Art Events Data Table

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.

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.

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.

The installation is an interface for navigating an expanding database of youtube videos. These videos are downloaded, transcoded, segmented and catalogued to form a palette for algorithms to forge new music. At the end of the installation there will be a short performance accompanied by Peter Bennett on the BeatBearing.

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.

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.

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.

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

In 2019, an archeologist from the University of Astarkhan, a city on the Russian steppe with a name identical to the artist’s last name, unearthed the legendary Khazar city of Atil – a modern Atlantis. The Khazars were Judeo-Turkic tribes converted from Tenegri Shamanism – a belief in the titular sky god and the eternal blue sky – into monotheistic religions. The story of their conversion to Judaism, “The Kuzari”,  is a core text in Jewish Philosophy. However, all three Abrahamic religions were practiced freely and harmoniously within the Khazar kingdom. 

Astarhan’s research of the ancient kingdom utilizes technology to re-figure Khazar myths, depict alter-zionist histories of the Jewish diaspora and his own ancestry, and reach back to a time and place where difference in religion and ideology constituted   not obstacles to a flourishing community and culture. They gather videos and images of objects from the archeological dig and model them in 3D, creating an object database to imagine Khazar pasts and futures. 

Khazar Archeological Confabulations uses line-drawing object renderings from the archive to generate a synthetic image database. It then employs machine learning to craft speculative archeological object drawings. The AI process is home-brewed, subverting hi-fi and photorealistic AI imagery. The results are abstract membrane, cell-like images, calling for a projection of what such a past and future might entail. The images are then turned into Cyanotypes exposed to natural light, reflecting Khazar Tenegrist myths of the titular sky god and the eternal blue sky.

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)

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.

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.

This kinetic typographic work emerges from a self-designed typeface inspired by ancient Persian mysticism and the poetic potential of limitation. Through experimental motion, analog methods, and personal writing systems, the piece questions how language—beyond legibility—can become a memory, protest, ritual, or whisper. Typography here is not merely a vessel for information but a living, shifting form of expression. This work invites viewers to listen beyond words and to imagine new ways of seeing, hearing, and feeling language—between sound and silence, tradition and invention, control and intuition.

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.

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

“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.

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.

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.

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.

To create Lake Ontario Portrait Nicole Clousten collaborated with Lake Ontario, mud, and microbes to explore bodily borders, responsible collaboration, as well as our connection and responsibilities to a broader ecology The work is comprised of fifteen prisms filled with mud from fifteen locations around the Canadian and American shores of Lake Ontario. When exposed to light, the microorganisms begin to flourish, becoming visible in the form of vibrant marbling. The work is alive and constantly changing as the microbes live and die revealing the vast array of life in soil and how we are connected by it.

Rui shall present two videos made around the theme of light. Lamp consists on a deconstruction of the first fractions of the second, when a light bulb is turned on. Library.Lights is a video documentation of a performance within QUB’s old main library building. Both of the video pieces, served as an inspiration for a collaborative improvisation with musician and sound artist Sergio Bernardo Gregorio.

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.

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.

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.

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.

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.

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.

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

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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.

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.

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.

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.

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.

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.

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.

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*

For the first time the Belfast band Heliopause will perform an A/V set. Known for encapsulating sensations, music and words, Heliopause will project unique visuals to further immerse the audience within its emotional grasp.

“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.

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)

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Light seen and unseen was created specifically for ISEA2019 and involved scanning scientific visualizations from various light wavelengths – at nonvisible, UV, visible and infrared wavelengths. Visualizations used were of a photon shower from the Veritas Atmospheric Cherenkov Telescope Array in Arizona; a solar prominence eruption recorded on May 3rd 2013 at UV wavelengths; a Hubble image of the Serpens constellation of the Eagle Nebula giving birth to new stars, at visible light wavelengths; and an image of the nebula NCG2174 at infra-red wave-lengths. These were sonified and animation was generated from the audio.
Moonlight is based on a high resolution image of a painting on the theme of phases of the moon by Maori artist WharehokaSmith. The relationship of the sun, the moon and Earth is of particular interest and concern to indigenous peoples and WharehokaSmith provided an abstract image where the phases are discernible in a way that is also reminiscent of traditional kowhaiwhai (painted rafter decoration) forms. This is the core visual data subjected to algorithmic regimes to create the audio video art work.
Higgs Boson Inverted is an expression of non-light. Perhaps the most significant development in quantum theory in recent times has been the confirmation of the Higgs Boson in a 2013 experiment on the CERN Large Hadron Collider by Cambridge University. Vibrations in the Higgs Field gives rise to the Higgs Boson, which is responsible for the mass of particles. As light is massless, the Higgs Boson plays no role in light so the video audio work resulting from scanning the Cambridge University data visualization of the experiment, was subjected to one further step: the colour inversion of the video where red became green, blue became orange et al – a transformation based on the complementaries of the colour wheel.

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.

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.

AMARI Ayu Video Works “line 2002” with Live Guest: MOMOJI & his Orchestra

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.

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.

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]

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.

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.

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.

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.

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.

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

Log 1 seems to be a romantic scene of a campfire, commonly seen in a campsite with countless stars shining, but what is burning on the firewood is a human-shaped figure. The figure, whether aware of being engulfed in flames or not, hums a song nonstop, much like a K-pop star. The scene, once a place where people sat around a fire with close ones, listening to quiet songs, reminiscing about the past, and making promises for the future, has transformed into a strange space where one watches an artificial intelligence singing out loud K-pop songs in a virtual fire. This K-pop style song is created by artificial intelligence based on the stories of young artists. Looking at the flaming artificial intelligence, it makes us to reconsider the intersection of various contrasting meanings, such as human and artificial intelligence, complexity and simplicity, the past and the future.

This project is about the unreliability of our planet swollen and full of cavities. It is a tale of contemporary and future use of the open space where the audience witnesses this infinity of uniform and hyper-detailed mutations that shake and quake its boredom. With no particular rule raped sea waters flow into a gorge where even early morning rays fade, carving the gap of distance with mankind.

This geological poem roots out of the last earthquake that shook Italy and which the artist felt on her own skin. This quake, like a ghost, haunted the people and the morphology of a huge area in the middle of the night. The artist investigates, in a game that goes beyond space and time, new possibilities for the sceneries crunched years ago by bulldozers, thus praising what might survive to the corrosion of the acid ocean of contemporary times.

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?”.

“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.

Wielding soldering irons over a ramshackle overhead projector, Tristan Perich, Kunal Gupta and Katie Shima wire up live musical circuits. Punctuated silence occupies the first few minutes of their set while the initial circuit is wired up on an antique overhead projector. The resulting explosive sound is dense and grows as more microchips are added.

Louisiana Re-storied is a web-based, interactive documentary that maps important spatial and cultural histories regarding pollution regulation in the Southern United States.

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.

Following after lunch, is Love Boat, filling the afternoon with drama and heartbeats.

Cat Hope and Lindsay Vickery, with special guest Mark Cauvin. For ISEA2013 Decibel will present  new compositions that focus on the lower end of the sound spectrum, and feature combinations of bass flute, bass clarinet, double bass and electronics. The works showcase graphic notation as a digital, mobile entity. Using ScorePlayer, an App designed by the group to read certain types of graphic scores, and other mobile score programming, the works feature improvisation, real-time electronic processing and the use of colour to guide score reading.

LPDT2 alludes Roland Barthes’s book ‘Le Plaisir du Texte’, a famous discourse on authorship, semantic layering, and the creative role of the reader as the writer of the text. LPDT2 is the Second Life incarnation of Roy Ascott’s new media art work La Plissure du Texte (‘The Pleating of theText’), created in 1983. LPDT2 does not attain its textual input from discrete individuals but from generative text which is being harvested from the online Gutenberg Project. Thus the project brings together the voices of many authors and epochs, pleated into a poetic waterfall of distributed authorship that is mapped both onto a three dimensional metaverse architecture as well as its (robotic avatar) inhabitants.

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.

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.

Lumen Suite is a digital meditation on the emotional and symbolic power of letterforms. Through light, rhythm, and typographic abstraction, the work explores how we perceive and internalize visual language. Each glyph becomes a vessel—of memory, of feeling, of the ineffable spaces between expression and interpretation. Lumen Suite is built on emotional impulses and is shaped by themes of belonging and trust. Trust becomes the hidden structure that allows emotional expressions to form and endure.

In Lumen Suite forms and time appear as a single organism—but that’s illusion. It’s all disegno, as they once called it: drawing as the bridge between the hand and the mind.

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.

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.

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.

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].

Machines to Listen to the Sky is an ongoing project initiated in 2013 by Dan Tapper to repurpose Very Low Frequency (VLF) natural radio antennas into installations, sculptures and art objects. VLF is an area of the radio spectrum that contains signals propagating in Earth’s ionosphere such as lightning and the northern lights as well as emissions from celestial objects including Saturn and the Sun. The VLF band also contains interference from man-made electromagnetic activities. This installation combines images and sounds detailing the breadth of information found in the VLF spectrum as well as the machines and devices used to transduce VLF into audible forms.

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.

The Made In… series are drawings that utilize a projector to create large-scale miniature paintings that explore colonialism, globalization, and world politics.

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.

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.

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.

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].

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.

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.

Computer Graphics Research Group, Ohio State University: Student Work

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-20^th 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 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.

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.

“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.

‘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.

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.

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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.

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.

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.

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.).

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.

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!

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.

Messages from the Horizon is an artwork inspired by the elusive nature of black holes and their study. Three semi-transparent displays represent black holes using an effect called persistence of vision. An array of monitors collects and assembles messages from the simulated black holes. Each monitor offers a different perspective of otherwise unknowable information from the simulated black hole messages through visualizations and sonifications in real-time. The result is an expression of the process of astronomical observation, knowledge acquisition and the human condition that simultaneously celebrates human achievement and the existential limitations of our being.

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

Concept sketching: William Sadler

Original music (collage: ‘Fantasy’): Rocky Teuter, Piano: Robin Bargar

Software:
Tom Hutchinson: Specialised motion control, path and surface warping
Susan Amkraut: Collision detection

Technical assistance: Michal Czeiszperger

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.

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.

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.

The artist’s quest for meaning is revealed through the use of natural environments, which are recontextualised and juxtaposed with digital elements as textures, colours and sounds. Exploring the duality between analog and digital, Metaract features superimpositions of artificial sounds and fragments created using 3DCG (three-dimensional imaging) technology, intensifying the narrative composition. This artistic elaboration could not be achieved using machines alone; rather, it requires the combination of real- and virtual-world phenomena. With this groundbreaking work, Manami Sakamoto and Yuri Urano hope to stimulate the public’s imagination and raise awareness about the joys of living in this ‘coexisting world’.

Metaract has benefited from the support of the Society for Arts and Technology’s (SAT) art creation program.

Method of Removing a Foreign Body from the Cornea (Surgeon Standing in Front of the Patient) is a part of the Diseases of the Eye series. In the Diseases of the Eye series, medical illustrations from the early 1890s are redeployed to explore the relationships between desire and disease; between the enlightenment and violence.

‘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.

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

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.

Microbial Objects Sound is an audiovisual performance where objects, inspired by microbes, interact to form a sound ecosystem. Algorithms simulate simple life mechanisms as virtual objects respond, move, and create sound compositions, exploring the boundaries of life and how we perceive it.

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.

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.

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.

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.

“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.

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.

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.

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.

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.

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.