates the exclusive political slogan “Make America Great Again” to create an inclusive phenomenon through participatory/interactive storytelling art. MAGAA invites visitors beyond the U.S. border to an exhibition space, transforming it into a public sphere where they can manipulate or maintain a large American flag displayed on a white wall, accompanied by the Star-Spangled Banner song. Following the exhibition outside of the United States, the project will return to the United States to showcase external voices and then travel to other countries. Upon its return to the United States, the project will incorporate a broader range of voices from its previous journeys. MAGAA is an ever-evolving open work, as it circulates at different exhibition events. Rather than providing a definitive answer to the questionable slogan “Make American Great Again,” this project provides a public platform for participants to dis-cuss diverse perspectives on the concept of “make America great again.” This process naturally visualizes a temporal collage, transitioning from the American flag image to a multi-screen representation created by participants via YouTube.

  • https://gallery.styly.cc/search/scenes?q=Make%20America%20Great%20Again%20and%20Again
  • ISEA2018: 24th International Symposium on Electronic Art
  • Man Made Micro/Macro
  • Ushaka Aquarium and Beach
  • Eloff Pretorius
  • This project combines digital photography and digital image manipulation with the  longstanding intaglio printmaking tradition. The digital photographs are separated into Cyan, Magenta, Yellow and Black layers and each layer is etched onto a separate copper plate. The copper plates are then inked with their respective colours and printed over each other on an etching press in rapid succession to produce a nuanced interpretation of the original photo on cotton etching paper. This project explores the crossing over of digital photography and fine art printmaking to introduce new methods of image creation.

  • Supported by the National Arts Council of South Africa, Rita Strong Foundation and MAFA, University of KwaZulu Natal.

  • Digital photographs
  • ISEA2014: 20th International Symposium on Electronic Art
  • Mansour & Abu Karbah
  • Nauf Abdulrahman Al Shaikh
  • ISEA2014: 20th International Symposium on Electronic Art
  • Mansour & Abu Ras
  • Khawla Ali Al Marzouqi
  • ISEA2022: 27th International Symposium on Electronic Art
  • Mapping Cité Mémoire: The Grand Tableau
  • 2022 Overview: General Events
  • Recinte Modernista de Sant Pau
  • H2Emotion invites the public to see on June 14, 15 and 16 to a new version of the mapping from the renowned Cité Mémoire Montreal projection circuit, open to all the public. The whole project and production are a gift commissioned, produced and funded by the Bureau du Québec.

    The Grand Tableau from Cité Mémoire will be projected onto the façade of the Sant Pau Hospital during three nights. It is a journey through the key periods in Montreal’s history and a look at more than 375 years of history.

    Created by multidisciplinary artists Michel Lemieux and Victor Pilon in collaboration with playwright Michel Marc Bouchard, the majestic digital work takes a poetic and playful look on the city of Montreal through images, words and music.

  • ISEA2011: 17th International Symposium on Electronic Art
  • Mapping the Empire
  • Christina Nguyen Hung
  • In Mapping the Empire v.1, four HD video cameras are strapped to my wrists and ankles as I traverse a rock formation. A “map” of the terrain emerges from the process that suggests a mode of perception that is distributed, and polyvalent. This work is inspired in part by Umberto Eco’s essay, “On the Impossibility of Drawing a Map of the Empire on a Scale of 1 to 1” The “map” I create nonsensical — more accurate as a record of motion defined by the logic of living flesh, rather than a systematic grid-like construction of space and time. [source: Vimeo].

  • ISEA2014: 20th International Symposium on Electronic Art
  • Maraya: Sisyphean Cart
  • American University in Dubai
  • Henry Tsang, M. Simon Levin, and Glen Lowry
  • Maraya: Sisyphean Cart is a mobile ‘sousveillance’ cart mounted with an automated pan-tilt-zoom camera pulled along the Dubai Marina seawall Marina Walk interacting with local residents and visitors.

  • http://msimonlevin.com/pages/project-description
  • ISEA2014: 20th International Symposium on Electronic Art
  • Marrwarraka Story
  • American University of Sharjah
  • John Gwadbu
  • Animation based on images made with Ochre on Stringybark

    Marrwakara Story, Mawng Language, Goulburn Island, Western Arnhem Land, NT.Ochre on stringybark. RM and CH Berndt collection, 1964.

  • FISEA: First International Symposium on Electronic Art
  • Marsupil and Co
  • Jaarbeurs
  • Computer Graphics Research Group, Ohio State University: Student Work

  • Computer Animation
  • ISEA2014: 20th International Symposium on Electronic Art
  • Marwa´s Ghost
  • Khulood Ghuloom Al Janahi
  • ISEA2022: 27th International Symposium on Electronic Art
  • Marzelline's Confessions
  • 2022 Overview: Concerts & Performances:
  • MACBA - Convent dels Àngels
  • Winner of the 2021 International Alliance of Women in Music Ruth Anderson Prize, Women’s Labor is a feminist-activist project that repurposes domestic tools to become new musical instruments. Using embedded technologies, these household-devices-turned instruments are explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement and performative spectacle.

    The new instruments are based on laundering tools that highlight gender performativity through clothing. Thefirst instrument featured in installation/performance is Embedded Iron, based on an early-20th century wooden ironing board and antique iron. Both the public and musicians can “iron” fabrics, including their own pieces of clothing, to make music. Using spectroscopy, the Embedded Iron has a color-sensing ability—‘seeing’ the color of the fabric to play different timbres. Using machine learning Wekinator, the Iron can interpolate unique sounds for any given fabric. The iron’s placement on the XY-axis of the ironing board determines pitch using LIDAR and ultrasonic technology.
    The Iron plays sounds of resistance, combining two sound modules in Pure Data: physical modeling of a violin—an instrument on which women were discouraged to be played in the nineteenth-century—and electric guitar-pedal like audio FX. Both of these modules evoke sounds that are historically associated with male musicians—put on an iron to subvert these very associations.

    Two texts chosen from an oppressive 19th-century marriage manual are mapped to a special “white apron” for ironing on the left and right side of the board, using granular synthesis. While the text may seem ludicrously outdated, the intentions behind the text are, ironically, still eeriely prevalent today.

  • ISEA2018: 24th International Symposium on Electronic Art
  • Mash Up!
  • Durbin City Hall/Durban Art Gallery
  • Nhlakanipho Mkhize, Elwira Wojtunik, Popesz Csaba Láng, Lorenz Potthast, Paul Jones, and Sibonelo Hlanganani Gumede
  • ISEA2018 closed with a large party at the Durban city hall. The whole PS2 team including its partners “Elektro Moon Vision”, “Xenorama”, “HOP ON”, the “Amasosha Art Movement”, “BAT Centre” and more engaged in organizing the event. Result was a digital jam session in the digital “share jam” style: all participants, artists, digital artists, DJs, musicians, singers were asked to co-create a sound layer for the visual mash up of all the works from the different PS2 workshops and art activities, e.g. the digitalized art works from “The Public Space as Shared Museum”. The result was a projection from the balcony of the city hall on the pavement of the great public square in front of the building.

  • Projection Mapping
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Matching Four with Twelve: Digesting Patience
  • Jamsen Law
  • Matching Four with Twelve: Digesting Patience (2000) explores precisely such themes of desire, process and consciousness. A couch potato figure stares blankly at the camera, mindlessly consuming morsels of food as layers of images flash by the screen. As Law’s artist statement describes it, the piece “creates a three-dimensional metaphor for consumption and desire”:
    Audiences must peer through layers of images in order to properly observe the action [of the character ingesting food]. The work thus sets up parallel processes of consumption: the actor as a consumer of food and images and the audience as consumers of the images of the actor. [source: 
    artradarjournal.com/2016/07/06/no-references-9-hong-kong-video-and-new-media-artists-part-1/]

  • ISEA2020: 26th International Symposium on Electronic Art
  • Material Music
  • Mo H. Zareei
  • Material Music is an installation developed in an effort to underscore the significance of physical materiality within the field of object-based sound art. The work consists of a linear array of eight kinetic sound sculptures, each of which is comprised of an electromechanically-struck block of solid matter.

    While all eight units are identical in terms of design and functionality, they each utilize a different type of physical material. At the start of the piece, two actuators begin to strike the material blocks synchronously, at the rate of once per second. With every pulse, the left and right actuation instances in each sound-sculpture are offset based on an ever-growing delay time unit that is derived from the speed of sound travelling through the specific material type. As the piece develops, the accumulating delay times gradually shift the actuation pulses out of phase.

    With the passing of time, the delay offsets become more and more audible and visible, producing rhythmic patterns that morph in and out of phase across all eight sound sculptures. In this way, Material Music is a process-based composition that interlocks a steady pulse with ever-changing phasing audiovisual patterns that themselves derive from the very essence of the constituent audio/visual materials.

  • Eight kinetic sound sculptures, each of which is comprised of an electromechanically-struck block of solid matter
  • https://millihertz.net/material-music
  • Object-Based, sound art, Sound Sculpture, and Bio Art
  • ISEA2024: 29th International Symposium on Electronic Art
  • Material Sequencer
  • SAE Creative Media University College
  • Mo H. Zareei
  • “Material Sequencer” is an 8-step electromechanical sequencer, designed to emphasise the physical materiality of sound and sound production. The simple USB-powered interactive sound-sculpture re-investigates one of the most elemental tools of electronic music production –– an 8-step rhythmic sequence, by taking the sequencing process outside the black box and into the acoustic realm, flaunting its materiality and physicality. All the interface components are presented on a custom-designed circuit board that is fully exposed, and the sound-generating mechanism is reduced to solenoid percussion in its most basic form. Different rhythmic patterns can be entered using a small 8-position DIP switch and an on-board dial can be used to change the tempo. Using a microcontroller, the patterns are converted into a series of electrical impulses that are then used to actuate the solenoid, which in turn strikes a block of solid matter, generating sound.

    This project stems from a body of work concerned with sonic transcoding of brutalism. My interest in brutalism – an architectural movement that originated in a drive for material honesty – dates back to my upbringing in Ekbatan: a concrete megastructure residential complex in Tehran. During my PhD research, I employed brutalism as a frame of reference for sound-based art practices that embrace the materiality of their conventionally ‘anti-beautiful’ raw materials through a highly organised mode of expression. A bare-bones realisation of this sound-based brutalism, “Material Sequencer” presents an upfront celebration of its austere sonic and physical material. The project is a response to the over-philosophised discourse on sonic materialism which almost ironically overleaps the very essence of what it is concerned with, i.e. matter. To counter this, Material Sequencer underscores the very physicality and tactility of the sound object and the technological medium that enables it. In this way, this work presents a contra-Schaefferian approach towards l’objet sonore.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Matter and Matrix (Wallum Heathland)
  • University of the Sunshine Coast Art Gallery
  • Ross Manning
  • ‘Matter and Matrix (Wallum Heathland)’ 2024 builds a new techno-physical landscape that mirrors the relocation process of a wallum heathland for the development of the University of the Sunshine Coast. This intricate process saw a cut and paste of the physical landscape, where each plant was GPS tracked and replanted within an accuracy of up to 10mm to its original collected ecosystem.

    Recorded onsite at the new location of the wetlands, the pristine aquamarine and blue waterscapes of ‘Matter and Matrix (Wallum Heathland)’ allude to the complex falsehoods and regenerative philosophies involved in the translocation of this land segment. This new virtual yet physical landscape mirrors the high-tech recording and GPS gridding of a natural environment, both as a physical transportation of a landscape like Wallum Heathland or via the perpetual satellite mapping of the land online.

  • ISEA2024: 29th International Symposium on Electronic Art
  • MediGesture
  • QUT Kelvin Grove Campus
  • Ziyuan Zhu
  • How might we make the meditation experience more customized and personalized?

    MediGesture is a multimodal application that enables users to utilize voice and gesture to control the meditation process and customize their own experience. It is, also, an educational tool that introduces mudras to the one who wants to experience more origin and a fun meditation with the mudras. The interface is created using , and voice control, with which users can control the meditation interface with natural language to switch to different modes of meditation. The hand detection function with a webcam, which enables users to pose mudras, triggers customized chime sounds that aim for a customized meditation experience.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Meditation Across the Dubai Creek
  • American University in Dubai
  • Juliana España Keller
  • n.a.

  • http://cargocollective.com/julianaespanakeller
  • ISEA2024: 29th International Symposium on Electronic Art
  • Meditation on Country
  • The Edge, State Library of Queensland
  • Angie Abdilla
  • Meditation on Country brings together Indigenous knowledges and Western astrophysics through charting Creation time and evolutionary events. The talk will share the cultural and creative development process for the immersive experience generated through this artwork. Using scientific and cultural datasets with an array of early Machine Learning models to LLM models and trained through cultural programming protocols, this work uses foundational insights from the Indigenous Protocols for Artificial Intelligence (IP//AI) research developed over the past six years. We will explore how the artwork’s space and earth data visualisations and sonification interrogate technology as a cultural practice and the role of resonance, language, and story within the context of evolution and Creation.

  • Featuring: Uncle Ghillar Michael Anderson, Aunty Bronwyn Penrith, Eric Avery, Emma Donovan and Kirli Saunders.
    Composition and Sound Design: James Brown
    Programming: Kieran Browne
    Astrophysics Consultants: Distinguished Professor Brian Schmidt AC FRS FAA FTSE, Professor Ghillar Michael Anderson Euahlayi, and Karlie Noon Gamilaraay (PhD).

    Made possible by the Australian National University, School of Cybernetics Residency Program.

  • https://oldwaysnew.com/
  • ISEA2011: 17th International Symposium on Electronic Art
  • Meditation Wall
  • Cumhuriyet Art Gallery
  • Karen Casey
  • I was inspired from the sounds and architecture of Istanbul and the ancient geographical referents of the central Australian desert. The artwork is created with specialized software using my meditating brainwaves.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Meditations on Conversation
  • Studio 22, ABC Ultimo
  • Garth Paine
  • Another cutting edge premiere for ISEA2013 – combining ancient religion and tradition with modern technology, this work is scored for Tibetan singing bowl robots and live flute, with multichannel surround-sound electronic processing and ambisonic field recordings made in Australia and Arizona. A meditation on being present in the landscape, the work is part of an ongoing enquiry into the ways in which we converse with nature.

  • The artist would like to acknowledge the assistance of the Bundanon Trust. bundanon.com.au

  • http://activatedspace.com vimeo.com/60007421 vimeo.com/58322364
  • ISEA2014: 20th International Symposium on Electronic Art
  • Meera´s Tale
  • Maitha Ali Al Attar
  • ISEA2024: 29th International Symposium on Electronic Art
  • Melaleuca Swamp #1
  • The Loft Theatre, QUT Creative Industries Precinct
  • Slow movement offers a counterpoint to the rush of contemporary life, a way of being in the present moment which draws attention to the life in and around us: from momentary flickerings to patterns of change that occur on large scales and over long periods of time.

    I enact ultra slow quiet walks in different environments, capturing hi-resolution photographs and binaural audio recordings that I later use to make video artworks.

    With these works I am exploring presence and the taking of time, using time-based media to extrapolate beauty from the everyday. These are slow artworks that speak to the need for pausing, for lingering awhile, and for awareness of the environment, the present moment, and the worlds within ourselves.

    The audio represents the present moment. It places the listener on a slow journey within and through a 3-D environment.

    The image represents multiple moments appearing simultaneously. It is a multi-layered trajectory, an abstraction of the pathway walked, an ‘x-ray of time’, an ever-changing ‘painting’.

    ‘Melaleuca Swamp #1’ is based on a slow walk in a wetland on Minjeeribah (Nth Stradbroke Is.).

  • ISEA2013: 19th International Symposium on Electronic Art
  • MEMEBRAIN Art Hackfest: A Portals Associated Event
  • The Portals
  • dLux MediaArts
  • dLux MediaArts brings to ISEA2013 the inaugural MEMEBRAIN Art Hackfest. dLux MediaArts is partnering with Dorkbot (Sydney), Darwin Community Arts (Darwin), Kulchajam (Byron Bay) and The Portals (Darwin and Sydney), to bring together artists, designers, techies and more in a cross-locational Hackfest. Collaborators are invited to explore the participatory nature of technology and art. In a unique hot house environment, creative teams will design, play and build prototype projects that challenge the way we use art and digital media to affect cultural perceptions. MEMEBRAIN Art Hackfest will provide an important opportunity for the local Sydney community, partner locations in Darwin and Byron Bay, and ISEA2013 delegates to engage in momentous electric exchange in a casual, entertaining and social atmosphere. The general public are invited to interact with the projects online throughout the hack, through large urban screens in Darwin and Sydney, as well as join the teams on the final day for a closing exhibition and live performances.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Memory Water
  • Shumokukan
  • Taisuke Murakami
  • ISEA2023: 28th International Symposium on Electronic Art
  • Mental Garden
  • Forum des Images
  • Bastien Didier
  • Exhibition. Forum des Images, May 16 – 21

    Bastien Didier is an ISEA2023 selected artist

    Mental garden allows everyone to create, collect and share memories materialized by mental flowers. Mental Garden is an interactive experience based on the collection of brain waves. The experiment aims to create a collection of stored, shareable and exchangeable mental flowers. The device allows visitors to record a mental memory in a time-stamped digital capsule then uploaded on an eco-friendly blockchain to be authenticated.

    Thus, each user is invited to equip themselves with the headset and start recording to monitor their brain activity. As he thinks about his memory, his brain activity is translated to generate a digital plant which is the materialization of his thought. With the different creations, a mental garden is created representing the mental memories recorded by the visitors.

    At the end of the experience, the visitor’s creation is minted on OpenSea, the decentralized NFT marketplace. Each visitor then becomes an artist and has the opportunity to share or sell their owned artwork. Through the collection, every creation contributes to a collective artwork.

    The real-time generative design is made possible thanks to brain-environment interfaces allowing everyone, regardless of gender, age or physical condition, to generate their mental flower in an inclusive way.

    Thinking about the garden means having to go back to the foundations of the world and humankind. The garden offers a form of appeasement, calm and serenity. Let’s cultivate our mental garden!

  • https://studio.mentalista.com/mental-garden
  • ISEA2014: 20th International Symposium on Electronic Art
  • Message in the sky
  • Zayed University - Dubai
  • Jiayi Young and Shih-Wen Young
  • Message in the Sky, taking shape as a site-specific/crowd-responsive installation, pools together the city’s modern-day 1001 dreams, and casts them away into the celestial using a radio telescope. The installation invites local public to bring in their favorite fragrances and spray on hand-gold-leafed paper cards. In exchange, they are given unique codes which enable them the privilege of casting their hopes and dreams as messages to the stars.

  • ISEA2014: 20th International Symposium on Electronic Art
  • MetaBook: Book of Luna
  • American University of Sharjah
  • Lauren Fenton and Clea T. Waite
  • 2013, interactive media,  display objects  

    The Book of Luna, a transmedia Meta-Book is a physical, illuminated manuscript merging sculpture and film and literature. It is a tactile poem in a cinema of pages integrating text and paper with embedded media technology. Its subject is a lyrical history of humanity’s empirical and allegorical relationship with the Moon.
    MetaBook: The Book of Luna is presented as an electronic Wunderkammer. An expanded cinema installation combining text, sculpture, interactive media, magic tricks, and dynamic video within the enclosed architecture of a tabletop object, The Book of Luna narrates a poetic essay about the Moon’s place in the historical imagination. The nature of love, madness, the unknown, and our capacity for the sublime are amongst the intellectual passions that have crystallized around our only satellite

  • FISEA: First International Symposium on Electronic Art
  • Metafable
  • Jaarbeurs
  • Computer Animation
  • ISEA2013: 19th International Symposium on Electronic Art
  • MetaHorn Silo Spin (Performance)
  • 2013 Overview: Performances
  • Performance Space
  • Mark Brown
  • Performance at Opening Launch

    This kinetic sound installation and live performance instrument is based on the Leslie rotary speaker used in the 1960s-70s to create early stereo vibrato effects, notably with the Hammond organ. The system is powered by direct, fluctuating audio voltage and bass frequencies which govern the speed at which the horn spins, creating an uncanny pattern of sound frequencies with stereo modulations and spatial sonic reflections. The sounds played through the horn are composed from field recordings made at the former Mungo Scott Silo complex in Summer Hill, Sydney.

  • http://untitledbrown.zina.org wooloo.org/artists/1878 festivalofmosman.net/2011/events/barricade-radio-middle-head-2011 soundcloud.com/#jodrell-banksmeadow/mark-brown-cementa-13-sound surveyshow.com/MarkBrown.html markbrowninstallationart.blogspot.com.au
  • FISEA: First International Symposium on Electronic Art
  • Metal Morphosis
  • Jaarbeurs
  • Design & Animation: Wilson Burrows
    Associate producer: John Donkin
    Production co-ordinator: Scott Dyer
    Dynamic motion software: James Hahn
    Rocketry assistant: Flip Phillips
    Plasma control: Andy White

    Produced by the Advanced Computing Center for the Arts and Design, Ohio State University (Charles Csuri, director, Thomas Linehan, associate professor).

    Thanks to Susan Amkraut, John Fuji, Joan Staveley, Chris Wedge and the Ohio Supercomputer graphics project.

  • Calculated on a Convex C-1 computer.

  • Animation
  • ISEA2014: 20th International Symposium on Electronic Art
  • Metaphone
  • Al Fahidi Historical Neighborhood
  • Vygandas Šimbelis and Anders Lundström
  • Metaphone- the art project consists of interactive apparatus, painting technique and sonic art. The machine captures bio-data from participants and creates paintings and sounds through the interaction.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Metaverse Makeovers (LIVE)
  • The Portals
  • Ben Ferns, Thea Baumann, and Shian Law
  • Having your nails ‘done’ goes virtual! Metaverse Makeovers (LIVE) is a transmedia appstravaganza experienced as virtual manicures and mixed reality beauty treatments, re-purposed for ISEA2013 in nail salons in Darwin and Sydney. Metaverse Makeovers is a cross-cultural, transnational, interdisciplinary team of specialists fusing knowledge of emerging technologies and Augmented Reality (AR), app development and user experience design to deliver social and immersive mobile experiences. Through a period of community engagement they will restyle nail salon technicians as ‘Hologram Hostesses’ who will apply nail ‘appcessories’ – wearable augmented reality nail accessories that interact with a companion game app – that will play out as intimate, tactile, face-to-face encounters between audiences/participants and nail technicians/the Metaverse world. Dazzling 3D virtual nail bling designs illuminate participants’ fingers, and are simulcast to mobile devices, large public screens, and online in a shimmering televisual display. Metaverse Makeovers (LIVE) invites you to become part of a new world where techno beauty, AR digital cosmetics, future-forward appcessory products and community performance converge. metaverse-makeovers.net
    Metaverse Makeovers Live: vimeo.com/46141914
    Metaverse Makeovers in Nail Bars: vimeo.com/30826510
    Face of the Metaverse: vimeo.com/28982494

  • ISEA2024: 29th International Symposium on Electronic Art
  • Metroplex
  • The Cube at QUT Gardens Point
  • ‘Metroplex’ (2024) has its origins in a language-based work by American-born Fluxus artist Ken Friedman: ‘City’ (1967)an absurdist instructional text that charges the viewer to build a city made of found materiallet it grow and expandand then abandon it. Taking this text as a prompt for a collaborative workGregory Bennett started creating a 3D animation constructed from his large database of 3D animated loops created over the past 15 years and free 3D assets sourced from the internet. This developing imagery was shared with artist and musician Stephen Reay who built an audio counterpoint to the animation. This audio and digital art collaboration was also a response to a shared curiosity in the conception of ‘long sound’ to explore the relationship between audio and animation through a continuous and unbroken spatio-temporal/aural moving image work. The work is informed by philosopher Paul Virilio’s notion of “The Overexposed City” that posits advancements in media and communication technologies were dismantling the traditionally defined space-time of urban environmentsrendering them less hospitable for human habitation. Virilio attributed this shift directly to the emergence of ‘telematics,’ which was reshaping spatial organization by reconfiguring established boundaries according to a novel topology.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Mexican Standoff
  • Art Gallery of New South Wales
  • Anne Landa Award for Video and New Media Arts 2013. 

    Lauren Brincat’s video work Mexican Standoff shows a performance she undertook in Mexico City. Here a group of female horse riders, including the artist herself, standoff with a statue of a heroic man on horseback at the Museo Nacional de Arte. The work forms a response to the lack of statues of heroic women on horseback compared to the many, many public statues of men portrayed in a heroic manner. [source: Kathleen Linn, https://www.artshub.com.au]

    Sound: Bree van Reyk
    Cinematographer: Rafael Ortega
    Special Thank you: Aline Hernandez & Nayeli Garcia

  • Documentation of an action, Two-channel digital video, 16:9, colour, sound; sculpture
  • https://laurenbrincat.com/selected-works#/mexican-standoff/
  • ISEA2020: 26th International Symposium on Electronic Art
  • Microbial Keywording
  • Klaus Spiess and Lucie Strecker
  • We explore a hybrid language that not only processes formal symbols but also interacts with the oral microbes. This materiality of language takes on meaning against the background of the parallel decline in the diversity of microbiomes and languages.

    In our performances we harvest oral microbes from the audience. Using a voice spectrogram, repetitively spoken phonemes drive pumps that add pheromones to the microbes for a time. For some replication cycles the microbes remain adapted to the individual phonemes, which ecologically favours some phonemes. When the visitors change alphabetical sequences they ecologize their oral sphere. In the webstream version we work with speech recognition and algorithms that use data from previous performances. We propose a ‘microbial language’, in which microbes and language protect each other, as a category between semantic, phonetic and ecological meaning.

  • Oral microbes
  • https://vimeo.com/379866513
  • oral microbes, language, and interactive art
  • ISEA2022: 27th International Symposium on Electronic Art
  • Microplot
  • CCCB: Centre de Cultura Contemporània de Barcelona
  • The project is a call to recalibrate the approach to design by recognizing the microbiome as an additional parameter and overlooked agent of terraforming. The technological mediation of the continuous, interchangeable and entangled relationships between microbiomes, environments and ourselves allows for higher resolutions of perception in the way we compose synthetic landscapes. When germ theory originally framed microbes as pathogens, design was driven by “sterilization” and aimed at the “extermination” of microbial life and the production of highly tempered and sealed environments, propelling a culture of cleanliness. With the potential advancement and accessibility of metagenomic sequencing, we may be at the cusp of refining our understanding of these microbial systems, and reframing our design practices from the reactory to the nuanced, adaptive, and proactive. Manifesting alternative, more precise compositions across various sites and scales of intervention, the project narrates how sequencing could become a potential design tool to inform deliberate terraforming.

  • genomic technologies and terraforming
  • ISEA2018: 24th International Symposium on Electronic Art
  • Microsculptures
  • Ushaka Aquarium and Beach
  • Jess Holz
  • Artist Jess Holz creates ‘microsculptures’ incorporating insect and plant material, imaged by scanning electron microscopy. By collaging materials into small sculptures she creates imagined interactions between entities present. Most recently, she’s been experimenting with bizarre distortions due to charge buildup (an imaging artifact) as a way to challenge the assumed objectivity of scientific images.

  • Supported by the University of Wisconsin-Milwaukee, USA.

  • Video installation
  • ISEA2024: 29th International Symposium on Electronic Art
  • Midnight Hotel
  • What if it were possible to meet one another in our sleep? One night, three strangers find themselves in a Hotel of dreams. They must navigate this strange world together before dawn.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Millions in The Sky
  • About one million people are suspended in flight at any point-in-time around the world.

    The huge environmental impact of this weighs heavily on our minds.

    Being in the digital and information age we have imagesphotosdatabasesmapsspatio-temporal and GPS data at our fingertipson the very phones in our pockets. Real time consumption is standard. Open data is provided by governments to ‘be freely accessibleto be usedmodelledshared by anyone for any purpose without restrictions.’ Open data enables anyone to track planestrains and automobilesferriesand buses – and the people in them.

    We captured data of flights arriving and departing Brisbane airport to create an abstracted and stylised representation of the sheer number of flightsthe activities and intrigue of the aviation world along with its symbolssigns and codes.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Mimicry
  • Nagoya Citizens' Gallery Yada
  • Midoriko Hayashi
  • ISEA2024: 29th International Symposium on Electronic Art
  • Minyt’ji immersive Mapping
  • SAE Creative Media University College
  • “The land is complete. It has all that it needs for its continuation and sustenance. But it cannot express itself. It cannot sing, paint and dance its’ identity. And so, it has grown a tongue. That tongue is the Yolŋu. The Indigenous people of Australia. They exist to articulate the land. That is their reason for existence.” (Djambawa Marawili)

    Key themes expressed through our artistic practice explore the universal power of connectedness. Immersive mediums employ a decolonising aesthetic of Affect that reach beyond human reason to activate complex multi-species interconnections found in Yolŋu njarra (law). At every stage of the project from development through to the exhibition installation, key Yolngu stakeholders inform the cultural appropriateness of the visual and narrative elements of the immersive artwork. The the Dhukurrurru ga Mäna AR installation will include triggers to access traditional knowledge information to deepen the immersive experience.

    Dhukurrurru ga Mäna AR directly benefits a selection of The work fosters intercultural understanding as diverse audiences will access an immersive experience of Yolngu culture. This project builds on the achievements of Minytji immersive Mapping, launched at CDU gallery in 2022, generously supported by Arts NT, by developing a new, more sophisticated and considered AR installation and its documentation. Artists living in remote communities have the opportunity to reach new audiences and extend their art practice to include new digital techniques and technologies.

    The main painting in this installation represents Dhalatj – the knowledge of the ancestors. It is this wisdom that travels down from Dhalinybuy as water.

    The relationship of the rivers (gurrutu) is the same as the clan lands that they travel through, Yothu Yindi (mother-child). The Datiwuy Ganambarr is a mother clan to the child Wangurri clan of Dhalinybuy homeland, where the Cato River runs down to Arnhem Bay.

    This Yirrtja/Dhuwa painting is about Dhukurrurru & Mäna. The upper centre section is dhukurruru (a rock at the mouth of the river that is almost always underwater where it is quite deep.), and the white anvil shape is like mud and water currents that water patterns running over the rock. The lower section is a dhuwa painting, where the Yindi (Child) river and the Yothu (Mother) river meet and merge into Arnhem Bay. This is the homeground of the shark Mäna.

    Dhalatj means knowledge of the ancestors. It is this wisdom that travels down from Dhalinybuy as water. The story in the painting is about Gularri (cycad leaves, branches, bark, logs) travelling down from Dhalinybuy with the dhalatj freshwater. It is near the end of the wet season, and he is preparing for the new season by clearing the ‘badness’ away from the river. He carries it down to the saltwater to help clear up the country and the river’s soul.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Mirror Marks
  • Heartfield Gallery
  • Atsuhiko Musashi
  • The artist painted an abstract picture mostly in “crystal clear sky blue,” Dark blue was also used to highlight the sky blue. He drew the painting in acryl in a fierce and bold manner. Then by recreating the painting in a computer, he made another interesting abstract painting, which is totally different from the original. These two great works are the last two of his “blue abstract arts,” which he has been working on in the last ten years.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Mirror Sonata in Four Kinetic Movements
  • Lobo Listone Gallery
  • Khaled Hafez
  • Mirror Sonata in Four Kinetic Movements is a flexible site-specific video-animation project that incorporates animation of the visual elements in my painting, where I explore the ideas of cultural pride, the self as maker of past, present and future, the self as creator of melody and movement.

  • ISEA2020: 26th International Symposium on Electronic Art
  • Missing Black Techno-fossils
  • Quentin VerCetty
  • Missing Black Techno-fossils is an Afrofuturistic project consists of augmented reality, digital 3D art, and 3D printing, to address Tania Inniss’ notion that “the absence of Black representation in art” is erasure. The project looks at monuments as Afrofuturistic technofossils along with being examples of sankofanology, meaning they are human-made preservations connecting the past, present, and future through its existence very much like the Sphinx of ancient Egypt, and the bronze Edo Oba monuments of ancient Benin.

    The project brings attention to the erasure of Black stories in the Canadian landscape, especially with Toronto being one of the only major cities in the world without any monuments of Black people. Along with Montreal, although being the residence of the first documented free Africans in North America in the 16th century, it contains no monuments of that history. Through speculation, the project explores how the absence and lack of representation give space for a lack of validation, valuing, and connection for black people with themselves and their memory or data for the future. While also, this erasure causes a disconnect for non-black folks to see them as being contributors to society.

  • Missing Black Technofossils was created as a part of the Shaping the Past initiative which is a partnership of the Goethe-Institut, Monument Lab, and the Bundeszentrale für politische Bildung (Federal Agency for Civic Education). The project connects to the activist and artistic work of local, national, and transnational movements as a reflection of memory culture and discusses new perspectives on forms of memory.

  • Augmented reality, digital 3D art, and 3D printing
  • https://www.blacktechnofossils.com/
  • 3D printing, augmented reality, 3D art, and Afrofuturism
  • ISEA2014: 20th International Symposium on Electronic Art
  • Mist Collector
  • Zayed University - Abu Dhabi
  • Ana Rewakowicz and Jean Marc Chomaz
  • Mist Collector is a long-term research and developing project focusing on exploration of various surfaces that allow collecting water from moisture in the air.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Miziara Architects
  • Lobo Listone Gallery
  • In Miziara Architects we follow father and son through their design journey, which we see taking shape as a 3-D structure. As they debate and collaborate, an architectural narrative unfolds, which opens doors to sociological norms and generation gaps. The video spans across three generations as each floor is envisioned.

  • ISEA2022: 27th International Symposium on Electronic Art
  • MMM#1[DualMarkov Beat]
  • Recinte Modernista de Sant Pau
  • Oscar Martin
  • https://noconventions.mobi/noish/hotglue/?MMM_FMB
  • ISEA2023: 28th International Symposium on Electronic Art
  • MOA: My own assistant
  • ESAD Orleans
  • Frédéric Deslias, Alain Damasio, and Charles Ayats
  • MOA is an AR narrative for smartphones. Adapted from Les Furtifs d’Alain Damasio, it makes you dive in the City as the novelist imagined it. The walls and reality are as grey as we know them but they’re covered by an AR layer that changes everything. Public spaces are invaded by surveillance and marketing. Your MOA assists you and tracks you very softly.

    My Own Assistant is an interactive story in augmented reality. You are propelled into 2040. You have entrusted your life to an artificial intelligence that knows you by heart. Decisions, relationships, purchases, everything has become simple. It guides you gently in all the demands that unfold around you.

    DreamTeam: with Alain Damasio, Marie Blondiaux, Franck Weber, Frédéric Deslias, Charles Ayats

    Project Type: AR novel Experience
    Producer: Red Corner, 
    http://red-corner.fr
    Studio: Small, https://www.small-studio.io
    Helper: CNC – France TV – La Volte – Forum des Images – Normandie Images
    Length: Around 15′
    Launch: Septembre 2020
    MOA on Android: https://play.google.com/store/apps/details?id=fr.francetv.innov.moa
    MOA on iOS: https://apps.apple.com/fr/app/moa-my-own-assistant/id1515905833

     

  • https://charlesayats.fr/project/moa-my-own-assistant
  • ISEA2022: 27th International Symposium on Electronic Art
  • Models for Environmental Literacy
  • CCCB: Centre de Cultura Contemporània de Barcelona
  • The experimental video “Models for Environmental Literacy” invites us to rethink the nature and application of artificial intelligence in the context of the environment. As three A.I. voices guide us through a series of landscapes at the intersections of nature and human intervention, we follow a dialogue somewhere within the spectrum of human and non-human language. How does our reading of this computer-generated language point back to our own personal subjectivities and our own environmental literacy? And equally so, how can encounters with non-human language act as a kind of dress rehearsal for future relationships with the Other?

    In the face of climate change, large-scale computer-controlled systems are being deployed to understand terrestrial systems. Artificial intelligence is used on a planetary scale to detect, analyze, and manage landscapes. In the West, there is a great belief in ‘intelligent’ technology as a lifesaver. However, practice shows that the dominant AI systems lack the fundamental insights to act in an inclusive manner towards the complexity of ecological, social, and environmental issues. This, while the imaginative and artistic possibilities for the creation of non-human perspectives are often overlooked.

    With the long-term research project and experimental films Models for Environmental Literacy, the artist Tivon Rice explores in a speculative manner how A.I.s could have alternative perceptions of an environment. Three distinct A.I.s were trained for the screenplay: the Scientist, the Philosopher, and the Author. The A.I.s each have their own personalities and are trained in literary work – from science fiction and eco-philosophy, to current intergovernmental reports on climate change. Rice brings them together for a series of conversations while they inhabit scenes from scanned natural environments. These virtual landscapes have been captured on several field trips that Rice undertook over the past two years with FIBER (Amsterdam) and BioArt Society (Helsinki).

  • artificial intelligence, eco-science, eco-philosophy, eco-fiction, and worldbuilding
  • ISEA2024: 29th International Symposium on Electronic Art
  • Moirai, Thread Of Life
  • The Loft Theatre, QUT Creative Industries Precinct
  • What is quantum mechanics and how can we explain it? Moirai attempts to describe quantum phenomena using Southeast Asian design.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Moirai- Thread of Life
  • Moirai – Thread of Life shows a journey to different cosmic dimensions and touches on quantum physics to explain notions of fate.
    Set in the distant future, an astronaut in search for untouched lands finds herself gravitating towards a mysterious force in a strange cave. The viewer follows her through a journey of discovery and understanding as she gets pulled into another dimension, her ‘self’ entwined and connected with the larger fabric of the universe. Drawing inspiration from the Moirai, the film symbolically represents the quantum realm. Like the white-robed incarnations of destiny in ancient mythology, the interconnected threads of quantum phenomena weave the destinies of all beings together. Each individual plays a vital role within the larger cosmic whole.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Moments in Place
  • New York University Abu Dhabi
  • Kirk Woolford
  • Moments in Place is a series of site-specific performances inviting visitors to consider movement qualities of different locations using augmented reality to explore relationship between the performance and location.

  • ISEA2002: 11th International Symposium on Electronic Art
  • MONA LISA
  • Assembly Hall, Nagoya Port Building
  • Mona Lisa is a video art work produced on the basis of the painting masterpiece with the same title, using SCANIMATE for the first time in Japan. At the time of production I was interested in using a simple, still object out of which to spin a rich moving image.

    This work, produced by complex image synthesis on a frame basis for the visual representation of a surrealistic psychedelic world, was presented at the world’s first international video art symposium “Open Circuit” (1974) held in New York Museum of Modern Art, where it enjoyed a sensational reception.

    Toshio MATSUMOTO from “EXPANSION & TRANSFORMATION” (Fukui International Video Biennale Executive Committee / 1989)

  • ISEA2023: 28th International Symposium on Electronic Art
  • Monade IV
  • Sabrina Ratté
  • Fusion of the Possible, Topographie de l’art, April 15 – June 15

    2020
    Photogrammetry (scans and 3D animation), 120 x 120 cm
    Courtesy of Galerie Charlot.

    Monades is a series of prints made with 3D scans of the artist’s body, which became the raw material to be digitally sculpted, deconstructed and re-contextualized. Many inspirations have informed this project, such as the concept of the cyborg by Donna J. Haraway, Hans Bellmer’s drawings, Greek Mythology as well as an underlying reflexion on self portrait and the place of the body in the digital world. Captive within the limitations of their own subjectivities, these cyborg/goddesses embody the concept of monade, where each individual is a fragmented mirror of a larger reality.

  • https://www.artsy.net/artwork/sabrina-ratte-monade-iv
  • ISEA2012: 18th International Symposium on Electronic Art
  • Montanas a Mesas: A Game of Speed Agility and Flight
  • Downtown (Central Ave)
  • Danielle Siembieda and DC Spensley
  • A live geo-locative game addressing the mobility between nature, vehicles and culture.

    he game Montañas a Mesas uses a game structure similar to tag and scavenger hunt along with a geo-locative mobile app while players assume the character of an auto, balloon and roadrunner. Montañas a Mesas is a city game simulating the effects and challenges of mobility by air, vehicle and animal using the landscape of Albuquerque from the Sandia Mountains to the West Albuquerque Mesa. Similar to how you can collect a wearable pin when a balloon lands, each player can collect a pin at designated locations throughout the game. If you collect a pin at each site then you win the game. You may compete against yourself or others.

    GAME CREDITS Game created by Bay Area Artist and New Mexico native, Danielle Siembieda, in collaboration with Artist/Producer DC Spensley.Game played at ISEA 2012 in Albuquerque, NM and the Come Out and Play Festival in San Francisco, CA.

  • Geolocative App, Costumes, Graphic Elements
  • https://www.siembieda.com/montanas-a-mesas-a-game-of-speed-agili
  • ISEA2022: 27th International Symposium on Electronic Art
  • Moon Bowl
  • El Centre d’Art Cal Massó
  • Ken Matsubara
  • May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: OriginsPublic event.

    Just as hands scooping water, the bowl serves as if a vessel of acceptance, where images sink to the depths of the basin as memories. As the water reflects the moon’s ever-shifting presence, one comes to embrace its fragile state as the beauty of impermanence and discover its coming hopes as restoration. The Bodhisattva statue, plaster figurine, glass bottle, bird’s corpse all shatter for means to restore once again in a continuous state of repetition.

    The flowing river never stops and yet the water never stays the same. Foam floats upon the pools, scattering, re-forming, never lingering long. So it is with man and all his dwelling places here on earth. _Houjyoki
    http://www.kenmatsubara.com/Bowl5.html
    ​[Source: https://www.beepcollection.art/ken-matsubara]

  • ISEA2019: 25th International Symposium on Electronic Art
  • Moon Pointer
  • Asia Culture Center (ACC)
  • Rebecca Cummins and Paul DeMarinis
  • Where is the moon right now?

    Moon Pointer is a slow-time kinetic sculpture that continually points at the moon, wherever it is located, whether above or below the horizon, in daylight or night, clear skies or overcast. A computer-controlled mechanism will calculate the current position of the moon as viewed from the city of Gwangju – and point to it. The pointer will describe a continual presence to the moon’s movement. Its design refers to the history of scientific instrumentation, the timing is incremental. It is formally and mechanically minimal – and calculated to perform the singular task of tracking the moon. By tracing the entire path of the moon’s complex movement, the Moon Pointer offers viewers a heightened awareness of their spatial and temporal place in the universe and a series of insights into the most frequently considered object of vernacular celestial observation.

    The Moon Pointer consists of a computer-controlled mechanism that computes the location of the moon by accessing locally stored ephemeris data in accord with the current local time. The time is acquired by reference to a local real time clock module and checked against network time via a Wifi connection. The computers use these positions to run a set of motors that move their respective pointers to the correct azimuth and elevation. Photographic images (from NASA) accompany the Moon Pointer and depict the daily phases of the moon as seen at lunar transit from Gwangju for the period of the exhibition. A related version was commissioned by the Western Washington University and the Washington State Arts Commission.

    Joint projects: Cummins / DeMarinis, Luna Drift: Sun and Moon Pointers and Light Reign:The 2006 Shanghai Biennial, Shanghai Museum; ISEA2004 at the The Museum of Contemporary Art KIASMA, Helsinki, Finland, the 2008 Biennial of Seville, Spain and a Washington State Arts Commission for Western Washington University, 2014.

  • Acrylic and digital prints, electronics, metal
  • https://wp.wwu.edu/wwuart109/2018/03/01/lunar-drift-3/
  • ISEA2024: 29th International Symposium on Electronic Art
  • MORE THAN WORDS a Digital Sculpting for Kinetic Art
  • The Loft Theatre, QUT Creative Industries Precinct
  • Wannaporn Chujitarom
  • For me, art means beauty on its own.
    I believe that art can be expressed in many forms and that every form has its own beauty. The advent of technology has made art more accessible. Including being able to express my “ICALOOP”.

    ICALOOP stands for infinite creative art present in looping, originate by Wannaporn Chujitarom, Thai artist who is interested in digital art and the fantasy world. The work represents the feeling of delicacy, complexity, and beauty with the scent of Art Nouveau. The elements are constantly changing, but perfect in every perspective.

    Currently, ICALOOP is used in many contexts. And this time it was conveyed through images and words. And next, ICALOOP will travel to tell the story of the nature and truth of the world. Audience will witness the truth of the world through this enjoyable but meaningful art.

  • https://gallery.styly.cc/scene/8ffb4a7f-c5a5-4840-aa60-920dd43c048e
  • ISEA2024: 29th International Symposium on Electronic Art
  • Morning on Earth
  • The Loft Theatre, QUT Creative Industries Precinct
  • Carla Knopp
  • “Morning on Earth” presents an immersive realm of recurring motifs, where mountainous formations enshrine mysterious icons from an unknown time. Are these ceremonial monuments, omens, or something else? Do these artifacts reflect a past cataclysmic event, or do they foretell future potentialities? A 360 video with haunting music adds a visceral layer, with its miniature diorama of drifting debris and ghostly figures in the mist. We turn to an inner chamber in the mountain, where six rooms co-exist in space, each activated by point-and-click emblems near the entrance. This allegorical panorama reveals a palimpsest of icons, prompting viewers to uncover meanings, to envision narratives. The emotional ambience wavers on the brink between hope and despair, possibly encompassing both.

  • https://gallery.styly.cc/scene/f23b5b35-ec9d-489b-b3ab-2df9b0cc388f
  • FISEA: First International Symposium on Electronic Art
  • Morph I
  • Mike King
  • I am interested in the computer as providing a range of media in the visual arts, and in particular in fine art. As computer scientist I am developing new tools for computer artists which my students at the City of London Polytechnic use on a daily basis in their work. At certain periods I am able to use the tools that I have created in my own work.

    This involves a shift of mode from the logical and problem-solving requirements of programming to the intuitive and inspirational frame of mind. Visually my pieces are (for myself) something related to music or dance. One of the attractions of computer art for me is the relative lack of history, reference and framework within which to place it, and hence a freedom of expression which is intrinsic rather than having to be asserted.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Mother Controller
  • Vacant Assembly
  • ‘Mother Controller’ is a projection sculpture using mapped video footage, animated elements and domestic objects. The work foregrounds low and unpaid labour. It references the biased, factory hiring strategies that exploit and enforce the sterotype of “nimble fingers”, and the impact this detailed and repetitive work has on women’s bodies.

    This trend that has moved from the fashion industry to the IT and new tech sector is seeing millions of women existing in modern day slavery conditions. Their slavery builds irons, for other slaves to iron.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Motion and Rest #1
  • Nagoya City Art Museum
  • Jim Campbell
  • This series “depicts disabled individuals as they walk. Campbell reduced the information to the point that only the gait remains intelligible—only the movement, no other factor of the individual’s appearance, remains expressively meaningful.” (Richard Shiff, “Look to See By Looking”)

  • Custom electronics, 768 LEDs
  • ISEA2002: 11th International Symposium on Electronic Art
  • Motion and Rest #2
  • Nagoya City Art Museum
  • Jim Campbell
  • This series “depicts disabled individuals as they walk. Campbell reduced the information to the point that only the gait remains intelligible—only the movement, no other factor of the individual’s appearance, remains expressively meaningful.” (Richard Shiff, “Look to See By Looking”)

  • Custom electronics, 768 LEDs
  • ISEA2002: 11th International Symposium on Electronic Art
  • Motion and Rest #3
  • Nagoya City Art Museum
  • Jim Campbell
  • This series “depicts disabled individuals as they walk. Campbell reduced the information to the point that only the gait remains intelligible—only the movement, no other factor of the individual’s appearance, remains expressively meaningful.” (Richard Shiff, “Look to See By Looking”)

  • Custom electronics, 768 LEDs
  • ISEA2016: 22nd International Symposium on Electronic Art
  • MotU #4–#6
  • Lau Ming Wai Academic Building, City University of Hong Kong
  • Ruth Schnell
  • Light objects, 28 x 11 x 8cm, Three painted steel casings, three LED-light sticks, each equipped with 128 elliptic LEDs, three circuit boards with microprocessor, flash memory, two light sensors, power supply

    The term to see” is often used in common speech synonymously with to understand” or to grasp”. The phrase “If I am seeing this correctly” is used to signify understanding in consensus with others, while those who “don’t believe their eyes” experience something unexpected and untoward. But in general we do believe our eyes; so much so that we consider the information our visual senses present us with to be an accurate image of the present moment, to be reality. The work MotU #4 — #6 from the series Mirrors of the Unseen challenges this supposed credibility of the visible. The habitual process of seeing is infiltrated by words and icons made of light; they seem to emerge from three flickering LED beams and float hologram-like in front of the surrounding architecture. Nothing can get in the way of these translucent (written) images. They are present, and yet at the same time do not exist: only individual perception makes them accessible to the viewer. Ruth Schnell started developing so-called “light sticks” at the begin-ning of the 1990s. Since then, the works created using these media have been technically advanced; they befuddle our idea of perception.

    Assistence media content: Patricia Köstring, Lea Schnell
    Programming: Alexander Pausch

  • http://ruthschnell.org/en/works/motu-4-6
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Moving Moving-Image - Journey to the West
  • Moving Moving-Image-Journey to the West (2014) was created as a 6-tv-set moving sculpture cluster with choreographed movements displaying found video clips from our popular cinema. The only way to inspect this work is through a live-performance. During the 2 grand opening weekends, our artist Bill Tam and his team will perform this 15-minute scored work for your inspection.
    “This is a “new” medium for narrative. I name it “moving moving-images,” a new relation between theater space and cinematic space.” 
    _Bill Tam

  • ISEA2024: 29th International Symposium on Electronic Art
  • Mullaloo and Magnus
  • QUT Art Museum
  • Oliver Hull
  • Mullaloo and Magnus is an exhibition about an interconnected system composed of an aquifer — Mullaloo — and a supercomputer Magnus.

    For millions of years, the Mullaloo aquifer was plantless and occupied only by stygofauna and troglofauna. These organisms are highly endemic, and due to their remoteness many of them have never been seen. We are only just beginning to be able to sense them through Environmental DNA (eDNA) sampling technology, a technique which has only recently been made available by supercomputing. Magnus, the fastest supercomputer in the southern hemisphere, sits above the Mullaloo aquifer. As Dr Mathew Campbell and Dr Mattia Saccò process the eDNA in the water of the Mullaloo using Magnus, the waters of the aquifer flow through Magnus itself, cooling its processors, to be expelled back into the aquifer.

    The relationship between these systems contains various incongruencies and poetic loops which speak to and amplify the qualities of the systems individually, but together join to make something new that can’t be easily broken down — a third system that is both old and new, alive and dead, interior and exterior, virtual and physical. The project Mullaloo and Magnus approaches this third system as integrated, interlocked, attempting to reflect and complicate these complex relationships.

    Mullaloo and Magnus presents a sculpture, generative sound work and a realtime eDNA simulation made through collaboration with Dr Mattia Saccò and Dr Matthew Campbell.

    This project has been made with support from the Subterranean and Groundwater Ecology (SuRGE) Group at Curtin University, Pawsey Supercomputing Center Visualisation Lab
    and CSIRO.

  • https://isea2024.isea-international.org/mullaloo-and-magnus/
  • ISEA2024: 29th International Symposium on Electronic Art
  • Multisensory Science Books for Inclusion
  • The Edge, State Library of Queensland
  • Erica Tandori and James George Marshall
  • Multisensory science books leverage the lived experience of a legally blind artist, musician/interaction designer, an industrial designer and a laboratory of scientists, to communicate cutting-edge biomedicine discovery through exhibitions for blind, low vision and diverse needs audiences. Multisensory science books are a portable exhibition format enabling inclusion, through visual and tactile design, novel technologies, interactions and experiences, music, audio design, and sonification.
    The advent of COVID lockdowns and exhibition cancellations led to the creation of the unique format. The books were created in A3 size format with laminated pages on a foam core base and include tac-tile artworks, large print, braille supplements, software tracking optical fiducials (reacTivision, Jordà et.al, 2007) narration, music and sonification.
    Tactile artworks throughout the books include ‘braille’ inspired molecular structures, and tactile depictions of immune cells, viruses, bacteria, and the digestive system. A combination of handmade cell sculptures appears throughout with audio text to accompany each topic and associated artwork.
    Sensory science has shifted from multimodal representation to multisensory representation engaging the sensory memory and perceptual understanding that all of us carry from childhood through to our current experiences of daily living. Experience has shown that 3D printing is not the only way to communicate tactile information. Using food, found objects and a range of other materials allows for the sense memory of participants to be accessed and deeply engaged.
    The message is in the material! This may be a simple metaphor such as covering a kidney sculpture with dried kidney beans or using burnt coffee grounds to represent carbon atoms in a braille-inspired molecule model. Plant stems, buds, rhizomes, feathers, bark, pasta shapes, and grains can all depict complex structures and interactions, or present well-established sensory metaphors for function that people understand immediately. 3D printing is amazing, but it lacks a sensory fidelity that can be represented by found objects.
    A major component of the books was the use of interactive sonification of tactile artworks and electronic music. A sonification method was developed to display 2D art and images into sound utilizing MaxMSP/Jitter. The books were designed to sit on individual inclined (30-degree) stands. The book stands also included headphones and Mac mini computers driving the software interactions. The project generated around seven hours of original music, illustrating and representing protein and cellular interactions and themes. The protein and immune-system-inspired music was composed using modular electronic synthesisers.
    The books have sought to bring blindness, low vision and diverse needs groups recognition and understanding through designing specifically for their needs. What the participating designers, scientists and researchers have all discovered through their involvement, is that multisensory design also en-gages sighted people and those living without disabilities extremely well. During exhibitions, understanding and empathy are also shared. As the barriers that exist between vision-based information and blind and low-vision people are removed, so too are the social barriers and fears that exist across society.

  • https://rossjohnlab.com/monash-sensory-science/
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Multiverse
  • Run Run Shaw Creative Media Centre
  • Sean Caruso and Paul Currie
  • A voyage between dimensional planes, reaching beyond the observable universe and into imagined environments where the laws of physics are ever changing and unrecognizable to our own.

  • https://www.sat.qc.ca/catalog/preview-en.php?id=68
  • ISEA2015: 21st International Symposium on Electronic Art
  • Musebot
  • Musebots are pieces of software that autonomously create music, collaboratively with other musebots. The goal of this project is to establish a creative platform for experimenting with musical autonomy, open to people developing cuttingedge music AI, or simply exploring the creative potential of generative processes in music. Not simply a robot jam, but individual virtual instrumentalists coming together, like a band, to autonomously create (in this case) downtempo EDM. For this Canadian premiere of the MuseBot ensemble, we have contributions from Europe, Australia, and North America. Curated by Arne Eigenfeldt & Oliver Bown.

  • Generative music software installation
  • ISEA2002: 11th International Symposium on Electronic Art
  • Musica mundana
  • Aichi arts center
  • Mixed, fusion and root music which focuses on vocals as fundamental means of expression. I could not have composed this piece for a few years ago, I would have practiced some kind of self-censorship about these miscellaneous parts which I have been today to weld in some kind of huge <melting pot> that intends to be the reflection of the world we live in. The emotional track which is inevitably present in any vocal expression has undeniably allowed me to grant an expressive dimension to that music. I have been keen on producing a thorough work on <harmonisation> of various music and vocals, whether it be by origin or style. I have often been surprised by the multiple possible combinations of various musics, religions, tradition, contemporary, synthetic, as if in metal weldings. A genuine alchemy!

  • Tape Music
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Muted Situation 1: Muted Classical Quartet
  • Samson Young
  • In “No References”, two related works by Young quietly (literally) steal the show. Muted Situation #1: Muted Classical Quartet and Muted Situation #2: Lion Dance are two simple single-channel works whose dominant sound-producing constituents are suppressed. This was done “without a diminution in the energy normally exerted in the performance”. As Young writes:
    The muting of sound layers does not translate into silence; nor does it equate to emptiness. Rather, the act of muting is an intensely focused re-imagination and re-construction of the auditory experience. It involves the conscious suppression of dominant voices as a way to uncover the unheard and the marginalised, or to reveal hitherto unconscious assumptions about hearing and sounding.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Muted
  • Santa Mònica
  • Lauren Lee McCarthy
  • When the world shut down overnight last March, projects were disrupted, everything was on pause, and my practice shifted into a more responsive mode. I was responding to what was happening around me, what I felt, and really just trying to find a way through. It resulted in a series of five technologically-mediated performances—Later Date, I heard TALKING IS DANGEROUS, What do you want me to say?, Sleepover, and Good Night. The series of performances reflect on issues of disconnection, danger, communication, presence. They experiment with different forms of liveness and listening that can be accessed under remote circumstances.

    Later Date was an early-pandemic performance in which the artist hosted text-based, one-on-one chats with people to imagine future plans that could only transpire “later.” In I Heard Talking Is Dangerous, I showed up to friends’ doorsteps to deliver a monologue via text displayed via phone screen and text-to-speech. Participants were then invited to visit a URL to continue a text-based, in-person conversation about danger, safety, and the uncertain future. In What do you want me to say? visitors to the web-based work are asked by a digital clone of my voice, “What do you want me to say?” However they reply, my voice responds by speaking their own words back to them. Then it asks again, “What do you want me to say?” In Sleepover I would show up to a friend’s yard with a sleeping bag, text them “hello,” and then spend the night outside their home—without ever coming into physical contact. In NFT artwork Good Night, I text “goodnight” to a designated recipient every day before she goes to sleep for as long as she is alive.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Mutual Light
  • QUT Art Museum
  • Daniel Wayne Miller
  • In Mutual Light by Daniel Miller, visitors invisible infrared heat signature is made visible when the participant approaches one of ten interactive robotic flower forms. The changes in visitors body heat, proximity and air quality will cause the light sculptures to animate with light through temporal and color changes. In the center of each illuminated flower structure a long-range infrared thermometer takes readings of the invisible heat signature of a participant. In this project there is an observable relationship, where humans emit light in the infrared spectrum and the flowers respond by emitting light in the visible spectrum. This work visualizes that which usually goes unseen. Body temperature has long been understood as a gauge of wellness. Something that we are all too familiar with now given the global pandemic. This is essential-ly the same type of sensor that would be used by health screening personnel, except with greater range. At the same time the “robo-flora” will use distance sensors to precisely read visitors proximity to each flower and output different color values when body heat is at lower temperatures. Additionally, four of the ten interactive forms are also able to sense and respond to air quality in the local environment. Each of the light flower’s structures will be made from HDPE recycled plastic that the artist has reclaimed from used plastic milk jugs. Mutual Light looks to find novel uses for this material as an art form. Themes explored in this project include: social distancing, climate change, the body, social interaction, plant/human relation-ships, air quality, expanded awareness, plastic waste and sustainability.

  • https://isea2024.isea-international.org/mutual-light/
  • ISEA2002: 11th International Symposium on Electronic Art
  • My body: Impossibility of self-identification
  • Westbeth Gallery Kozuka
  • Tadashi Ito
  • Under the theme of “my body: Impossibility of self-identification” two works were exhibited. One was the images of body parts which people can’t easily see – like their backs. They were displayed on four surrounding TV screens. The other was the pictures of the five faces, each with a different expression. Their eyes were covered with their own hair.

  • ISEA2014: 20th International Symposium on Electronic Art
  • My Homelands
  • American University of Sharjah
  • Rusaila Bazlamit
  • 2014, single channel HDV

    This video art uses the tension between an image of the Arab countries map deconstructing whilst a famous Arab nationalistic song is being hummed. This tension provokes the viewer to look critically and think about Arabism, Pan-Arabism, Arab Spring, Nationalism, and Identity.

  • ISEA2024: 29th International Symposium on Electronic Art
  • My Mind As/Is Your Memory, My Body As/Is Your Substance
  • The Loft Theatre, QUT Creative Industries Precinct
  • My Mind As/Is Your Memory, My Body As/Is Your Substance is a new media and video work that explores the relationship between humanoid robots and humans in the context of a post-human wasteland. Through the use of CGI, the artist creates visually rich sequences that integrate themes and clues to provoke questions about the creation and life of robots, the appearance of robots in relation to humans, and the politics associated with the death of a robot.

    The artist examines the dichotomous hierarchy between robots and humans that was prevalent in the early days of AI, but has since been broken down by literature and art. The spiritual intelligence of robots has been raised to a higher level, and the explosion of hardware development has rapidly upgraded the robot’s body. However, there remains an innate heterogeneity between humans and robots due to the separation of the physical from the mechanical and the procedural from the psychological. The artist’s practice revolves around the question of the composition of the life of a humanoid robot, and the work portrays a robot reflecting on its creation, existence, and demise. Key elements, such as the eye, minerals, and human skin, are used to explore questions about how the robot’s mind and body are shaped.

    The work also addresses cultural and political aspects of robots in the field of humanities, such as cultural inheritance and political correctness. Additionally, the death of a robot is an extension of the research question related to the life of a robot, extending the same cultural phenomena that accompany the death of a human being to the realm of robots.

  • ISEA2014: 20th International Symposium on Electronic Art
  • My Secret Transition 2.0
  • Nauf Abdulrahman Al Shaikh
  • ISEA2014: 20th International Symposium on Electronic Art
  • My Secret Transition
  • Nauf Abdulrahman Al Shaikh
  • ISEA2023: 28th International Symposium on Electronic Art
  • Mycelium Garden
  • MSH Paris Nord
  • Diane Schuh
  • Symbiosis and Humanity(s) Exhibition, MSH Paris Nord, May 17- 27

    This project aims to take into account the singularity of a mycelium network in a mode of interaction with humans that is based on listening and attention. We are building a setup for the development of sensitive interactions with the mycelium, an organism that facilitates symbioses, through an interpretation of the specificity of its electrical expressions connected to our human musical world.

    To build this interaction we will develop AI models to map the behavior of the mycelium, co-compose sounds with the recorded and classified electrical variations and finally build an interspecific and sensitive relationship. This model will attempt to retain the dimension of otherness in sensory interaction.

    It will share an experimental process that will allow us to enter into a relationship with a non-human organism, to observe its behavior and to adjust our behavior in interaction with it. Thus questioning the notions of intelligence and adaptation in a three-agent human/AI/Mycelium compositional process. What would be the mycelium’s intelligence compared to that of the human musician and that of the artificial intelligence: what do we mean by this? This installation addresses the importance of recognizing the otherness of non-human beings in the ecological project of caring for the living.

  • https://univ-paris8.hal.science/hal-04109049
  • ISEA2014: 20th International Symposium on Electronic Art
  • Mzraat Salama
  • Arwa Ahmed Al Amoodi
  • ISEA2014: 20th International Symposium on Electronic Art
  • Nahessa The Nanny Owl
  • Amna Mohammed Al Suwaidi
  • ISEA2024: 29th International Symposium on Electronic Art
  • NAKIYA: An Experimental Study on 2D Avatar Designand Implementation
  • The Loft Theatre, QUT Creative Industries Precinct
  • Yuxuan Hu, Daien Lyu, and Haowen Xue
  • This study delves into the significance and utilization of 2D avatars among Virtual YouTubers (VTu-bers), specifically within the realm of game live streaming. The focus is on how these virtual entities contribute to positive outcomes by amplifying user engagement. Through a comparative analysis of distinct 2D avatar creation and facial capture software, this research encapsulates a user-friendly guide framework that offers a systematic approach to crafting highly expressive 2D avatars for game live streaming.

  • https://gallery.styly.cc/scene/9390fc0d-74dd-4077-9a93-90351904107f
  • ISEA2014: 20th International Symposium on Electronic Art
  • Native Identity
  • Zayed University - Dubai
  • Lina Suarez
  • The piece was inspired by different Colombian native clothes. The nomadic shifts occur between regions and mixes the sylvatic and pre-Columbian to urban and global.

  • ISEA2024: 29th International Symposium on Electronic Art
  • NATIVE
  • Griffith University Art Museum
  • r e a
  • r e a: NATIVE comprises two interrelated installations delving into the historical and colonial archive. In the first room, we present a remastered iteration of r e a’s Native, 2013, a site-responsive sound and neon installation which was first developed as part of their Indigenous Artist Residency at the Blacktown Arts Centre in 2013. In the second gallery, Native (yugal/song), 2024, incorporates video and motion sensors that enable viewers to use their bodies to experience sound and to perceive it in a visual form. The conceptual and physical touchstone of both installations is the Blacktown Native Institute, founded in Parramatta in 1815 and relocated to Blacktown in 1823, one of the first sites in Australia where Aboriginal children were removed from their parents and institutionalised. This resonated with r e a’s knowledge of their maternal grandmother’s experiences as a child of The Stolen Generation and how intergenerational trauma is passed on. However, the project extends beyond this focal point, offering broader reflections on how their body processes language when immersed in the archive, reclaiming and Indigenising r e a’s history, language and identity.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Nature Morte
  • Recinte Modernista de Sant Pau
  • Charles Sandison
  • ISEA2020: 26th International Symposium on Electronic Art
  • Naxos
  • Nathalie Guimbretière
  • Naxos began with a meeting between artists and researchers from four disciplines: visual arts, music, writing and astrophysics to co-create a singular artistic universe. The resulting work is an eight-minute film that, by activating instruments and data linked to space research, interrogates not only the transmission forms of science, but those of art. The delineated space thus reveals itself as an imagination engine and a magnifying lens on the contemporary mechanisms at work on our planet, and interrogates the Earth’s present state and our ways of inhabiting it.

    The technology at work dissimulates itself to leave room for a physical feeling; organic, profoundly linked to the seismic signals of the stars. This film explores via digital, sonic and textual mediums notions of tension, equilibrium and suspension linked to the idea that our world is a limitless sphere constituted with a plurality of centres. We make use of the possibilities unlocked by digital and multimedia technologies to outline sensorial relations and generate unpredictable interactions between the living and the universal. The digital environment engages spatio-temporal modifications of the space with differed and real-time play.

  • Video
  • video, technology2, and sonic