Art Events Data Table

« First ‹ Previous 1 3 4 5 6 7 15 21 Next › Last »

Symposium Title Category Venue Artist Image Artist Statement Overview Technical Info Process Info Contributors Sponsors Medium Website Keywords
  • ISEA2013: 19th International Symposium on Electronic Art
  • Negativland
  • Sydney Harbour Foreshore
  • Mark Howard Hosler
  • ADVENTURES IN ILLEGAL ART: CREATIVE MEDIA RESISTANCE, NEGATIVLAND, AND THE FIGHT TO NOT BE ABSORBED

    Presented by ISEA2013 and Vivid Sydney, “Adventures In Illegal Art: Creative Media Resistance, Negativland, and the Fight To Not Be Absorbed” is a 90-minute storytelling and film presentation by Mark Hosler, founding member of the audio visual collage group Negativland. No lawyers were harmed in the making of this event. Pranks, media hoaxes, media literacy, the art of audio and visual collage, creative activism in a media saturated multi-national world, file sharing, intellectual property issues, evolving notions of art and ownership and law in a digital age, artistic and funny critiques of mass media and culture, so-called “culture jamming” (a term coined by Negativland way back in 1984) … if you are interested in any of these issues you’re sure to find this funny and thought provoking presentation worth your time and attention. Is Negativland a “band”? Media hoaxers? Activists? Musicians? Filmmakers? Culture jammers? An inspiration for the unwashed many? A nuisance for the corporate few? Decide for yourself in this presentation that uses films and stories to illustrate some of the creative projects, hoaxes, pranks and “culture jamming” that Negativland has been doing since 1980.
    More about Mark and Negativland – Since 1980 Negativland have been creating records, video, visual art works, radio, and live performance, using appropriated sound, image and text. Taken mostly from corporately owned mass culture, Negativland re-arranges these found bits and pieces to make them say and suggest things that they never intended to. In doing this kind of cultural archaeology and “culture jamming” (a term they coined way back in 1984), Negativland have been sued twice for copyright infringement. As a member of Negativland Mark has given over 100 lectures on these issues at various places like MIT, Yale, Princeton, Duke University, New York University, UC Irvine, UC Berkeley UCLA,  Seattle University School of Law, Cranbrook Academy of Art, Universities of Arizona, Virginia, Tennessee, Georgia, North Carolina, and at various venues in Washington D.C, New York City, London, Berlin, Barcelona, Lisbon, Bologna, Lausanne, Amsterdam, Stockholm, Toronto, Vancouver, Honolulu, and Melbourne Australia.  He has also given talks at the Regional Conference to End Corporate Dominance, the Consumer Electronics Show, the Conference On The Public Domain, World Fair Use day, and, as a citizen lobbyist, given presentations about art and copyright law to the offices and staff of various Senators and Congressmen on Capitol Hill in Washington DC. In 1995 Negativland’s released a 270 page book with 72 minute CD entitled “FAIR USE: The Story of the Letter U and the Numeral 2. This book documents their 4-year legal battle over their release of a single entitled “U2?.  San Francisco filmmaker Craig Baldwin produced a feature length documentary about Negativland, their “U2 single, culture jammers and other appropriation artists entitled “Sonic Outlaws” and Mark has appeared at many showings of this film to lecture, speak, debate, and answer the many questions that are raised whenever that film is shown. Negativland also created the soundtrack and sound design for Harold Boihem’s documentary “The Ad and the Ego,” an in-depth look into the hidden agendas of the corporate ad world that goes deeply into the gross and subtle ways that we are adversely affected by advertising. The group continues to perform and tour, broadcast their weekly radio show ”Over The Edge,” and more recent work includes “Our Favorite Things”, a feature length DVD collection of their many years of collaborative film work, and various retrospective art shows in Seattle, Minneapolis, Houston, and Los Angeles of their visual collage work.  
    negativland.com/news

    Declared heroic by their peers for refashioning culture into what the group considers to be more honest statements, Negativland suggests that refusing to be original, in the traditional sense, is the only way to make art that has any depth within commodity capitalism…  _NEW YORK TIMES

    Negativland isn’t just some group of merry pranksters; its art is about tearing apart and reassembling found images to create new ones, in an attempt to make social, political and artistic statements.  Hilarious and chilling.   _THE ONION

    A provocation and a punk-inspired commentary on our mercenary culture…eloquent and impassioned spokesmen for ideas like a “creative commons”…it’s salutary to see these smart and influential guys get a gallery show.
    _ART IN AMERICA

    Negativland, longtime advocates of fair use allowances for pop media collage, are perhaps America’s most skilled plunderers from the detritus of 20th century commercial culture…the band’s latest project is razor sharp, microscopically focused, terribly fun and a bit psychotic.
    _WIRED MAGAZINE

  • ISEA2014: 20th International Symposium on Electronic Art
  • Neuro Knitting
  • Plotting brainwave activity into a knitted pattern.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Neuronnection
  • El Centre d’Art Cal Massó
  • Anaisa Franco
  • ISEA2019: 25th International Symposium on Electronic Art
  • New Order / Siren Call?
  • Asia Culture Center (ACC)
  • Goh Uozumi
  • New Order / Siren Call? visualizes the existence of cryptocurrency as the origin of the new order. The cryptocurrency is a new electronic & programmable money based on cryptography and distributed network technology, typified by Bitcoin and Blockchain. The visualization-of-existence means to show everything that exists, including its structure, history, future, and thought. New Order / Siren Call? does not have a fixed form and consists of symbolic pieces distributedly. To Goh, the cryptocurrency is regarded as one of the movements of automation. Goh states that human beings are automating intelligence, labor, and money and the cryptocurrency symbolizes the automation of Trust, calling it “TRUSTLESS”. For Uozumi, TRUSTLESS is a new property that humans acquired for the first time in history. It has a potentiality to shift the human society and species system to the next phase by entrusting trust, as natural property like love, to the algorithm. Considering the meaning of what the algorithm acquires as the natural property, Uozumi believes this new technology is already changing the economic ecosystems rapidly, consequently leading to ‘the new order’ of the contemporary society. Going further from symbolizing/calling Blockchain- the “inorganic and complicated resource management protocols”- as mere ‘Coin’, New Order / Siren Call? aims to question the ‘positive’ future fueled with the rationality and will of humanity, perceiving the very technology as ‘Siren’s voice’.

  • Unfixed size, mixed media
  • https://goh.works/neworder/
  • ISEA2022: 27th International Symposium on Electronic Art
  • NewHome of Mind
  • Recinte Modernista de Sant Pau
  • Mónica Rikić
  • ISEA2023: 28th International Symposium on Electronic Art
  • Nh-9
  • Sandrine Deumier
  • Outland Exhibition April 7-23, Plateforme Paris

    Immersive and interactive installation, 2022

    Poetry in virtual reality
    Interactive immersive environment
    By weaving imaginaries in the mode of biomimicry, Nh-9 is an immersive poetry experience that attempts to develop notions of interrelationships as guiding links to build scenes of symbiotic relationships between humans and non-humans. humans The aim of this project is to allow to be immersed in a state of sensory modifications (and/or mutations) in order to construct interconnected landscapes by imagining a living world – made up of beings and the relationships between these beings.

    Synopsis
    Landscapes of interrelations
    The atmosphere, lunar and foggy, is studded with fireflies.
    These fireflies are extremely mobile, at the limit of the visible. Evanescent, almost below the picture – a multitude of evanescent and multi-shaped beings expanding to create a sort of fully moving space of unpredictable becoming.
    These beings-elements are interchangeable, declinable and modifiable to infinity. Each of these beings is a mobile, permeable and interchangeable unit: a part of the whole, the whole, the other part and the reverse. Mutate/Regenerate
    The challenge of Nh-9 is to allow oneself to be immersed in a state of sensory modifications (and/or mutations) to build landscapes of interrelationships by imagining a living world – made up of beings and the relationships between its beings.

  • https://www.agencetopo.qc.ca/wp/en/events/event/n-h9-sandrine-deumier http://sandrinedeumier.com/digitalpoetryn-h9.html
  • ISEA2002: 11th International Symposium on Electronic Art
  • nice to meet you
  • Shumokukan
  • Arisa Wakami
  • [e] movie works

  • ISEA2024: 29th International Symposium on Electronic Art
  • Night Body Blooms
  • Fiona Harding
  • Developed specifically for FLYING ARTistry and projected on the facade of the Judith Wright Building, Night Body Blooms is a moving digital work, visible to the public between 6 – 11 pm.

    Viewed on a loop, this large-scale projection collages watercolour paintings, photographs, neon line work, and a repeated self-portrait from the artist’s previous work, Night Body.

    Taking swatches from the natural world, the vivid, futuristic colourscape incorporates, the magenta of the hibiscus, the glow of the moon, and the neon green of the Mycena chlorophos mushroom, only visible at night. Night Body Blooms continues Harding’s ongoing celebration of nature and her fascination for the expansive frontiers of the universe.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Night Creatures
  • The Cube at QUT Gardens Point
  • Night Creatures is an augmented reality experience celebrating the energy, connection, and intimacy of the film festival queue via animated cinema-goers who take the form of fruit bats. Eight well-dressed stop-motion puppets talk to you about their favourite films, connections to subcultures, cinema experiences that shaped them, best film snacks, and other interesting and moving stories. Featuring eight short stories – derived from interviews conducted with a diverse selection of film festival patrons, volunteers, and employees – and a ninth experience inviting an audience response, viewers can interact with the animated bats at various locations.

    Each story is delivered as a stop-motion animated performance, each with a uniquely sculpted, stylishly dressed bat puppet. The stories contain surreal and magical elements to enhance the storytelling — surprise chickens, floating fish, a rainstorm — help to visually interpret the ideas embedded in the dialogue. All stories contain music to enhance and enrich them, and closed captions are provided for when audio can’t be used. Each story has a duration of between 50 and 90 seconds

    Night Creatures was originally designed to be experienced in a cinema queue. Cardboard cutout bats fly above and stand amongst the audience providing access via a QR code accessible on personal mobile devices. The work runs in a browser on any online mobile device.

    Creating a work that can be held in the hand of the viewer was for us a perfectly intimate format for creating a connection with the audience and the personal nature of the stories. Augmented reality works so well with our hand-made aesthetic, which were able to preserve to make our characters feel real. We partnered with Art Processors who worked with us to realise our very specific and at times technically-challenging vision, and feel thrilled that we succeeded in creating something that feels real and analogue within the digital world of AR. This was also due to the incredible music composed by Lehmann B Smith, and the compositing by Benjamin Portas.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Night of the living hippy
  • Verge Gallery
  • Ian Haig
  • How can you tell if a hippy is alive or dead? Referencing Paul Thek’s 1967 installation The Tomb (also known as Death of a Hippy), which contained a body cast of the artist as a dead hippy, Haig plays on notions of transcendental states and past lives in his attempt to simultaneously reanimate the concepts of artist, artwork and hippy. By casting contemporary technology as the catalyst in this exploration of a Gothic theme, the re-animation of a corpse, he highlights technology’s increasingly pervasive nature, extending its reach into, or beyond, the grave. From another perspective the work refers to the art world’s enduring relationship with death, in which the ‘value’ of the artist often increases only after their death; the art museum as a kind of mausoleum embalming ‘dead’ artworks; meanwhile the resurrected zombie hippy represents contemporary art, media and technology, where nothing is truly dead or off-limits, and everything can be brought back to life, reborn, remixed, recombined, reconfigured … . In many respects contemporary media is the media of the undead, the half life, the zombie; like the hippy half a century ago, it is the new ‘natural’ state of existence.

  • http://                ianhaig.net/index.php?section=project&name=install&num=2
  • ISEA2014: 20th International Symposium on Electronic Art
  • Nile Blue
  • American University in Dubai
  • The video could be seen as a type of “Noah’s Arc”, it contains animals that are considered as prey. Nile Blue refers to a color that is greenish blue, but it is also a dye used as a biological stain for cells, which changes from blue to purplish red as an indicator.

  • Video
  • ISEA2002: 11th International Symposium on Electronic Art
  • NINYUWORKSHOP2 Jisyu
  • Nagoya Citizens' Gallery Yada
  • ISEA2022: 27th International Symposium on Electronic Art
  • Nivel de confianza
  • Recinte Modernista de Sant Pau
  • Rafael Lozano-Hemmer
  • “Level of Confidence” is an art project to commemorate the mass kidnapping of 43 students from the Ayotzinapa normalista school in Iguala, Guerrero, Mexico. It was released on March 26, 2015, exactly six months after the kidnapping took place. The project consists of a face-recognition camera that has been trained to tirelessly look for the faces of the disappeared students. As you stand in front of the camera, the system uses algorithms to find which student’s facial features look most like yours and gives a “level of confidence” on how accurate the match is, in percent.

    The biometric surveillance algorithms used, -Eigen, Fisher and LBPH-, are typically used by military and police forces to look for suspicious individuals whereas in this project they are used to search for victims instead. The piece will always fail to make a positive match, as we know that the students were likely murdered and burnt in a massacre where government, police forces and drug cartels were involved, but the commemorative side of the project is the relentless search for the students and the overlap of their image with the public’s own facial features.

    The project software is available for free download so that any university, cultural centre, gallery or museum can set-up the piece and exhibit it. To show the work the institution must download the project software and provide a computer, screen and webcam.

    The full instructions and specifications are in this PDF document.

    The project also exists as an open source software, which can be modified by any programmer with knowledge of OpenFrameworks so that he or she can make their own version, with different content. An example may be someone who trains the algorithms with images from missing aboriginal women in Canada. To download the source code please visit our GitHub.

    On the launch of the “Level of Confidence” project, already the piece is planned to be exhibited at the MUAC Museum in Mexico City and at Universities across Mexico like Iberoamericana, UAM, Universidad de las Artes, Universidad Autónoma de Aguascalientes and others. Internationally the piece is being shown at Lozano-Hemmer’s exhibition at Art Bärtschi Gallery in Geneva, by the FOFA Gallery at Concordia University in Montréal and by the Universidad Nacional de Tierra del Fuego in Argentina. We shall update this page as more exhibitors show the work.

    The piece can be acquired for art collections, but all proceeds are directed to a fund to help the affected community, for example in scholarships for new students at the normalista school. The work is editioned with 12 copies and one AP, includes all the equipment, installation and a certificate of authenticity. It can be acquired through any of Lozano-Hemmer’s galleries.

  • https://www.lozano-hemmer.com/level_of_confidence.php
  • ISEA2002: 11th International Symposium on Electronic Art
  • niwa / scene2
  • Nagoya Citizens' Gallery Yada
  • Shigeo Ogawa
  • oil on cotton
  • ISEA2024: 29th International Symposium on Electronic Art
  • No Plexus Performance
  • The Brisbane Powerhouse
  • Enter a new holographic world in an epic feat of audio-visual art and technology at Double Vision, as part of ISEA 2024 EVERYWHEN. The final night of Double Vision sees an immersive live show from No Plexus.

    No Plexus has worked with renowned stage designer Emmanuel Biard (Evian Christ, Koreless, Lotic) to develop an immersive live show for their debut album, featuring holographic display systems, extensive light programming and live-video feeds. The combination of these elements creates an exciting dark atmosphere that sets the tone for the themes of the album. These themes artfully intertwine deep sarcasm and Y2K nostalgia, portraying a ‘coming-of-age’ narrative within a society teetering on the brink of climate catastrophe and war. Audiences can expect a truly epic sensorial assault of electronic sound, light and image.

  • ISEA2011: 17th International Symposium on Electronic Art
  • noemaflux
  • Nuru Ziya Hotel
  • Troy Innocent and Indae Hwang
  • noemaflux describes an act of shifting perception. This work it is centered on augmented reality that enables different ways of seeing the city. The experience is constructed via a network of relationships.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Non Dimensional Cities
  • Recinte Modernista de Sant Pau
  • Marnix de Nijs
  • ISEA2018: 24th International Symposium on Electronic Art
  • NONUMENT 01::McKeldin Fountain
  • Ushaka Aquarium and Beach
  • Lisa Moren, Neja Tomšič, Jaimes Mayhew, and Martin Bricelj Baraga
  • NONUMENT01:: McKeldin Fountain is the first augmented reality [AR] monument in Baltimore Maryland’s Inner Harbor and free speech zone. The egalitarian nonument or “no monument” recreates the destroyed Brutalist-style monument where citizens can put back the fountain and experience first- hand memories of the activities from ordinary activities to numerous protests including uprisings following the death of Freddie Gray, Black Lives Matter, LGBTQ issues and Occupy Baltimore. The story of McKeldin Fountain is part of the escalating privatization of public spaces worldwide, a trend that continues to diminish access to full participation and free speech for ordinary people in everyday urban life. This socially engaged intervention is an ambitious take on the latest AR technology in order to address the politics of reclaiming public space including: how public behavior is controlled by a variety of mechanisms?, and, who has more exclusive access to what spaces? When viewers hold up a mobile device like a protest sign, the participant will put back the fountain with 18 animated waterfalls including an infamous double waterfall. Viewers will see and hear documented interviews and “whisper chambers” of underrepresented voices in Baltimore City that are often unheard but significant to the life of an urban environment.

  • This project is grateful for the generous support from the Saul Zaentz Innovation Fund in Film + Media at Johns Hopkins University, The Andy Warhol Foundation for The Visual Arts, The Grit Fund [Contemporary Museum], the Imaging Research Center and CAHSS at UMBC (University of Maryland – Baltimore County, USA).

  • Augmented reality monument
  • http://nonument01.org/
  • ISEA2013: 19th International Symposium on Electronic Art
  • Nordic Outbreak
  • The Concourse
  • Nina Colosi and Tanya Ravn Ag
  • Streaming Museum is pleased to present at ISEA2013 a special collection from Nordic Outbreak, an exhibition of over 30 moving image artworks by established and emerging contemporary Nordic artists curated for public space. Curated and produced by Nina Colosi and Tanya Toft, the exhibition and accompanying public programs launched in New York City, March 1 to April 6, and are travelling throughout the Nordic region and internationally in 2013-14. Nordic Outbreak will be viewed as large projections and on screens in public spaces, on its website, and at partnering cultural centres. The themes presented in the artworks reflect discussions and issues that have been critical to the Nordic context in the past decade – such as gender equality, decline of the welfare state, nationalism vs. globalism, rural nostalgia, the man/nature relationship, post-crisis transition and existentialism. These issues confront the underpinnings of society in the Nordic region – but they also reflect international realities and conditions in the digital age. Nordic Outbreak opened on March 1st 2013 with a new version of Björk’s Mutual Core video by Andrew Thomas Huang, from her Biophilia series, on view during Times Square’s Midnight Moment, simultaneously displayed across 15 of the largest screens in Times Square. Public programs included a symposium and exhibition at Scandinavia House with Keynote speaker Erkki Huhtamo, Professor of Media History and Theory, University of California Los Angeles, Nordic artists, theorists, and curators; screenings at Big Screen Plaza, Dag Hammarskjold Plaza (“the Gateway to the United Nations),and the Manhattan Bridge Archway, a lecture at New York University on the history of Nordic moving image, and an evening event in the Sky Room at the New Museum. Nordic Outbreak is produced in collaboration with Nordic curators Daniela Arriado, Birta Gudjonsdottir, Kati Kivinen, and Jacob Lillemose; and cultural centres Kiasma Museum of Contemporary Art, Reykjavik Art Museum, Danish Architecture Center, Screen City Festival, Katuaq the Cultural Centre of Greenland, PNEK, AV-Arkki.
    Nordic Outbreak is supported by Nordic Culture Fund, Nordic Culture Point, Consulate General of Sweden, Royal Norwegian Consulate General, Consulate General of Finland, Consulate General of Denmark, Consulate General of Iceland, Office for Contemporary Art Norway, Icelandic Art Center, PNEK Production Network for Electronic Art Norway, The Danish Arts Foundation. Bjork In Times Square is a collaboration between Streaming Museum, Times Square Advertising Coalition and Times Square Arts, and MOCAtv for the Museum of Contemporary Art Los Angeles.

     

    Nordic artists in the complete exhibition:

    • Eija-Liisa Ahtila
    • J. Tobias Anderson
    • Björk
    • Ken Are Bongo
    • Jeannette Ehlers
    • Efterklang
    • Jette Ellgaard
    • Jessica Faiss
    • Søren Thilo Funder
    • Sigurdur Gudjonsson
    • Styrmir Örn Gudmundsson
    • Eva-Mari Haikala
    • Iselin Linstad Hauge
    • Kaia Hugin
    • Hanne Ivars
    • Mogens Jacobsen
    • Vibeke Jensen
    • Jesper Just
    • Hannu Karjalainen
    • Antti Laitinen
    • Dan Lestander
    • Una Lorenzen
    • Pernille With Madsen
    • Dodda Maggy
    • Eva Olsson
    • QNQ/AUJIK
    • Miia Rinne
    • Egill Saebjornsson
    • Magnus Sigurdarson
    • Birgitte Sigmundstad 
    • Superflex
  • http://nordicoutbreak.streamingmuseum.org/
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Northern Resonances (excerpt)
  • Run Run Shaw Creative Media Centre
  • Roman Zavada
  • With an upright piano planted in the rock of the Canadian Shield, this film offers a colourful immersive dive into the heart of the boreal forest, under the polar lights where the piano’s resonating strings enter in a dialog with the filmed 360 degree auroras.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Not Available in Your Country
  • American University in Dubai
  • Daniel Cermak-Sassenrath
  • Not Available In Your Country provides participants with a personal, immediate and provocative experience with online censorship. Participants use an interactive system that is successively shutting itself down.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Notepad
  • New York University Abu Dhabi
  • Matthew Kenyon
  • Notepad, were covertly distributed to US representatives and senators, as a sort of Trojan horse, injecting transgressive data straight into the halls of power and memorializing it in official archives.

  • ISEA2020: 26th International Symposium on Electronic Art
  • Nova
  • Serious Computer Group (SCG)
  • Nova is a responsive video installation. The work is a study of waves, in which a software system combines video footage of water and synthesized graphics to generate evolving visual patterns in real time. These patterns gradually adapt to movement in the work’s environment, creating a contemplative relationship between Nova and its viewers.

    At the heart of Nova is a set of visual compositions in which subtle, shifting colours play across imagery that is simultaneously familiar and alien. While the projections appear tranquil at a passing glance, focused attention reveals an intricate tapestry of movement unfolding in time.

    As a complex generative system, composing images with Nova involves relating to the computer as if it were a collaborator rather than an inanimate tool. We are interested in developing this communicative form of composition through the use of machine learning and artificial life techniques. In the context of ISEA2020, we will be in residence at 4th Space actively experimenting with these methods in order to expand and accelerate our exploration of Nova’s aesthetic possibilities.

  • Responsive video installation
  • https://serious.computer/work.html
  • Responsive System and video installation
  • ISEA2013: 19th International Symposium on Electronic Art
  • No[w]here (reallybigroadtrip)
  • 2013 Overview: Public Events
  • Fee Plumley, Kate Chapman, Brenda L. Croft, and Cheryl L’Hirondelle
  • “There are going to be times when we can’t wait for somebody. Now, you’re either on the bus or off the bus. If you’re on the bus, and you get left behind, then you’ll find it again. If you’re off the bus in the first place — then it won’t make a damn”.
    _As quoted by Tom Wolfe in The Electric Kool-Aid Acid Test (1968)

    We invite you to join us over ISEA2013 in a microcosm of the overarching reallybigroadtrip world. We’re so fluid you can even choose one of three forms to connect with us. The bus will demonstrate the (inter)national adventure by hosting a mini version. Starting from Paddington we will be driving around Sydney finding locations that just feel like they would be a good place to stop. We will not be using maps, just following our noses and waiting for the place that just feels right. Once the location has been found my Nomad in Residence Kate Chapman and myself will park the bus, put out a couple of chairs and throw on the magnetic signs that indicate we are ‘open for business’. Then we will just see what happens.
    Some passers-by will come and ask what we are doing, so we will tell them about reallybigroadtrip and about ISEA2013 and how we want to just meet people and see what happens. Sometimes they will suggest where we go next – we have two spare passenger seats so it’s entirely possible we will take them along with us when we go. Some ISEA2013 audiences might know we’re doing this and want to come and find us in a random spare moment. We will take an instagram photograph (my account is @feesable) tagging our location so that at any time you can see where we are. If you want you can also message us directly; I’m @feesable and Kate is @wonderchook on Twitter. Be aware that we might be engaged in deep conversations with random strangers so you should let us know that you are coming so that we can hang around long enough to connect with you. And if we get ‘moved on’… well that’s all just part of the journey, right?

  • ISEA2018: 24th International Symposium on Electronic Art
  • Nwavu, the Blind Man
  • BAT Centre
  • João Graça, João Roxo, and Alexandre Coelho
  • Nwavu, the Blind Man is a short animation film in the development stage. It’s a film that proposes to combine a tale adapted from the Mozambican oral tradition with the visual aesthetic of the Batik, which is one of the most iconic artistic expressions of our culture. The animation appears in this case as a privileged means to give a second life to this tales in risks of extinction. The process behind the making of this animated film is an experimental one. All the Characters and Backgrounds will be created as batiks and thereafter, we will scan, rig and animate with digital media. Oral storytelling tradition is our starting point, the will to revitalize this tradition and take it to a contemporary medium, recontextualizing while simultaneously preserving it.

  • Short animation film
  • http://anima.co.mz/
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Object-Subjectivities
  • Linda Lai and Floating Projects Collective
  • In 2010 Lai founded the Floating Projects Collective, which currently consists of about 20 members engaging in experimental art production. The Collective participated in Lai’s Object-Subjectivities (2016), a new work with installation and performance components based on Object-activity (1989) and LOOK: Object-activity (2006). In July 1989, one month after the June-Fourth Tiananmen massacre, an improvised performance was staged by artists including Choi Yan-chi, Leung Ping-kwan, Mui Cheuk-yin, Yau Ching and others. The performance was reconstructed by Lai in 2006 and once again on 21 May 2016; for Lai, each rendition has a different conceptual, pictorial and formal focus. She writes:
    While LOOK: Object-activity suggested a time and mind at ease, Object-Subjectivities in 2016 asserts the therapeutic power of communication via doing things together. The principle of “collective co-individuation” manifests itself in a play with objects – each performer follows his/her own self-made routines to create a meditative space that also invites sharing and exchange.  [source: 
    artradarjournal.com/2016/07/06/no-references-9-hong-kong-video-and-new-media-artists-part-1/]

    Object-Subjectivities: FPC performing at No References
    The performance “Object-Subjectivities” (OS), performed by 10 Floating Projects members, annotates Linda Lai’s wall installation of the same title. OS dialogues with “Object-Activities” in 1989 and “LOOK: Object-activity” in 2006. OS is a series of structured improvisations in 3 acts with a coda. Cleansing with water is the overall metaphor. The 1989 performance “Object-Activities” was a cross-disciplinary modernist art experiment. Performed in July after the June-Fourth massacre, it was a “mourning” event. The 2016 performance “Object-Subjectivities” asserts the therapeutic power of “doing things together.” The principle of “collective co-individuation” manifests itself in a play with objects. Each performer follows his/her own self-made “algorithmic” routines.
    The resultant performance is a meditative space that also invites sharing and exchange.

    Act One: ”automation, emergence, artificial intelligence, programmed democracy”
    Act Two: ”hardworking algorithms”
    Act Three: ”collective co-individuation”
    Coda: ”relentless remembering”

    Total performance time: about 40 minutes

    Concept/structure: Linda LAI; Producer: WONG Chun-hoi; Water closet (design): WONG Chun-hoi, Wing CHEUK; Chinese text: LAI Wai-leung; Performers: Linda LAI (live automatic writing), WONG Chun-hoi, Andio LAI, WONG Fuk-kuen, Hugo YEUNG, Fiona LEE, Kenji WONG, Anna CHIM, DING Cheuk-laam, and CHEUK Wing-nam.

  • ISEA2023: 28th International Symposium on Electronic Art
  • OctoAnemone
  • Le Cube Garges
  • Yin Yu
  • Exhibition. Le Cube Garges, April 27 – May 18

    2022
    Interactive Installation

    Artist and researcher Yu Yin is interested in how the contemporary world influences the development and evolution of current and future living species. The OctoAnemone is a speculative sea creature, the morphology of an as-yet-unknown artificial life form created by the Father of the post-Anthropocene.The encounter with this future being allows us to explore forms of future communications with beings endowed with an intelligence and a language that diverge from ours.

  • https://w2.mat.ucsb.edu/yinyu/projects/OctoAnemone.html
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Office of Environmental Experiments
  • Kll Art Village
  • The Office of Environmental Experiments (OEE), is a participatory arts and technology initiative that aims to address the ecological and environmental health concerns of urban citizens via novel and creative uses of ecological research, environmental monitoring, and renewable energy technologies. We seek to foster awareness and greater community agency and autonomy over issues of energy production, ecological stewardship and environmental health and sustainability.

    For the first phase of this project, we deployed a prototype for a “Floating Data Wetland” in Wuhan, China. Done in collaboration with students and members of the local community, this is a floating island housing sensors and lights, along with native plants and grasses. The system measures water quality and in turn changes the color ofthe lights (red = bad water quality, blue = good). In addition, anyone with an Internet connection or mobile device can receive real-time information from the floating wetland, as the data is shared openly online. The vision for the project is to create a network of these data wetlands across the city, in its plentiful lakes and rivers.

    Participants could also register to receive updates on this data and identify stations near them in need of care, in essence “adopting” these wetland systems. The light and sound produced by the wetlands would serve as indicators of species activity, water quality and collective human interest in the environment. The floating wetlands themselves may also improve the overall water quality of the lake or river where they are deployed (as well as providing shade for the fish, which is typically beneficial).

    The Floating Data Wetland was completed at the K11 art village, located in Wuhan, China as part of the K11 Art Foundation x FUSE ISEA2016HK Residency Program, an initiative formed by KAF and Videotage as part of the 22nd International Symposium on Electronic Art (ISEA2016).

  • https://oee.ccastellanos.com/wuhan/
  • ISEA2002: 11th International Symposium on Electronic Art
  • Ogisopan Live Performance Nov 1
  • Diamond Hall
  • ISEA2022: 27th International Symposium on Electronic Art
  • Oh Deer!, 2021
  • Recinte Modernista de Sant Pau
  • Frederik De Wilde
  • “Oh Deer!” is about watching an AI slowly forget.
    The result is a poetic and spooky experiment with Machine Learning.

    De Wilde’s artistic R&D project explores the connection between the biological brain and the synthetic computational brain. The video is made by applying custom weight degradation on a Generative Adversarial Network (GAN), until the image dissolves into a digital  monochromatic plane or pixel. Maybe man and machine are not so different after all?

    What if AI’s, modelled by, and after, human behaviour, become a mirror image of us? This is the premise of “2001, A Space Odyssey”, and the movie comes to the conclusion that, if HAL has feelings, it is definitely the Will to power. Is digital ageing, or HALzheimer, a possible antidote and solution to counteract the Will to power?

    The artwork explores the ephemeral qualities, and fragility, of memory, examined in relationship to the subjects of power and control, as in Hegelian master-slave dialectics.

  • https://frederik-de-wilde.com/project/oh-deer/
  • ISEA2024: 29th International Symposium on Electronic Art
  • Okanagan Waterways
  • Aleksandra Dulic
  • Okanagan Waterways visualization explores the nature of our relationship with water – from the impact of development on the environment to the importance of traditional ecological knowledge in ensuring all living things have clean water now and in the future. In keeping with Syilx environmental ethics the Okanagan Waterways reminds us that we all have a responsibility to work towards building and upholding the sustainability of water for healthy ecosystems and future generations.

    Waterways exhibit allows visitors to experience a touch screen and audio dispersion displaying interactive 3D visualizations of Okanagan landscapes and waterways before colonial development that show dramatic ecological changes to flood plains wetlands and riparian habitats in the last 100 years. Visualizations depict the entire core of the city of Kelowna between Mission Creek and Mill Creek floodplain. The locales focus on the historical characteristics of Mission CreekMill Creek their tributary creeks wetlands and the floodplain areas of the Okanagan Lake system. The touch-screen interface affords exploration of the diverse and sensitive Okanagan ecosystems including plant anima land insect species indigenous to the region. The interactive virtual environment enables the exploration of two layers: historical and contemporary. It overlays the current urban and agricultural development over ecological history visualizations providing an essential understanding of what we have lost and how much we have transformed our environment. The information and stories embedded in the visualizations offer a creative platform for dialogue and learning diverse cross-cultural community-based poetic traditional and scientific water knowledge and values.

    Waterways 3D visualizations use a research-creation approach to bridge scientific Indigenous artistic and humanistic perspectives within a media-rich data-driven immersive environment. The Waterways demonstrates how the research-creation method enables articulation and exploration of the nature of human-water relationships in the Okanagan ValleyBritish Columbia. The resulting visualizations employ immersive technologies and software design to form a platform for dialogue across community-based poetic and scientific water knowledge. The project synthesizes essential water knowledge and research to catalyze ecological awareness and promote sustainable water use practices among Okanagan residents. By weaving together multiple community stories diverse water knowledge and artistic expressions the visualizations provide a setting for our complex local understanding of water. Acknowledging the sustainable practices of the Syilx Okanagan people as stewards of this landwe engage in a design methodology for creating an experiential learning environment that aligns with the holistic approach critical for enhancing communal resilience.

    Indigenous approaches to research are conducted through relational accountability meaning that responsibility relevance respect for and reciprocal engagement with all living beings are considered. Based on these overarching values and beliefs the research methodologies reinforce the understanding of how the researcher is placed within a circle of relationships. The relevance of the research is reflected in how communities will benefit from the project and its outcomes. Respect for interrelated participants in the research process manifests in careful attentiveness to those relationships. Reciprocal engagement requires the researcher to co-develop exchange and participate in the local community context highlighting collaborative processes for constructing knowledge through self-reflexive engagement and participatory action. These ideas provide a research context for co-designing and visualizing place-based knowledge. This research takes a holistic approach to experience design and builds bridges between scientific knowledge computational analytics and cultural resources to develop media-rich visualizations.

  • ISEA2002: 11th International Symposium on Electronic Art
  • On the passage, H-city
  • Aichi arts center
  • H-city, located in the south part of Aichi prefecture, is a beautiful city with some rivers in all directions. R€cently, I visited there for the first time. I was impressed with the tasteful scenery and the people’s warmful attitude. I had composed this piece before I visited H-city. This piece was created with the imaginary landscape which I made based on the statements of my friends who live in H-city. I greatly appreciate deep collaboration with the guitarist Mr.Sakai and the VJ, Mr. Sumiya.

  • ISEA2024: 29th International Symposium on Electronic Art
  • On the Precipice of Forgetting
  • The Loft Theatre, QUT Creative Industries Precinct
  • Robyn Backen
  • ‘On the Precipice of Forgetting’ brings together two bodies of work. First is my long-term research project into acoustic architecture, specifically whispering architecture, alongside a concern for why we forget and how the balance between episodic and procedural memory teeters on the edge. Navigating the instability, distortion, and gaps in our recollections and memory structures challenges understanding memory and cognition. This artwork delves into the intricacies of human thought processes and broken communications.

    It is located at the top of the Whispering Wall, Reservoir Dam, SA, and within the small hut at the base of the giant concrete parabola, which holds back the voluminous water. Within the hut is a discrete video work with the voices of three women in conversation. One gently directs, offering a pathway for the fading episodic memories of the other two, who drift in and out of broken, fanciful remembering. On the top edge of the wall, another conversation occurs between two females on the precipice. The conversation has been interpreted by an AI generator, creating a new language that is at once foreign and surprisingly perceptible. In the state of forgetting, broken fragments subside into a new zone of understanding.

    Thank you to Ian Hobbs and John Tonkin for their support while learning about creating and inhabiting a Virtual space.

  • https://gallery.styly.cc/scene/876d7981-eb06-4d32-93b3-7f43a5a0cb38
  • ISEA2014: 20th International Symposium on Electronic Art
  • On the road (fe fekret hastam)
  • A4 Space
  • Naz Shahrokh
  • This work is a conversation with Jack Kerouac and his scroll, and Zen Buddhism, the practice of consciously living in the now, while walking through the journey of life.

  • ISEA2002: 11th International Symposium on Electronic Art
  • On the shore
  • Nagoya Citizens' Gallery Yada
  • Mika Kunieda
  • Digital print, light
  • ISEA2016: 22nd International Symposium on Electronic Art
  • One Sound of the Futures
  • Isaac Chong Wai
  • Location: Kai Tak Runway Park

    3 Channel Video, HD loop: 7:13 min
    Photo Edition, Acrylic glass on photo prints
    Performance at Kai Tak Runway Park in Hong Kong, Democracy Square in Gwangju in South Korea, K11 Artist Village in Wuhan in China at the 5th Large-Scale Public Media Arts Exhibition “Human Vibrations” curated by Caroline Ha Thuc

    Description:
    “One Sound of the Futures” is a performance involving people from Hong Kong, South Korea and Wuhan in China. Standing like living sculptures, the participants were asked to simultaneously formulate the sound of the futures from Kai Tak Runway Park in Hong Kong, Democracy Square in Gwangju and from K11 Artist Village in Wuhan. Lined up in a stringent formation they expressed how they imagined their own and personal future. By mixing all these different voices of the futures, diverse times interwove to become a unique moment when the time that has not yet come is addressed. This ultimate, intangible time resounded in a spoken yet indefinable noise created by hundreds of individual voices heard from different cities and countries.

    Presented by: Hong Kong Arts Development Council
    Organizer: Hong Kong Arts Development Council
    Venue Partners: K11 Art Foundation, Leisure and Cultural Services Department, Hong Kong & Wuhan K11 Artist Village
    Exhibition Partners: Burger Collection & Gwangju Cultural Foundation
    [source: 
    isaacchongwai.com/one-sound-of-the-futures-2016]

  • http://isaacchongwai.com/one-sound-of-the-futures-2016
  • ISEA2017: 23rd International Symposium on Electronic Art
  • OneOne
  • Daniel Belton
  • Soundscape-media art

    OneOne has been described as a masterwork of beauty and power – radical in its combination of innovative new media and ancient cultural knowledge. The human figures in OneOne shift through geometric virtual stone-form containers and suggest the presence of breath in the soundscape. This creates a pictorial representation of air movement inside the river stones, which are blown and drummed to make sound. Human figures become holographic when processed through the digital, the binary. Their movement establishes a hieroglyphic language of dance that synchronises with the sounds of nature, Taonga Puoro and the hollow stone flutes of the Maerewhenua River.
    OneOne reflects an ancient elemental energy – ancestral memory unfolds in a digital cloak of
    projected bending light and sound. The Maerewhenua River stones are 23-25 million years old. They have inspired the artistic research and creation of OneOne in its delivery as interactive museum installation, expanded cinema transmission, architectural projection mapping and AV Liveset stage performance. Selected stones have been carefully scanned and 3D modelled to become spectral Waka, or vessels that transport the human figure in time and space. They evoke kinetic Polynesian navigation charts, cetaceans and islands. OneOne explores the twin acts of voyaging and coming to land.

  • ISEA2015: 21st International Symposium on Electronic Art
  • OnNextCount
  • Wong Theatre
  • OnNextCount uses a generative music system that directly relates the compositional gestures of the author playing Trombone to the frame of structured improvisation. The piece explores alternative ways to engage in electronic music performance and representation. The improvisatorial and generative elements used within this performance are in dialogue with human and machine autonomy, disruptive aesthetics and the ephemeral. OnNextCount is performed using Ableton Live software and uses an embedded Max for Live system to generate new musical material and signal-processed gestures.

  • Live Trombone and MAX programs
  • ISEA2014: 20th International Symposium on Electronic Art
  • Onwhatis
  • Lobo Listone Gallery
  • Onwhatis – is language experiment, digital dynamically generating bookmachine -’natural language’ engine acting as ghost writer, collaborator and framework – where language acts upon language, activating and destabilizing Parmenides Fragments.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Ooi & Environs
  • Assembly Hall, Nagoya Port Building
  • After World War II, I was sketching the transfiguration of my birth place around the Ooimachi Shinagawa area, especially with focus on the temple, the old storehouse, the crowd in front the Ooi Railway Station, and the Ooi Quay which had caught my eyes as a child. I visualized the transfiguration of these places by video in 1977.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Opening Ceremony outside Carriageworks
  • 2013 Overview: Performances
  • Performance Space
  • Indigenous Australian Dance Group
  • ISEA2022: 27th International Symposium on Electronic Art
  • Opportunity in Obsolescence
  • Santa Mònica
  • Erik Contreras
  • With many issues surrounding our high-tech products including: 1) planned obsolescence, 2) a linear “cradle-to-grave” life cycle, 3) the accumulation of electronic waste (e-waste), and 4) consumer culture, there is potential of finding creative solutions to reusing/repurposing our obsolete technology. This potential can be found in this artistic work where a typewriter hacked to perform as a USB printer using the design principles meant to combat the issues listed above. This includes using open-source hardware and software as well as incorporating adaptive design for future updates.

  • ISEA2011: 17th International Symposium on Electronic Art
  • Opposing Views
  • The Museum of Contemporary Art Zagreb
  • Danielle Roney and Jeff Conefry
  • Opposing Views: The visualization of conflict and debate through biofeedback, sensor driven, real-time video programming. A performative architecture presenting new avenues of communicative infrastructures.

  • ISEA2018: 24th International Symposium on Electronic Art
  • ORE: Soundscapes of the Anthropogenic Now
  • 2018 Overview: Public Events
  • BAT Centre
  • Benny Jonas Nilsen
  • ORE focuses on the audio dimensions of contemporary mining techniques and rare earth mineral mining. The project stems from an interest in the global nature of mining for various reasons, ranging from a fascination with deep time (geological and evolutionary processes occur on profoundly different timescales than those we deal with in our daily lives) to the Anthropogenic Now. The concepts of controlling and re-shaping the Earth through mining have major environmental consequences which will be evident far into the Deep Future.

  • Event
  • ISEA2014: 20th International Symposium on Electronic Art
  • Oscillating Expedition
  • Janet Bellotto and Barnaby Priest
  • Bellotto and Priest continue a collaboration of video and music composition, interested in revealing and capturing routes of travel and explore the dynamics between disappearing sounds and image. Janet Bellotto: video, Barnaby Priest: composer, with members of the Dubai Chamber Orchestra.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Other Days, Other Eyes
  • Santa Mònica
  • Shona Kitchen
  • Other Days, Other Eyes (2019) refers to the evolution of the ubiquitous recording infrastructures that surround us and reflects on the generation and transmission of that information as well as society’s growing abundance of cotidian and banal information.

    The installation consists of a hanging platform from which glass forms are suspended. Some of these contain cameras that record footage which can be viewed, with varying delays, on a screen placed on the floor.

    The piece combines live footage with varying curiosities of the everyday, archived elements, and analog glass blobs laden with the weight of the collected digital content. Smaller blobs seep out of the walls, evoking budding newcomers that may very well grow up to become a camera one day, speculating on the evolution of live architectural organisms. The work captures the coexistence of the physical and the virtual, the natural and artificial, the real, the imagined, and the absurd.
    Film duration is 7 minutes

  • https://www.shonakitchen.com/otherdaysothereyes
  • ISEA2017: 23rd International Symposium on Electronic Art
  • Our Baby
  • 2017 Overview: Screenings (“Media Art”)
  • Jérémy Pouilloux
  • A VR mini-series in 10 episodes. As you emerge from your mother’s womb in a Paris hospital, you see the world and the world sees you for the first time. When you come face to face with your thirty-something parents (your mother is looking haggard after her labour, your father anxious and already wary), they see a physical defect affecting your face, one that will mark you forever. Will they be able to cope with this misfortune? Another life is just beginning for them, one of hell and love, one where they must master their distress and achieve a new equilibrium. Can they accept you as you are? Welcome to the world of a newborn infant.

  • Screening/Media Art Piece
  • ISEA2014: 20th International Symposium on Electronic Art
  • Our History of the Telephone
  • Zayed University - Dubai
  • Sarah Nesbitt
  • Established in 2003, XVA is one of the leading galleries in the Middle East that specializes in contemporary art from the Arab world, Iran and the Subcontinent. Exhibitions focus on works by the regions foremost artists as well as those emerging onto the scene. The gallery’s artists express their different cultural identities and perspectives while challenging the viewer to drop prejudices and borders. XVA Gallery exhibits both locally and internationally; collaborating with galleries and participating in international art fairs, such as Art Basel Hong Kong, SH Contemporary, Singapore Art Fair and Abu Dhabi Art in 2014, in order to further expose Middle Eastern contemporary art. XVA Gallery and XVA Art Hotel are located in Dubai’s heritage district, now called Al Fahidi Historical Neighborhood. XVA founded and organized the Bastakiya Art Fair from 2007- 2010 as part of its commitment to raising the profile of contemporary art practice in Dubai. For three years XVA was located in DIFC, and has now expanded itself in Al Fahidi.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Our Things
  • The Loft Theatre, QUT Creative Industries Precinct
  • Juliette Séjourné
  • “Our things” is an artistic response, based on scientific research and documentation, to the current context of modernisation and perpetuation of nuclear arsenals, as well as the possible resumption of testing. The goal of this research-creation project is to reveal to a wide audience, in an accessible and sensitive way, an updated history of the military nuclearisation of the world, towards today’s awareness, since ignorance of the nuclear bomb history grows in the general public as the memory of Hiroshima fades.

    In an immersive environment, the participant can listen, through spatialised data sonification, to the chronology and different characteristics of nuclear explosions, as well as their lasting effects.

    In addition to a Styly presentation as part of ISEA 2024 online creative works, “Our Things” will be presented at an artist talk on June 24 during the virtual academic conference program.

    This project was initially formalised during a residency at the research unit Nuclear Knowledges (CERI Sciences Po Paris).

  • https://gallery.styly.cc/scene/6520437c-1d60-475d-bb0a-46591cb0e7f8
  • ISEA2023: 28th International Symposium on Electronic Art
  • Out Of Space (Pic Epeiche/Great Spotted Woodpecker)
  • Topographie de l’art
  • Marie Lelouche
  • Fusion of the Possible, Topographie de l’art, April 15 – June 15

    Printing on fabric: Sublimation on artificial silk, 10 x 3 m
    Volume: CNC machining on okoume, 2600 x 2600 x 620 mm
    Courtesy of the Alberta Pane gallery, and Adagp, Paris. Out Of Spaces was produced in partnership with the Contemporary Art Center The Tanneries in Amilly.

    Out Of Space (Pic Epeiche/Great Spotted Woodpecker) is part of the Unforeseen Spaces exhibition.

    The development of the virtual reality work entitled Unforeseen Spaces benefited from the support system for multimedia and digital artistic creation from DICRéAM, CNC — National Center for Cinema and Animated Images. The sonic dimension of the work Unforeseen Spaces is based, in part, on the use of bird song recognition programs/software BirdNET and BirdNET-Pi as well as from the collaborative online avian sound library XENO CANTO, thanks to the recordings by Peter Boesman, Jorich van Arneym, Frank-Udo Tielman, Grzegorz Lorek, Jerome Fischer, Larss Edenius, Jorge Leitano, Tristan Guillebot, Jarek Matusiak, Mateusz, Erik Roels, Sylvan Schnabel, Alin Malengreau, Norbert Uhlhaas, Bodo Sonnenburg, Brickegickel, Toon Jansen, Frederik Fluyt, Hans Matheve, Twan Mols, Florian Kubala,Bernard Bousquet, Fabian Deck, all under Creative Commons License. [Translated from french by Google Translate]

  • https://www.lestanneries.fr/exposition/marie-lelouche-out-of-spaces
  • ISEA2014: 20th International Symposium on Electronic Art
  • Pace
  • 2014 Overview: Video Screenings
  • Zayed University - Abu Dhabi
  • Andrew Ellis Johnson and Susan Slavick
  • ISEA2019: 25th International Symposium on Electronic Art
  • Pachinko Machine
  • Asia Culture Center (ACC)
  • Brigitta Zics
  • Pachinko Machine is a self-learning algorithmic drawing constructed as a pinball machine. The Machine plays the game a game of pinball itself in an automated setup. During the period of the exhibition the Machine’s algorithm optimizes its own performance through machine learning and becomes increasingly good at trying to win the game of pinball. The only barrier to success is beyond the algorithm’s control: there is a second intelligence embedded within the machine that aims to obstruct and obfuscate. The work is a battle of algorithms.
    The visual part of the work is created in a computer drawing process that uses only cycles and triangles to create complex visual appearances. The drawing process is developed in a systematic manner from the top to the bottom without the artist’s comprehension what the final image may look like. The creation of the drawing takes months of drawing, erasing, recreating and fine-tuning. The machine comes full to life when kinetic attributes are assigned to each element.
    Pachinko Machine reflects on the current discourses around artificial intelligence and self-thinking system. Machine learning algorithms are poor in simulating human decision-making; they are however rather successful at understanding and playing games created by humans (for example Deep Mind’s recently developed algorithms). Pachinko Machine takes one step further and humanizes the machine learning process by introducing chance into the game. The battle of these algorithms that aspire to disparate goals aestheticises the process driven by machine learning. Viewers are welcome to make sense of this battle whilst observing the mesmerising patterns of the Pachinko’s drawings.
    The work aims to represent the walk of life and although we may be able to control some part it, there is always an element of chance that may destruct and encourages us to stray from our original path. Pachinko Machine was developed in Unity.

  • Code, computer, self-learning algorithmic drawing, vector graphics
  • https://brigittazics.com/work/pachinko-machine/
  • ISEA2018: 24th International Symposium on Electronic Art
  • Palinopsia / seeing again
  • Durbin City Hall/Durban Art Gallery
  • Jurgen Meekel and Jill Richards
  • Palinopsia / seeing again is a laser projection work on a Glow-in-the-Dark (GITD) surface made in collaboration with Jill Richards & BushveldLabs. The 1st try out and première of this digital artwork was shown the ‘Alight block party’ on 1 Sept 2016 in Johannesburg as part of the Fak’ugesi African Digital Innovation Festival. With a purplish-blue UV laser as a projection source and using fully covered painted phosphorescent canvas as the projection surface, I project after-glowing images that appear line by line (much like a fax or inkjet printer). In this way the projection canvas records the image. The projected image/text elements will diminish in luminosity over time. New elements will be projected as the older ones fade. The way temporality and perseverance leave a finite mark or trace of the projected image positions glow-in-the-dark laser projection between cinema and photography.

  • Made in collaboration with BushveldLabs engineers Jarryd Bekker and Daniel de Kock

  • Performance
  • ISEA2024: 29th International Symposium on Electronic Art
  • Panopticon
  • Metro Arts
  • Dustin J Voggenreiter
  • ‘Panopticon’ explores the idea of our limited capacity to understand the world around us – As creatures born with perceptions geared towards survival, we grasp at making sense of the complex, chaotic reality we inhabit.

    Concealment within this work poetically eludes to the gaps in our species ability to understand reality. This idea extends from Plato’s famous cave shadow allegory (500+ BCE) to avant-garde theories proposed by Cognitive Psychologist Dr Donald Hoffman, all of which highlight the inadequacy of human perception.

    The monotony inherent in the GIF format channels the looping, unresolved nature of these ideas. We are, in essence, trapped.

  • ISEA2002: 11th International Symposium on Electronic Art
  • PanSonic Live Performance Nov 1
  • Diamond Hall
  • ISEA2024: 29th International Symposium on Electronic Art
  • Paper Bark
  • The Loft Theatre, QUT Creative Industries Precinct
  • Hannen Wolfe
  • “Paper Bark” is a virtual reality experience about deterioration, decolonization, and regeneration. It uses generative algorithms, photogrammetric reconstruction, and image style transfer to reconstruct the past, show the present and suggest possible futures. Historically pulp and paper mills were the driving force of economic prosperity for many towns in the state of Maine with the industry peaking in 1967. Due to outside firms maximizing short term profits, the industry collapsed in the 1990s leaving mill towns impoverished. “Paper Bark” focuses on the remains of a 130-year-old mill in Winslow, Maine that closed in 1997, and its past, present and potential futures. The mill is situated in the homeland of the Kennebis people who were displaced during the Indian Wars and sought refuge in other Wabanaki nations. The name of the artwork is derived from the production of paper at the mill and the bark of paper birches, a native plant material used for making canoes, baskets and other goods. “Paper Bark” embodies the ecologies of place and shifting temporalities through a virtual reality, non-linear narrative about colonization, collapse and the potential future regeneration of a paper mill town.

  • ISEA2024: 29th International Symposium on Electronic Art
  • para//e/s
  • The Loft Theatre, QUT Creative Industries Precinct
  • Jae-Eun Suh
  • para//e/s is an audio-visual piece that explores imaginative and creative interpretations of parallel worlds. Developed as part of a three-month collaborative project between a new media artist and two composers, the work delves into the theme of parallel worlds and multiverse. Utilizing a five-screen video projection with fixed media sound, the piece navigates through multiple layers of parallel worlds and perspectives using diverse tools and mediums. Through open-ended prompts and collaborative discussions, the work investigates the concept of multiplicity, integrating storytelling elements both visually and sonically. The work explores notions of space and time, incorporating elements such as déjà vu and the Big Bang theory. para//e/s presents imaginative iterations of parallel universes: a world made of mirrors; a world without gravity; a world where humankind consists of alternate physical forms; a world where humans are extinct and; a world where motion is visually manifested through overwhelming color.

  • https://gallery.styly.cc/scene/8e5901e0-d259-4c5b-a60d-57322d23f91b
  • ISEA2018: 24th International Symposium on Electronic Art
  • Parragirls Past, Present
  • Durbin City Hall/Durban Art Gallery
  • Jill Bennett, Alex Davies, Volker Kuchelmeister, Bonney Djuric, Lily Hibberd, Lynne Edmondson Paskovski, Gypsie Hayes, and Denise Nicholas
  • ‘Parragirls Past, Present’ is a deeply moving immersive 360-degree virtual reality project that presents former residents’ visions of Parramatta Girls Home, a punitive Australian child welfare institution closed in 1974. This project develops new digital media approaches to testimony and memory arising from otherwise marginalised institutional experiences.  Unlocking contested memories of institutional ‘care’, this collaboration between a team of UNSW Sydney media artists and former Parragirls rewrites the history of Parramatta Girls Home. Over a century, children held at this site were subjected to unwarranted punishment and abuse. Returning after 40 years, Parragirls seek out traces to substantiate what really happened here, moving through fear and futile confinement to resistance and solidarity.

  • http://thebiganxiety.org/events/parragirls-past-present
  • ISEA2022: 27th International Symposium on Electronic Art
  • Particle
  • Recinte Modernista de Sant Pau
  • Alex Posada
  • “The Particle” is a kinetic sculpture that experiments with color, sound, and movement. Continuous rotation, speed, and light create visual points of view, effects that define the spatial structure of the object.
    Given that the regulatory mechanism of the entire design is based on random decision-making, the new models naturally emerge from the previous ones. The vibration of sound, color, and visual patterns evolve into chaos or order according to the evolutionary algorithms that govern it. The structures generated in this process cannot be anticipated and evolve through continuous iterations that involve alterations to the programs and explore the changes through the interaction with the visitor and the software. The object, at the same time, is a space of sensory and kinesthetic experience, a body with its own internal resonance. The result is the creation of shapes and patterns of light in three dimensions. These shapes can stop, rotate and move faster or slower creating beautiful kinesthetic effects. The technique used is the perception of apparent movement, that is, the one obtained from the observation of sequences of still images projected successively on a movie screen or on television, or on a computer monitor. This visual effect, also called persistence of vision (POV), is the theoretical ability of the eye (or retina) to retain the last image that reaches it, causing an object to be perceived even when it is no longer there.
    Around the space occupied by the sculpture, a surround-sound space is perceived, which reacts and merges with movement and light, creating an immersive audiovisual experience of great beauty.
    The piece uses RGB LED technology controlled wirelessly from a computer. Custom software manages all information and movement in real-time by continuously sending data to the sculpture to change its state.

  • This project has been awarded with the ISEA2022 Barcelona Grant by .Beep Collection and NewArtFoundation

  • https://mid.studio/projects/the-particle/
  • Kinetic sculpture, sound, light, perception, and generative art
  • ISEA2024: 29th International Symposium on Electronic Art
  • Paumo D'amour
  • Instead of giving his wife the attention she deserves, Dédé sends all his love to his vegetable garden. One day, all his delicious tomatoes mysteriously disappear.

  • ISEA2020: 26th International Symposium on Electronic Art
  • PAUSE.II
  • r. e. a. saunders
  • PAUSE.II is an experimental video work that explores the embodied experience of returning to one’s country (Gamilaraay), and the haunting sensorial effects that linger from its colonial past.

  • Video
  • https://rea-noir.com/collaborative-works/
  • video and Experimental Film
  • ISEA2017: 23rd International Symposium on Electronic Art
  • PAXX Textile Pattern Sound Machine
  • 2017 Overview: Screenings (“Media Art”)
  • Fátima Edith Ramírez Domínguez and Israel Alejandro López García
  • Is a hybrid machine in which various multimedia elements are revealed, a sound object that works through a system of artificial vision through which a process is tracked of the surface of Latin American textiles generating a sound abstraction of the textile patterns designing various sound pieces in real time. The incessant search of the human being for generating identity and belonging, there is a process of construction where the individual defines himself in close relationship with his environment, in this context is where we can define the use and importance of the Textile activity in the history of the human being, thus configuring their collective practice, their identity and also their heritage. media arts establish a relation with the tradition to understand the socio-cultural transformations, establishing a conceptual apparatus through the textiles and the cultural identity. Textiles and their ritual and ceremonial connotation emphasizing their use in symbolic form of representation, through the geometry and weaving technique.

  • Screening/’Media Art’ Piece
  • ISEA2002: 11th International Symposium on Electronic Art
  • Peaks
  • Warehouses 4 & 20 on the Garden Pier in the port of Nagoya
  • Michiro Tokushige and Daisuke Furuike
  • The work is for audience on the sea, and supposed to be seen from ships coming into the port. The audience on the ground are alienated from the represented landscape. A concept of landscape always recall nostalgia to your mind. Since the landscape is supposed to represent the past, everyone might be alienated from that. Exempligratia: the landscape seen from the sea which meant to direct ships to the port. If you would like to simulate the gaze, you want to try the crotch peep which is a traditional appreciation method of the shore landscape. In brief, It is a story of the top and bottom of a mountain.

  • Video Projection
  • ISEA2020: 26th International Symposium on Electronic Art
  • Peau d’Âne
  • Valérie LaMontagne
  • Peau d’Âne is a series of three weather-networked dresses based on the Charles Perrault fairy tale in which a princess asks for dresses made of the sun, moon and sky.

    Temperature, UV, solar radiation, wind speed & velocity, humidity and rain fall data is collected and sent to the dresses wirelessly, where micro-controllers relay info to internal circuitry. The sun dress has 128 LEDs which can light up depending on sun data, while the moon dress has 14 colour-modulating flowers to represent each phase of the moon cycle. The sky dress is imbued with 14 vibrating air pockets.

  • Dresses
  • https://art.kunstmatrix.com/en/node/387598
  • Design, Fashion, and technology2
  • ISEA2024: 29th International Symposium on Electronic Art
  • Peekaboo
  • The Loft Theatre, QUT Creative Industries Precinct
  • Avital Meshi
  • In a video art installation, a family interacts with a generative AI model in a contemporary rendition of a game of peekaboo. The installation, spread across three screens, captures each family member as they alternately cover and uncover their faces with their hands. Upon each reveal, the generative AI alters their appearances, presenting an ever-changing visual narrative. This transformation in appearance not only destabilizes established notions of identity but also invites a reevaluation of the concepts of belonging, hierarchy, kinship, and stability. Furthermore, it challenges the conventional attributes of age, gender, and race that typically define the dynamics within a nuclear family. This project aims to spark a conversation on identity politics, encouraging viewers to explore our interconnectedness from a renewed perspective.

  • https://gallery.styly.cc/scene/f1de9623-2dec-4c75-aec0-f124010cde3e
  • ISEA2024: 29th International Symposium on Electronic Art
  • Penumbra
  • QUT Kelvin Grove Campus
  • Dennis Del Favero
  • Penumbra is an AI immersive art installation exploring the visualisation of an unpredictable ex-treme wildfire scenario using a pyro-aesthetic, namely an aesthetic based on the violent qualities of extreme wildfire. These new generation of fires, recently seen in Maui, are extreme in their speed and scale. They are unpredictable as they traverse terrains in unforeseen ways, unlike the linear and predictable paths of bushfires.

    Penumbra 2.0 investigates this pyro-aesthetic as a two-way dialogue between the viewer and a fire-laden landscape, rather than a linear relationship between an active human protagonist and a passive “natural disaster”. It aims to model the uncertainties that characterize such exchanges. On the one hand, the unanticipated actions of the user, and on the other, the fire’s unforeseen behav-ior. As the user traverses the landscape, they attempt to control their perspective through their movement and orientation of gaze. The fire responds in autonomous ways by changing its behavior. Conversely, unexpected changes in the wildfire induce shifts in the user’s actions as they attempt to address the uncertainty.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Perception Engines
  • Le Cube Garges
  • Tom White
  • xhibition. Le Cube Garges, April 27 – May 18

    2018
    Screen printing, artificial intelligence (GAN)

    Machines and algorithms have a perception of the world that differs from ours. Tom White decided to question this mechanical gaze, increasingly present in our daily lives. Thanks to an algorithmic drawing technique he has developed, he allows an artificial intelligence to produce images that are abstract for humans but have meaning for machines, notably the moderation algorithms of large platforms, in addition to the cold and austere images that we commonly attribute to the mechanical gaze, the abstract and colorful forms produced by this type of artificial intelligence developed by Tom White allow us to rethink our relationship with machines and better understand the way they perceive the world.

  • https://computervisionart.com/pieces/perception-engines
  • ISEA2024: 29th International Symposium on Electronic Art
  • Perhaps, She Comes From/To ____ Alang
  • Vacant Assembly
  • Anchi Lin
  • ‘Perhaps, She Comes From/To ____ Alang’ weaves together three different narratives to re-examine queerness, gender, oral history, and displacement from land lost. The inspiration draws from the oral narrative that connects the relationship between bees and the land in the telling of the place of Temahahoi and another story concerning brass pots gifted to the tribal community members by the colonizers addresses issues related to the resulting infertility amongst many Indigenous people. This work engages with environmental issues, particularly the plight of bees, by intertwining the close relationship between the imbalanced ecology and quiet queer bodies. Continuing and combining these oral herstories, Ciwas desires to have a specific qalang landmark, by creating a virtual land in the space of the Internet. To pin forward towards an Internet address https://raxal-mu.glitch.me that uses the Internet space to expand knowledge and connections beyond the soil and into the cloud.

  • Credits: Voice over: Apang Bway, Yukan Maray, Yukan Masa. Unity Technical Support: Wei-Hsuan Hung

  • ISEA2024: 29th International Symposium on Electronic Art
  • Perinatal Dreaming – Understanding Country
  • SAE Creative Media University College
  • Volker Kuchelmeister and Marianne Wobcke
  • Perinatal Dreaming is a ground-breaking virtual reality experience developed by FEEL felt Experience and Empathy Lab (University of New South Wales Sydney) and led by artist midwife and nurse and trauma support workerMarianne Wobcke. As one of thousands of Indigenous children forcibly removed from her mother at birthMarianne has spent her career researching and supporting perinatal and intergenerational trauma focusing especially on work with mothers and babies. The VR artwork presents a visually stunning immersive audio-visual experience evoking early life in the womb and entry into the world taking us through experiences the ‘good’ and ‘toxic’ womb and first encounters with breast skin and the world. Designed as a unique art experience the piece can also be used in conjunction with therapeutic work.

  • ISEA2018: 24th International Symposium on Electronic Art
  • Personal Accounts
  • BAT Centre
  • Gabrielle Goliath
  • Personal Accounts is part of the Fracture Zone exhibition. Fracture Zone conjures artists from Brazil and South Africa to dialogue as duos over shares subjects. Post-colonial displacements, enlaced hidden histories, decolonial imaginaries, the friction between human and natural processes through abusive resource exploitation, representations of symbolic cultural expressions, urban dynamics of exclusion, political and social reflections are some of the themes present at the exhibition.

  • 5-channel video installation
  • https://www.instagram.com/p/BkccUPkBYay/
  • ISEA2020: 26th International Symposium on Electronic Art
  • Petting Zoo: Noble Orphans
  • Lorna Mills
  • Petting Zoo: Noble Orphans is about the sly, the absurd, and the abject.

  • Animated GIF collage
  • animation, collage, GIF, and video
  • ISEA2002: 11th International Symposium on Electronic Art
  • Photo Active in SAKAE - Open Air Theater
  • Oasis21: Sakae Park
  • Tamami Hitsuda
  • ISEA2023: 28th International Symposium on Electronic Art
  • Photosynthesis Symbiosis
  • Grand Palais Ephémère
  • Evgenius Syn
  • Exhibition. ISEA2023 selected artwork 

    Artificial experience inspired by nature
    Multimedia digital project, that immerses the spectator into a profound exploration of the transition to the digital era, interweaving it with the intrinsic value of nature and the collective experience of the past civilizations for creation of symbiotic coexistence of technology and ecosystem in the future. In this artwork the author demonstrates an authentic vision of the concept of visual art in contemporary aesthetics, capturing the process of change of the paradigm and creating an elegant form of transition from classical art to the art of future, concentrating attention on the delicate balance between technological advancement and our fundamental connection to the natural world.

    Throughout the course of the history of civilization, nature has been a deep source of inspiration for humanity. Ancient motifs, floristic ornaments, animalistic totems and sacred geometries are skillfully interwoven into this project, serving as metaphors for our connection to nature. In this series the author offers an unexpected look at the primary natural forms, transformed by artistic vision. Human mind transforms elegant and sophisticated baroque floral ornaments into bizarre associative symbols and alive animalistic images. These symbiotic patterns endowed with ancient biological and, at the same time, futuristic high-tech features: from images of the spirits of nature and totems to images of technogenic mechanisms, biorobots, consisting of the petals of living plants.

    Aesthetics of the project covers both natural and artificial sources of aesthetic experience. The image creates a dynamic effect, awakening images at a subconscious level, creating a connection of time between the aesthetics of the past and the future. The symbiosis of these artworks is a synthesis of the archaic and the futuristic, the natural and the technogenic. Looking to the civilizations of the past, the artist finds inspiration in the profound connection that our ancestors had with nature. Exploring and rethinking this experience, the author offers a way to reestablish that connection in our modern context. Leveraging technology, he strives to evoke the same emotions experienced by civilizations of the past, reminding us of the profound impact nature has had on our collective consciousness.

    This is a research project, and an entire photo studio was involved in its implementation. Hundreds of photographs were taken before a way was found to achieve the desired result. Each image is not a collage of many photos. Each image is made from one photograph of one plant. It is a research of plants as the protagonists of this series of portraits, a reflection on the theme of post-humanity, a rethinking of an anthropology that does not place the human being at the center of attention, but which favors relational and interdependent relationships between organisms and the ecosystems, and the blurring of traditional boundaries between human and non-human. The viewer can see here different heroes with different characters and at different moments of life. All of them have a different age: from young plants in spring and summer to adult inflorescences in autumn.
    ecosystem

    Today, humanity is at the moment of transition to the digital era, therefore, in this project the artist strives to preserve the aesthetics of the idea of beauty and harmony. At this moment of transition has brought to the forefront a host of ecological challenges that demand our attention. Climate change, deforestation, biodiversity loss, ocean and atmosphere pollution are just a few of the urgent issues we face. As we marvel at the infinite possibilities of technology, we are confronted with the disconcerting reality of ecological degradation and its implications for our collective future. Author responds to these concerns by incorporating ecological narratives into the work, causing reflection, serving as catalysts for awareness and action.

    These artworks provide opportunities for individuals to engage with nature on a visceral level. By fostering inspiration and understanding, these experiences can awaken a renewed appreciation for the beauty and complexity of the natural world, and in turn, motivate us to become active participants in preservation of the balance of ecosystems. The piece calls us to explore, and appreciate the profound beauty that lies within the intersection of the digital and the natural, offering us a glimpse into a future where technology and nature harmoniously coexist. One of the main goals of this artwork is to express the idea of the spiritualization of nature, which is directly related to the idea of the unity of all living things. The botanical hyperrealism of the “Photosynthesis Symbiosis” pushes the spectator to rethink the social and spiritual relations between man and nature. By blurring the lines between the organic and the synthetic, artwork serves as a reminder that technology should not estrange us from our ecological roots but, rather, propel us towards a symbiotic coexistence of civilization and ecosystem.

  • https://evgenius.art/photosynthesis
  • ISEA2014: 20th International Symposium on Electronic Art
  • Picturing El Nido
  • Cuadro
  • Christian Kantner, Sarah Lahti, and Ben Bogart
  • This project is an Arduino light sensitive video installation, celebrating interactivity, color, and light. It is a collaboration between Sarah Lahti and Christian Kantner.

  • ISEA2002: 11th International Symposium on Electronic Art
  • PITA Live Performance Oct 30
  • "Fuji" Antarctic Museum
  • SISEA: Second International Symposium on Electronic Art
  • Pixar Commercials
  • Cultural Center de Oosterpoort
  • Selected commercials from Pixar using computer graphics.

  • Computer Animation
  • ISEA2024: 29th International Symposium on Electronic Art
  • Placenta Underground
  • 2024 Overview: Screenings
  • The Loft Theatre, QUT Creative Industries Precinct
  • The Placenta Underground is part of an ongoing project called Ex-Utero, a provocative exploration of human reproduction and the extraordinary possibilities of ectogenesis. Imagine a future where artificial wombs can support pregnancy outside of the uterus. That future is closer than you think. With the development of incubators as surrogate wombs, new technologies will provide an environment for gestation ex vivo. But what will happen to the placenta, a critical gestational organ, in this scenario? This short film explores the social, political and technological future in which pregnancy occurs ex-utero and the placenta is no longer a necessary reproductive organ.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Planet
  • SAE Creative Media University College
  • Laura Woodward
  • ‘Planet’ focuses on the interplay between water, air, and light. The water-filled sphere acts as a lens, a light-focusing tool – a means of shifting perception and understanding. Air bubbles disturb its surface, generating visual manifestations of cause and effect. At its most basic, ‘Planet’ is a semi-spherical body of water in which we can visually understand interplays between light, curvature and refraction.

    In another reading, ‘Planet’ muses upon scale and complexity. The sphere is the fundamental form that emerges when equal pressure is applied – as with small water droplets falling through space, or, at a vastly different scale – both spatial and temporal – with the effect of gravity on planets. The sphere is the planet on which we stand, the moon that we see, the sun that gives us light and warmth. Equally, water – transparent, almost tasteless, and barely considered as we drink or bathe – is the fundamental life-blood of our world.

    Another possibility is that ‘Planet’, with its stainless steel, clean white engineering plastics, and hoses, is an experimental life-support machine, an incubating system in which some new biological thing is coming into being.

    In these ways, ‘Planet’ speaks to multiple possible readings, of differing physical scales, layered timescales, and to inter- and intra-dependent levels of systematic complexity.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Plant
  • Topographie de l’art
  • Nicolas Sassoon
  • Fusion of the Possible, Topographie de l’art, April 15 – June 15

    2020
    Laser engraving on DuraBlack aluminum
    Dry mounting on gatorboard, 100 x 60 cm.
    Courtesy of gallery Charlot.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Plasmatic
  • Maraya Art Park
  • Andrew Buchanan
  • This project is a projection or video artwork that demonstrates new techniques and a new artistic approach to creating animated metamorphosis using digital sculpture.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Plastic Landscape – Reversible World
  • Hangars Numériques and Point Éphémère
  • Yoon Chung Han
  • Southern Winter Exhibitions 2023 at Hangars Numériques, May 16 – 21  then August 1 – 15 

    Video Installation. Tools: Custom algorthm for Maching Learning-based image creation, Blender

    “Plastic Landscape – The Reversible World” is an AI-generated 3D animated video design that shows the apocalyptic and surreal world surrounded by artificial plastic mixtures and objects in the ocean, urban city, Antarctica, and forest. Four different scenes are animated, with the camera panning slowly from left to right. Viewers can observe how the plastics are decomposed at a slower speed by looking at particle animations. Sound is created by the data of the decomposition of plastics. Different types of plastics and speed of decomposition determines the frequency, amplitude, and parameters of audio synthesis. This scene animation is inspired by Ilwalobongbyeong (a folding screen) behind the king’s throne of the Joseon Dynasty. This animation depicts the twist of the landscape. Surreal objects/buildings in this animation made out of plastic look beautiful and mesmerizing at first glance. However, the viewers can notice that they are the decayed objects and destroyed nature impacted by human beings. This new multi-sensory artwork addresses the awareness of plastic pollution through the apocalyptic lens.

    Concept Design, Visual Development, User Experience Design: Yoon Chung Han
    3D Animation and 3D object design: Hung-Hsuan Tsai
    Music and Sound: Soo Jung Kwak
    Machine Learning-based image creation Prof. Sung Lyun Kim, Myeong Hun Seong, Changmin Lee

  • http://yoonchunghan.com/portfolio/plasticlandscape.html
  • ISEA2014: 20th International Symposium on Electronic Art
  • Play Connected
  • Art Hub
  • Play Connected is a project by Cym in which she creates a computer game together with the input of local children. In several workshop sessions she explores the local surroundings together with children.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Play Parametres
  • Campbelltown Arts Centre
  • Troy Innocent and Benjamin Kolaitis
  • The artists developed a three-level game in a box where you see every wire and connection.

    “The concept was inspired by Moholy-Nagy’s Light-Space Modulator, Gysin and Burrough’s Dreamachine and 1970s analog generative art systems; with close inspection into the sonic components by expanding upon the early work of Reed Ghazala and David Tudor. Sonic Arts Union, 1970’s artists Alvin Lucier and Gordon Mumma are also a point of reference. Jon Rose and Alan Lamb notably have influenced the direction of this project scope and direction.”

  • Game Art
  • http://troyinnocent.net/playparameters.htm
  • ISEA2024: 29th International Symposium on Electronic Art
  • Play to Preserve the Past: Vietnamese Intangible Heritage
  • The Loft Theatre, QUT Creative Industries Precinct
  • Nhu Bui
  • Play to Preserve the Past is the convergence of two worlds – my Vietnamese heritage and an unwavering commitment to safeguarding our intangible cultural heritage through augmented reality (AR).

    In an era of rapid urbanisation and globalisation, countries like Vietnam are witnessing the erosion of their invaluable intangible heritage. AR serves as the medium to bring the audience into the heart of Vietnamese heritage. The series of apps ‘Play to Preserve the Past’ offers immersive cultural experiences that bridge spatial and generational gaps, introduce a contemporary image of Vietnamese tradition to international audiences, while reclaiming Vietnam’s narratives through lesser-known aspects of our heritage.

    Modernity has changed the way we celebrate festivals over time, and in this digital era, when portable device becomes an integral part of our daily lives, this work asks: how can our cultural heritage evolve with AR technologies, becoming a living heritage in its own right? This journey is not merely an academic pursuit but an introspective journey reflecting human advancement in a technology-dominated era.

    Standing at a critical juncture where traditions evolve with technology, we must always explore the complexities of cultural authenticity and technology
    usage in design for heritage safeguarding. This work hopes to inspire creative practitioners to become responsible “future ancestors”, ensuring sustainable digitisation of their heritage through creative practice.

  • ISEA2016: 22nd International Symposium on Electronic Art
  • Pluroma
  • Run Run Shaw Creative Media Centre
  • Dustyn Lucas
  • Pluroma is a fulldome visual journey inside the fractal paintings of Dustyn Lucas. His works (combining classical realism and mathematical fractals) are driven to form a repeating loop which penetrates deeper into itself.

  • ISEA2002: 11th International Symposium on Electronic Art
  • POEDASHI
  • Nagoya Citizens' Gallery Yada
  • Poetry reading event

  • ISEA2014: 20th International Symposium on Electronic Art
  • Poetry in Motion
  • Zayed University - Dubai
  • Zayed University Students Only. Level: Foundation. Opportunitiy for students of Zayed University to learn from international electronic artists and thinkers.

    An intensive workshop for women who are new to and/or interested in combining gaming and poetry as a medium for expression. Participants will create games or gamified experiences to elicit simple poetic expressions, personal narratives and kinetic textual poems through the game platform. This workshop is geared towards those who are new to programming and art games. The focus would be  on creating poetry that is interactive in some way, using the platforms’ inherent qualities.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Point of View
  • UNSW Art & Design, Kudos Gallery
  • Volker Kuchelmeister
  • Presented by the College of Fine Arts and ISEA2013, this exhibition explores the boundaries between real and virtual space and the relationship between observer and observed. It utilises electronic media to investigate the limitations that traditional ocular optics put on our perception of mediated imagery, while also exploring and exploding the boundaries of the cinematic image. Point of View questions our understanding of place, representation and perspective.
    An exhibition of work by Josh Harle, Chris Henschke and Volker Kuchelmeister.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Points de repère
  • Al Fahidi Historical Neighborhood
  • A virtual camera gravitates around a 3D point cloud of Plateau Mont-Royal in Montreal which translates environmental conditions recorded over a one year period.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Points of Interest in the United Arab Emirates As Defined by Commercial Satellite Imagery Collection, 1986-2013
  • American University of Sharjah
  • Richard Wheeler
  • An exploration of how big data can show us new ways to see our world, and a look at the often surprising places that this exploration can take us.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Points of View
  • American University in Dubai
  • Point of View is an interactive documentary based on footage shot by Palestinians working with B’Tselem’s Camera Distribution Project.

  • http:// points-of-view.net/en
  • ISEA2002: 11th International Symposium on Electronic Art
  • POLE Live Performance Nov 1
  • Diamond Hall
  • FISEA: First International Symposium on Electronic Art
  • Pond
  • Jaarbeurs
  • CG video
  • ISEA2002: 11th International Symposium on Electronic Art
  • Popgun Live Performance Nov 1
  • Diamond Hall
  • ISEA2018: 24th International Symposium on Electronic Art
  • Port with a Green Heart
  • Durbin City Hall/Durban Art Gallery
  • Mikhail Peppas and Sanabelle Ebrahim
  • Durban is the busiest port in Africa. Although the harbour is somewhat removed from the consciousness of the residents, it is well-positioned to become a driving force to propel Durban into a Smart City Eco-Port with linkages to the Esplanade that curve around the bay. The ‘Green Heart’ title can be anchored by constructing a giant green heart sculpture at the entrance to the harbour (North Pier) that links into the Esplanade. The sculpture will impact the sky-line and serve as a prominent symbol for Durban. Apps, QR codes and electronic signage featured in the KulturWalk and ‘Heart2Heart’ Route guide people into the harbour area. The theoretical framework builds on place-identity and place-making that foreground the branding of Durban as Green Heart City and include the residents in taking custody and care of the harbour. Renewable elements of the Green Heart include wave power technology and solar film energy. An accessible Durban Harbour will foster an invigorated identity for the Eco-Port and endear the public with a sense of place attachment. As Durban firms its position on tourist maps, people will identify Durban through branding created by the Green Heart and the spectacular harbour.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Portable (k)ommunity Live Audio Visual Performance Nov 1
  • Diamond Hall
  • SISEA: Second International Symposium on Electronic Art
  • Portrait of an Atom
  • 1990 Overview: Art Exhibition
  • Cultural Center de Oosterpoort
  • Kenneth Snelson
  • 3D Modeled Image
  • ISEA2022: 27th International Symposium on Electronic Art
  • Portrait on the Fly
  • Recinte Modernista de Sant Pau
  • Christa Sommerer and Laurent Mignonneau
  • The interactive installation consists of a monitor that shows a swarm of a few thousand flies. When a person positions himself in front of the monitor, the insects builds up the contour of the person. They begin to arrange and rearange themselves continously, thereby creating a recognizable likeness of the individual..

    Posing in front of the monitor attracts the flies. Within seconds they invade the face, but even the slightest movement of the head or of parts of the face drives them off. The portraits are thus in constant flux, they construct and deconstruct. Portrait on the Fly is a commentary on our love for making pictures of ourselves (Selfie-Culture), it has to do with change, transience and impermanence.

  • http://www.interface.ufg.ac.at/christa-laurent/WORKS/artworks/PortraitOnTheFly-Interactive/PortraitOnTheFly.html
  • ISEA2023: 28th International Symposium on Electronic Art
  • Possible
  • Topographie de l’art
  • Peter Weibel
  • Fusion of the Possible, Topographie de l’art, April 15 – June 15

    1969
    Installation with projector and self-adhesive letters.
    Courtesy of ZKM, Center for Art and Media Karlsruhe.

    An 8mm or 16mm projector projects light onto the wall with the word ‘possible’ appearing on it. The projector is set up in such a way that the audience should/have to walk between the wall and the projector. The following happens: just by looking at it, it seems as if the word ‘possible’ (in red or black color) is being projected onto the wall.But as they walk through it, the viewer realizes that the word must have been written directly on the wall, because despite the interruption of the projection beam and the viewer’s shadow, the word is still on the wall. What seemed a projected sign, an image, is in reality an object. The real seemed (projected) illusion, the illusion became real – everything seems possible. This open modality of being, this constant latency of the category of possibility in the world, comes in the chosen one
    (Peter Weibel, Mediendichtung, Vienna 1982, S. 95) [Translated from Germanb by Google Translate] 

  • https://www.peter-weibel.at/portfolio_page/possible-1969
  • ISEA2023: 28th International Symposium on Electronic Art
  • Post-Growth Toolkit (selected videos)
  • Le Cube Garges
  • Nicolas Maigret, Maria Roszkowska, Baruch Gottlieb, and Jérôme Saint-Clair
  • Exhibition. Forum des Images, May 16 – 21 and Le Cube Garges, May 15 – 18 May, 17:00 h

    Nicolas Maigret & Maria Roszkowskaare ISEA2023 selected artists

    The selection of videos from Disnovation.org’s Post Growth Toolkit project will challenge dominant narratives of growth and progress and explore speculative models of environmental accounting at the limits of the quantifiable.

    A toolkit to facilitate orientation in the context of the current environmental crises

    What ideological, social and biophysical factors have precipitated the current environmental crises? What leverage is available for transformative practices and imaginaries to overcome the continuous growth of our energy consumption? The Post Growth Toolkit invites us to challenge the dominant narratives about growth and progress, and re-envision social metabolism through an understanding of the energy it requires, reconnecting human survival with the living, material qualities of the biosphere, drawing on ecofeminism, indigenous knowledge, environmental accounting and historical materialism.

    In order to better understand the foundations of today’s political and ecological crises, the artist collective set out to meet researchers, theoreticians and activists, and collected an archive of stories and operational concepts in the form of video interviews. These proposals seek to encourage the prototyping and envisioning of radically different modes of living in relation with our environment.

    This tactical card game invites us to reprogram ourselves out of the economic growth orthodoxy. Through a compilation of stories, concepts and tactics, it proposes to stimulate new modes of understanding and new paths of imagination in the context of current environmental crises.

    Download the Card Game: http://postgrowth.art/pages/pdfs/PGT_Cards_A4_EN.pdf
    Download the Game Board: http://postgrowth.art/pages/pdfs/PGTK_game-board_letter-US.pdf
    Download Instructions (beta version): http://postgrowth.art/pages/pdfs/PGTK_form_letter-A4.pdf

    An initiative by DISNOVATION.ORG (Nicolas Maigret & Maria Roszkowska) with Julien Maudet, Clémence Seurat, Pauline Briand & Baruch Gottlieb
    Production: iMAL
    Co-production: Biennale Chroniques – 3bis f
    With support from: University of California Irvine, Productions Intérieures Brutes, ArTeC, La Labomedia, UCL Louvain La Neuve, CNC (Dicréam)

    https://disnovation.org/postgrowth.php
    http://postgrowth.art

  • ISEA2023: 28th International Symposium on Electronic Art
  • Post-Growth Toolkit (The Game)
  • Centre Culturel Canadien
  • Exhibition. Centre Culturel Canadien, May 16 – 20
    The Earth’s ecosystems are undergoing irremediable changes as a result of human development, the source of a number of crises whose consequences can be measured on the scale of the planet. Rethinking our way of coexisting with our environment requires us to reevaluate the continuous growth of our energy footprints. These prototypes of critical games ‘Post Growth Toolkit’ are invitations to reprogram ourselves out of the economic growth orthodoxy. The series highlights the material conditions necessary to maintain our current standard of living in order to better understand how we may reproduce these differently.

    At the intersection of science and speculative fiction, the ‘Post Growth Toolkit’ game proposes to literally reshuffle our world-views and to share stories, concepts and objects to re-examine how we are programmed and to stimulate new modes of understanding. It takes the form of a tactical card game: where small groups of players are invited to explore a number of key notions. The game becomes a means of transmission and collective debate intended to help participants find their bearings in a period of radical change.

  • http://postgrowth.art/pages/the-game.html
  • ISEA2023: 28th International Symposium on Electronic Art
  • Post-Growth Toolkit
  • Forum des Images
  • Maria Roszkowska and Nicolas Maigret
  • Exhibition. Forum des Images, May 16 – 21 and Le Cube Garges, May 15 – 18 May, 17:00 h

    Nicolas Maigret & Maria Roszkowska are ISEA2023 selected artists

    The selection of videos from Disnovation.org’s Post Growth Toolkit project will challenge dominant narratives of growth and progress and explore speculative models of environmental accounting at the limits of the quantifiable.

    A toolkit to facilitate orientation in the context of the current environmental crises

    What ideological, social and biophysical factors have precipitated the current environmental crises? What leverage is available for transformative practices and imaginaries to overcome the continuous growth of our energy consumption? The Post Growth Toolkit invites us to challenge the dominant narratives about growth and progress, and re-envision social metabolism through an understanding of the energy it requires, reconnecting human survival with the living, material qualities of the biosphere, drawing on ecofeminism, indigenous knowledge, environmental accounting and historical materialism.

    In order to better understand the foundations of today’s political and ecological crises, the artist collective set out to meet researchers, theoreticians and activists, and collected an archive of stories and operational concepts in the form of video interviews. These proposals seek to encourage the prototyping and envisioning of radically different modes of living in relation with our environment.

    This tactical card game invites us to reprogram ourselves out of the economic growth orthodoxy. Through a compilation of stories, concepts and tactics, it proposes to stimulate new modes of understanding and new paths of imagination in the context of current environmental crises.

    Download the Card Game: http://postgrowth.art/pages/pdfs/PGT_Cards_A4_EN.pdf
    Download the Game Board: http://postgrowth.art/pages/pdfs/PGTK_game-board_letter-US.pdf
    Download Instructions (beta version): http://postgrowth.art/pages/pdfs/PGTK_form_letter-A4.pdf

    An initiative by DISNOVATION.ORG (Nicolas Maigret & Maria Roszkowska) with Julien Maudet, Clémence Seurat, Pauline Briand & Baruch Gottlieb
    Production: iMAL
    Co-production: Biennale Chroniques – 3bis f
    With support from: University of California Irvine, Productions Intérieures Brutes, ArTeC, La Labomedia, UCL Louvain La Neuve, CNC (Dicréam)

  • https://disnovation.org/postgrowth.php
  • ISEA2024: 29th International Symposium on Electronic Art
  • Post-Natural Pastorale
  • The Loft Theatre, QUT Creative Industries Precinct
  • Brian House and Sue Huang
  • Post-Natural Pastorale is a sound/video installation that explores the relationship between human and environmental temporalities in a time of climate crisis. The project takes as its starting point New York City’s Freshkills, once known as Fresh Kills Landfill, the largest municipal dump in the world. Currently in the process of a decades-long transformation into a public park, Freshkills is a uniquely liminal space, where our long-term effects on the Earth are palpable.

    The installation emerges from the multitemporal dynamics of this environment—the thousand-year decay of a Styrofoam cup, the multigenerational use of the land by humans, the seasonal cycle of the regenerating vegetation, and the gathering of clouds. Each of these temporal layers is translated into musical notation using municipal and public data, including statistical projections of weather patterns and methane and leachate emissions data from the Department of Sanitation.

    The resulting eight scores are played by double bassist Robert Black (Bang on a Can All-Stars). When heard simultaneously, these performances create a soundscape of data that coalesces multiple temporalities into one immersive experience.

    Supported by The Robert Black Foundation and the Scholarship Facilitation Fund (UConn Office of the Vice President for Research). Selected by Creative Capital On Our Radar 2020.

  • https://gallery.styly.cc/scene/24524dc3-acf9-438b-820d-234d986dd71a
  • ISEA2014: 20th International Symposium on Electronic Art
  • PostDigital Sunlight: Participatory Space Crossing Virtual and Physical, Artificial and Natural
  • Zayed University - Abu Dhabi
  • Sheng-Ying Pao
  • Leverage sunlight at given locations, this research presented augmented experiences pushing the boundaries across the artificial and natural, the virtual and physical, as well as the local and the remote. [see also the presentation]

  • http://www.isea-archives.org/isea2014-presentations-sheng-ying_pao/
  • ISEA2015: 21st International Symposium on Electronic Art
  • POWEr
  • Wong Theatre
  • Utilizing a bespoke Tesla coil, POWEr is a performance based on the sonics and striking imagery that offshoots from the machine’s high voltage emissions. Used as source materials, electrical ingredients are generated, captured, transformed and diffused live on stage through digital processing and manipulation of sound and video. Building on a context that sets it halfway  between a musical presentation and a media arts installation, POWEr demarks the continuation of artificiel’s development. Having charted a singular path investigating composition and electrical impulses with previous projects such as bulbes (2003) and beyond6281 (2004), as well as cultivating a performative dimension with such later works as cubing (2006) and artificiel.process (2008), POWEr takes its place among this oeuvre by raising the stakes of spontaneity and working with evermore complex musical structures and visual dramaturgy. Originally commissioned by MUTEK for its 10th edition, this project was made possible by funding from the Media Arts section of the Canada Council for the Arts and the Conseil des arts et Lettres du Québec and has continued to tour the world since.

  • Audiovisual performance with Tesla coil
  • https://artificiel.org/projet/power
  • ISEA2024: 29th International Symposium on Electronic Art
  • Precipice
  • The Loft Theatre, QUT Creative Industries Precinct
  • John Tonkin
  • Precipice is a VR project that explores my intense fear of heights (acrophobia). It is part of a bigger series of VR artworks that sit within the essay-film genre and investigate the interrelationship between anxiety, panic and space. The work extends my ongoing research into the relationship between the body, movement and vision, to consider how anxiety influences how we perceptive our surroundings as well as the embodied first-person experience of being a body. How are memories, knowledge and patterns of thinking embedded in both the landscape and in the body? Since 2022, I have been using Mozilla Hubs and more recently STYLY as teaching tools to introduce students to authoring VR artworks. STYLY like Hubs is quite a constrained tool, particularly in relationship to interactivity. Technical constraints can be productive, because of these limitations I have focused on building a virtual space that is primarily a soundscape. The soundtrack includes several voice-overs that include my own memories of different acrophobic experiences as well as abstracted extracts from psychological diagnosis acrophobia questionnaire, lists of symptoms, as well as breathing and relaxation exercises. Precipice seeks to shift the experience of spatial anxiety by modulating the temporal dynamics of the lived experience within a virtual environment.

  • https://gallery.styly.cc/scene/c50eae55-925a-4589-986e-5f318e6bf8d8
  • ISEA2020: 26th International Symposium on Electronic Art
  • Predictive Art Bot
  • Jérôme Saint-Clair, Maria Roszkowska, Nicolas Maigret, and Baruch Gottlieb
  • Algorithm
  • http://predictiveartbot.com/
  • algorithm, Text, Twitter, and online art
  • FISEA: First International Symposium on Electronic Art
  • Premonition
  • Alison Sneddon
  • My work involves exploring the nature of existence through photography aad related media. All my photographs involve using myself as a ‘representative’ of death. human existence etc.

    I have been using the computer to merge and dissolve photographs either to distort them further or to produce ‘ghosted’ imagery. These new images are then projected onto myself again or projected onto three-dimensional relief moulds of my own self (i.e. death mask) and rephotographed.

  • ISEA2015: 21st International Symposium on Electronic Art
  • Prey
  • Goldcorp Centre for the Arts
  • Jinsil Hwaryoung Seo and Tiffany Sanchez
  • Prey is an exploration in digital storytelling through the infusion of the old with the new, a hybrid grafting of the organic with the inorganic to create an entirely new form of codex. While the design is driven by an earthy handcrafted aesthetic, each novel hosts a unique system of interactive technologies. Upon first glance, they appear as a trilogy of standard vintage volumes. Once opened, readers will find their characters carefully embodied and thoroughly embedded within their pages.

  • Experimental hybrid book
  • ISEA2002: 11th International Symposium on Electronic Art
  • Printing Methodology #3
  • Nagoya University of Arts
  • Tamami Hitsuda and Toshinao Yoshioka
  • For the open air media art exhibition “alternative moments” they had a video installation. They exhibited mainly 2 dimensional pieces with the series theme “Printing Methodology” for this show.

  • ISEA2022: 27th International Symposium on Electronic Art
  • privacy-GrDN.info
  • Santa Mònica
  • Sandra Araújo
  • By placing automation within this simulated i̶d̶l̶e̶ garden it arises the complexity of what being human is in this electronic age. Learning, leisure and work share the same interchangeable framework in this post-truth dynamic where operations are engineered in an ambiguous way to praise & glorify the strenuous path of c̶o̶n̶t̶e̶m̶p̶o̶r̶a̶r̶y̶ labour system. Hybrid emulation that deals with prediction & feeds on its own coding as the backbone structure of a semiotic < container > / .

  • ISEA2002: 11th International Symposium on Electronic Art
  • PROCESS 2002 Autumn-Winter
  • ISEA2010: 16th International Symposium on Electronic Art
  • Projects from the Netherlands
  • 2010 Overview: E-Culture Fair
  • Dortmund’s U-Tower
  • MediaLAB Hogeschool van Amsterdam
  • ISEA2022: 27th International Symposium on Electronic Art
  • Prosopagnosia
  • El Centre d’Art Cal Massó
  • Joan Fontcuberta and Pilar Rosado
  • May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: OriginsPublic event.

    Prosopagnosia is an artificially created speculation on the dialectic of facial recognition and the oversight of celebrity portraits in historical archives. Generative Adversarial Networks (GAN) have been used, which are deep neural network architectures composed of two networks that face each other (therefore, the term “adversary”), to create portraits that have never existed. Ian Goodfellow and other researchers from the University of Montreal introduced GANs in an article in 2014. The potential of these models is enormous because they can learn to mimic any dataset, that is, GANs can be taught to create haunting worlds, similar to ours in any domain: images, music, speech, or prose.
    “Prosopagnosia” won the 15th edition of the ARCO-BEEP Electronic Art Award

    [Source: https://www.beepcollection.art/joan-fontcuberta-pilar-rosado]

  • ISEA2023: 28th International Symposium on Electronic Art
  • Prosperity
  • Forum des Images
  • Samuel St-Aubin
  • Prosperity (stand-alone system)
    Prosperity is an autonomous device that manipulates grains of rice. A clamp moves from one surface to another, picking up randomly placed grains and then depositing them in an orderly manner on a second surface. This process aligns them while preserving their initial orientation. The work highlights the exchanges between the machine and the material, which imposes its constraints on the machine, which must continually repeat the sequences of analysis and movement.

  • https://www.samuelstaubin.com/prosperity
  • FISEA: First International Symposium on Electronic Art
  • Proverbial Cartography
  • Sarah Beecham
  • Proverbial Cartography — electronic montages and large scale embroideries dealing with the ambiguities in a womans’ political position.
    The work is concerned with a personal viewpoint of women’s positions with reference to oral traditions, historical reading and contemporary concerns, both politically and in the internal/formal structuring of art-works. Taking English proverbs as a starting point and exploiting their inherent idiosyncratic and bizarre qualities the combination of possibilities of journeys, patronesses, naivety, maps, allegories and martyrdom is an extremely fertile ground for the elaboration of political ideas. Electronic montaging enables the re-articulation of the oral and proverbial tradition in the context of contemporary issues.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Psychophysics machines
  • Al Fahidi Historical Neighborhood
  • Adam Donovan
  • An installation of five acoustic physics robots. Using sound focusing and Anti Doppler shifts it affects the auditory perceptual engine to create an environment not possible to hear in nature

  • ISEA2002: 11th International Symposium on Electronic Art
  • Public sound check
  • Nagoya Citizens' Gallery Yada
  • ISEA2002: 11th International Symposium on Electronic Art
  • Pukuon series vol3 [+ -]
  • Shumokukan
  • Live Performance

  • ISEA2024: 29th International Symposium on Electronic Art
  • Pulsations
  • QUT Art Museum
  • Anais met den Ancxt and Gregory Lasserre
  • Pulsation is a sound installation artwork with a living tree.
    In contact with the trunk, spectators can hear and feel heartbeat’s sounds and vibrations.
    With its roots and its high branches, the tree is a kind of link between earth and sky.
    The tree is a symbol of the body too, through its cover and its flesh. It is like a mirror of the body. The spectator hears and feels the sonorous vibrations when he puts his ear or his body against the trunk. The entire tree is in resonance with a human heartbeat. This sound generates sensory relationships between the tree and the body.

  • https://isea2024.isea-international.org/pulsations/
  • ISEA2016: 22nd International Symposium on Electronic Art
  • Pulse Radio II
  • Samson Young
  • Samson Young is performing ‘Pulse Radio II – Hommage to Nicolas Collins (Debussy’s Arabesque No. 1) at the HKICC Lee Shau Kee School of Creativity, Hong Kong. The composition begins with a wireless heart rate sensor transmitting Young’s own pulses, which are then turned into “play-head triggers” of a recording of French composer Claude Debussy’s Arabesque No.1. The deconstructed piano classic and heart rate in real time are then overlaid and re-arranged into a sound composition.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Punkturn
  • Aichi arts center
  • Imagine a flat screen sounding. The whole area is filled with many very small moving figures. You can hear at least three different levels in height and five positions in the left-right panorama. In the whirling sound on the virtual screen you can hear dots appearing irregularly. They mark positions or links to the possible, (not yet real) space. Only when, by chance (?), a dot – while appearing – matches exactly at the right time one of the whirling soundfigures on the screen, we can be for a short while a part of the hidden or folded multi-dimensional sound universe behind (inside?) the two·dimensional screen world. This acousmatic work investigates dots, lines and space – and individuals and stories inside/in between.

    The piece be played back as well stereo as on a live-modified multichannel-sound diffusion system for concert purposes. Please also try it with headphones.

  • Acousmatic work
  • ISEA2013: 19th International Symposium on Electronic Art
  • Pure Land: Inside the Mogao Grottoes at Dunhuang
  • iCinema (Centre for Interactive Cinema Research)
  • Sarah Kenderdine and Jeffrey Shaw
  • Making its Australian debut in ISEA2013, Pure Land digitally recreates one of the famous, UNESCO world heritage listed cave temples in Dunhuang, northwestern China. Recognised as a religious and cultural gateway on the ancient Silk Road that carried trade between China, western Asia and India for over 1000 years, the 742 caves are today closed to the public on a rotating basis to ensure their preservation; this work transcends this limitation by immersing visitors in a 360-degree interactive panoramic projection theatre evoking the authentic experience of being inside one of the caves, thus bringing new, sustainable life to the aesthetic and spiritual drama of Dunhuang’s extraordinary paintings and sculptures. This 1:1 scale, virtual 3D facsimile of Cave 220, presented in iCinema’s Advanced Visualization and Interaction Environment (AVIE), exploits various digital image processing techniques, 2D and 3D animation as well as 3D cinematography to further develop AVIE’s experiential and interpretative capabilities. The installation, first exhibited publicly in Gallery360 at City University, Hong Kong (2011), was subsequently shown at the Smithsonian Institute in Washington, where it was described as being “the exhibition experience of the future” by Julian Raby, director of the Freer Sackler Galleries of Art. Keith Kennicott wrote in the Washington Post: “… at last we have a virtual reality system that is worthy of inclusion in a museum devoted to the real stuff of art.” (Nov 30, 2012).
    Friends of Dunhuang HK is a not-for-profit organisation active in conservation and education programs about the Mogao Grottoes. Established in 1943 by the Chinese government, the Dunhuang Academy has carried out many large projects that include conservation to restore and consolidate the cliff surface, caves, statues and murals, and extensive digitisation of cave interiors.

    Project Donor: Mr Gabriel Yu (Chairman of Executive Committee of Friends of Dunhuang Hong Kong). Project Conception and Direction: Dr Sarah Kenderdine, Prof Jeffrey Shaw (City University Hong Kong), Art Direction / Interpretation / Script: Ms Lou Jie (Dunhuang Academy). Cave 220 Dataset: Mr Wu Jian (Dunhuang Academy). Art Advisor: Mrs Lee Mei-Yin (Special Researcher with Dunhuang Academy, Friends of Dunhuang Hong Kong). Software Application : Mr Mo Luk, Mr Leith Chan. AVIE: iCinema/Immersive Realisation.  alive.scm.cityu.edu.hk/projects/alive/pure-land-inside-the-mogao-grottoes-at-dunhuang-2012      dha.ac.cn

  • ISEA2022: 27th International Symposium on Electronic Art
  • Pwned
  • La Capella
  • Marío Santamaría
  • Pwned concerns artistic research based on the notion of bodies of data to question how our technified memory (everything that is stored and registered in databases) participates in constructing desire and projecting the future. From the creation of trained artificial intelligence, primarily with private data such as the history of the artist’s movements over the past few years, Santamaría will ask the machine about his future movements. Its response will devise a series of routes and behaviours to be reproduced by a human body. This offers us the possibility of observing how reality is transformed when the physical body is traversed by its doubles and virtualities.

  • https://www.lacapella.barcelona/en/pwned
  • ISEA2002: 11th International Symposium on Electronic Art
  • Pyramid
  • Assembly Hall, Nagoya Port Building
  • Even though a slight unintentional movement would cause yon to return from a time trip to two different moments of the present, the elementary particles which compose you would never interfere with those composing the lagged world, just like X-ray radiation transmits through materials without interfering. A 1/30 second lag, however, would generate a visible difference. This piece takes its cue from the pyramid shown in the background of a photograph of my grandfather, a Japanese Imperial Navy officer.

  • ISEA2022: 27th International Symposium on Electronic Art
  • Quadra Minerale – Rare Earths
  • Santa Mònica
  • Rosell Meseguer
  • Quadra Minerale – Rare Earths (Tierras Raras) 2017-2019
    On the basis of the war, deeply linked to mineral colonization, Rare Earth Elements, has sought to expand the geopolitical reading on the subject and the problems  derived from it – technology, economy and society – from a publication, an installation of the creative process, a pictorial polyptych and various works.

    On the basis of the war, deeply linked to mineral colonization, Rare Earth Elements, has sought to expand the geopolitical reading on the subject and the problems derived from it technology, economy and society – from a publication, an installation of the creative process, a pictorial polyptych and various works in drawing, printmaking, video and photography.

    • In 2010, the press began to talk about the so-called “war of the rare earths”.
    • Rare Earths and lanthanides, have been extracted from the end of the 19th century.
    • They belong to a large group of the periodic table of elements, which celebrates 150 years of history in 2019.
    • In the 1960’s, they started being used for high technology China, United States, India and Brazil, are major producers of rare earths.
    • China is now a key country in the production of the Rare Earths and its tight control has generated profound disagreements and conflicts – affection and disaffection – worldwide.

    The development of the proposal concludes in the Vademécum: Quadra Minerale. Rare earths, other minerals and mining concepts. An approach to the elements and their technological uses in contemporaneity.

    • Delves into the contemporary processes of technological production, regarding affection and disaffection they generate Makes visible the economic, political and military problems of the elements of the table and concepts derived from it.
    • Historically focuses on past processes as conclusions of the present: colonization, post-colonization, decolonization.
    • Makes these problems visible from the field of visual arts at a theoretical-practical level;each element is related to objects from my studio, works by other artists and myself.
    • Builds international relations between Latin America, Europe, USA, Russia, the Asia-Pacific axis and some countries in the Middle East.
  • ISEA2022: 27th International Symposium on Electronic Art
  • Quantum Chaos set
  • Recinte Modernista de Sant Pau
  • Paul Thomas and Jan L. Andruszkiewicz
  • What we do understand is that it is fundamental to existence. Thomas’s current research questions quantum and nanotechnologies that are utilised as part of his concepts of capturing reality in the act of happening. New emergent technologies and traditional materials are explored in his work in relationship to how he visually expresses an alternative comprehension of the invisible, inaudible and intangible phenomena studied in physics.

    An electron is seen as being analogous to the movement of a spinning top. When a spinning top goes out of its spin cycle, it falls into chaos in the same way an electron in a quantum position is governed by its spin. The set draws from the analogy of the axis of a spinning top that creates a cloud of points that disappear and reappear based on the probability data from Professor Andrea Morello’s lab at University of New South Wales, developed by PhD students Serwan Asaad and Vincent Mourik. In Thomas’s digital artwork, a sorting algorithm developed in collaboration with artist Jan Andruszkiewicz in 2019, utilises speculative quantum data to transform a photographic image. In the artwork, data affects the materiality of photographic images of felt fibres, referencing Gilles Deleuze’s and Felix Guattari’s concept of smooth and striated space. The smooth space of felt is not woven, knitted, knotted, intertwined or laced. It is not a striated space where the woven fabric measures the boundary of the body’s movement in space. It has its own integrity; its tensile strength is born of chaos.  The material becomes a second skin between the body and the world.

    This fibrous character becomes reconfigured by the speculative quantum chaos data using a sorting algorithm to reposition every pixel in the photograph of felt fibres. The program when executed randomly selects one of ten images and Husimi quasi-probability distribution data a text file from 223,966 samples—transforming by rearranging in real-time the digital photographic images’ fibrous character of felt. An accretion of animated motion evolves over time as the fibrous image is sorted from its classical chaos to one born out of quantum chaos. Each sort of the data weaves a series of linear transformations of the felt fibres to reveal new patterns that correspond to a probability of meaning: chaos begetting chaos as an ongoing, entangled real-time process visualising a liminal space between worlds.

  • http://visiblespace.com/blog/?p=1815
  • art, Quantum, Chaos, and Physics
  • ISEA2023: 28th International Symposium on Electronic Art
  • Quantum Jungle
  • Le Cube Garges
  • Robin Baumgarten
  • Exhibition. Le Cube Garges, April 27 – May 18

    2020
    Interactive light installation

    Composed of more than 1000 tactile metal springs, Quantum Jungle is an interactive artistic installation which allows to apprehend and to visualize in an extremely playful way certain concepts of quantum physics. By calculating the Schrödinger equation to model the motion of a quantum particle, it demonstrates concepts such as superposition, interference, wave-particle duality and quantum waveform collapse. By maintaining a playful approach that attracts children and adults alike, the device arouses curiosity and wonder and allows us to understand the invisible physical laws that govern our universe.

    Realized by Berlin-based game artist Robin Baumgarten in collaboration with a team of quantum physicists headed by Prof. Sabrina Maniscalco (Aalto University and University of Turku), and Prof. Marilu Chiofalo (University of Pisa), the piece is an interactive light installation which was installed at Palazzo Blu in Pisa until April 2022.

    The Scientific team:
    Sabrina Maniscalco
    Marilù Chiofalo
    Caterina Foti
    Guillermo García-Pérez
    Matteo Rossi
    Boris Sokolov
    Jorge Yago Malo

    Partners:
    University of Helsinki
    University of Aalto
    University of Pisa
    Institute Q
    QPlayLearn
    Algorithmiq
    Palazzo Blu
    Fondazione di Pisa

    Music in video: Sonor by Eugenio Mininni

  • https://www.wobblylabs.com/quantum-jungle
  • ISEA2024: 29th International Symposium on Electronic Art
  • Quem Salva
  • Sidnei is a young recruit of the fire department fighting forest fires in the Amazon. During his first mission, he will be separated from the group and will have to undertake a perilous mission, guided by his mentor, Joao. Sidnei will be confronted with a choice: follow the orders of the hierarchy or save a thousand-year-old tree at the risk of his life.

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

    Radiances IV (2018) Impression

    Two Prints installation
    Radiances is a formal research aimed at creating a parallel between the aesthetics of the digital image and that of traditional painting. A combination of various techniques was used, such as 3D animation, video synthesis and digital manipulations, to bring out textures which evoke, without imitating, layers of paint, brush strokes, reliefs. These paintings in motion suggest a contemplative state where landscapes evolve slowly over time, freeing the observer from a narrative and linear montage, while maintaining the temporal aspect of the video.
    Radiances IV (2018) Impression – 56x100cm
    Radiances V (2018) Impression – 56x100cm
    Prints installations are on loan from Galerie Charlot

     

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

    Radiances V (2018) Impression – 56x100cm

    Two Prints installation
    Radiances is a formal research aimed at creating a parallel between the aesthetics of the digital image and that of traditional painting. A combination of various techniques was used, such as 3D animation, video synthesis and digital manipulations, to bring out textures which evoke, without imitating, layers of paint, brush strokes, reliefs. These paintings in motion suggest a contemplative state where landscapes evolve slowly over time, freeing the observer from a narrative and linear montage, while maintaining the temporal aspect of the video.
    Radiances IV (2018) Impression – 56x100cm
    Radiances V (2018) Impression – 56x100cm
    Prints installations are on loan from Galerie Charlot

  • ISEA2022: 27th International Symposium on Electronic Art
  • RAIN BEATS
  • El Centre d’Art Cal Massó
  • Josecarlos Flores
  • ISEA2024: 29th International Symposium on Electronic Art
  • Rainbows End
  • SAE Creative Media University College
  • Iris, Goddess of Rainbows. Daughter of Electra and Thaumus, gods and wonders of the ocean. This ever ethereal and mysterious messenger of Hera opens up her secret world of holograms, prisms and fractured light. A portal through to another realm, and our eyes’ source of colour, joy and happiness. A moment away from the urgency of action to connect and exhale, a second to take in the dance of light and rain. Iris tip toes on the earth once more, casting her technicolour bridge down to deliver a message of hope.

    IRIS is our offering to you, to build this bridge.

    Of all the magical mysteries of life, Iris’ story and her ethereal rainbow power remains relatively unexplored and virtually untold. Working alongside Producer Katherine Quigley and Sound Designer, Gus Brady, we will combine forces with a powerhouse team of Queensland based women in a writers-room style devised process to reveal the story of the mysterious Goddess Iris. This team includes circus virtuoso; Chelsea McGuffin and musicians; Kathryn McKee (Angel Strings/KMAK), Jackie Marshall, and Patience Hodgson.

    This collaborative development process will combine the energies and forces of Chroma and our collaborators drawing upon; AR, AI, tarot, holograms, motion capture, science, astrology, divination games, 3D animation, kinetic sculpture, lasers, classical music, rock, electronica, circus, sound design, and performance to create a fittingly mysterious escape-room-esque Art Party. Due to the universal appeal of IRIS’ transportal potentials and visually stunning elements we anticipate this experience to attract a diverse audience and appeal to a range of age groups,
    aiding to foster a refuge of inclusivity and community engagement.

  • ISEA2019: 25th International Symposium on Electronic Art
  • Rapid biography in a society of evolutionary lovers: facial icon version
  • Asia Culture Center (ACC)
  • Tatsuo Unemi and Daniel Bisig
  • The work employs an individual-based evolutionary social simulation. In the simulation, virtual people are born, grow up, fall in love, bear babies, age, become separated, and die over the course of multiple generations. Each simulated individual is mortal but its genetic information that is passed on to its offspring can potentially exist eternally. Nevertheless, most hereditary traits are fragile and quickly change through mutation and selection. The evolutionary process running in the simulation often leads to the emergence of multiple geographically separated races. This phenomena can remind us of the fragility of our racial identity.
    The simulation is rendered perceivable through dynamically created visuals and sounds. The acoustic content consists of short sentences that are spoken by the computer in accordance with certain events taking place in the live of the simulated individuals or that recapitulate the biographic histories of recently deceased individuals. These spoken texts are combined with a mixture of sounds consisting of whispered proposals, sighs of disappointment, baby cries, and funeral bells. All together, these sounds express the collective atmosphere of the population. The atmosphere might sound like noise but is also represents the harmony of the society.
    The computational model of each individual in the simulation is very simple and less intelligent than most contemporary AI systems. Nevertheless, this model is sufficient to evoke in us the impression that the simulated individuals possess intelligence and emotions. As such, it is mainly through our imagination that the simulated behaviors become elements for fictional stories of dramatic life experiences. Therefore, it is also through us, that even the simplest computational entities can achieve enlightenment.
    The installation includes two tablet computers that allow visitors to explore the simulation through two types of browsing interfaces. The first interface displays the individual stories of one of the agents that is currently shown on the main installation screen. The full name and the birth and death dates of six agents are listed in a column on the left. By selecting one of these rows, the detailed life events are shown in a column on the right. The second interface allows to exhaustively explore a database containing all the life events of a previously finished simulation run. This database collects approximately 210000 individual live stories over a duration of 3000 simulated years. The interface offers two different views. The first view displays an individual and its parents and lovers. The second view displays a couple and their children. The visitor can touch a graphical depiction of an individual agent to switch to the first mode or he/she can touch a line connecting two agents to switch to the second mode.
    Since 2003, Tatsuo and Daniel have worked together on new-media art projects. They received several awards: Honorary Mention by Vida 9.0 in 2006 for “Flocking Messengers”, Excellence Award by 10th Japan Media Art Festival in 2006 for “MediaFlies”, Audience Prize by WRO 2011 for “Cycles”, the Best Artwork Award by ALIFE 2016 for “Visual Liquidizer”, and Excellence Award by 21st Japan Media Art Festival for the first version of “Rapid Biography”. They designed interactive stage effects for four contemporary dance projects choreographed by Jirí Kylián in 2008 and 2009.

  • media installation
  • FISEA: First International Symposium on Electronic Art
  • Ray Tracing
  • 1988 Overview: Art Exhibitions
  • Jaarbeurs
  • David Lister
  • Ray traced image by David Lister at Computer Graphics Research Group of the Ohio State University.

  • Cibachrome print
  • FISEA: First International Symposium on Electronic Art
  • Ray Tracing
  • Omniversum
  • Computer Animation
  • ISEA2022: 27th International Symposium on Electronic Art
  • RAY
  • Recinte Modernista de Sant Pau
  • Weidi Zhang
  • ISEA2014: 20th International Symposium on Electronic Art
  • Re-Collect
  • Cuadro
  • Michal Seta and Jane Tingley
  • A responsive sound installation comprised of 30 objects containing speakers, sensors and microphones. The installation is attentive to its environment and responds through light fluctuations and an evolving sound composition.

  • ISEA2016: 22nd International Symposium on Electronic Art
  • Re-Generation (excerpt)
  • Run Run Shaw Creative Media Centre
  • Yan Breuleux and Jean Ranger
  • Re-generation is an immersive meditation on how new perceptions of the world are transforming our relationship to it. It explores the role of human imagination in shaping the Anthropocene, the term coined by scientists acknowledging that human activities are profoundly shaping Earth’s current geologic epoch. Through the integration of artistic animations and scientific visualization, participants are taken to the heart of Earth’s regenerative and invited to re-imagine humanity’s relationship to our home planet. By evoking the imagination beyond our daily experiences, this program reveals poetic interpretations of an interconnected and re-enchanted world.
    Developed for the COP21 Paris climate conference, the Montreal premiere in the Satosphere is guided by the voice of Marie Brassard, following a scenario by David McConville. Initiated and produced by SAT, Re-generation was co-directed by researcher-artist Yan Breuleux and video artist Jean Ranger. It is a prologue to L’Hymne à la beauté du monde, interpreted by Diane Dufresne.
    Re-generation develops through three movements:
    Respiration
    The cycles that punctuate the movements of the universe at all scales, giving life to celestial mechanics and planetary respiration from the microcosm to the macrocosm.
    Anthropocene
    While cosmic dust and stars have given birth to life in its great diversity,  human civilization has begun to radically influence the evolution our home planet.
    Regeneration
    Humans are in nature and nature is in us. By visualizing Earth’s metabolic flows,  we are developing new ways to participate in the complexity of life on Earth through the re-enchantment of the world.
  • ISEA2018: 24th International Symposium on Electronic Art
  • Re-Volution Sampler: A Participatory Archive of Revolutionary Songs
  • Denis Hurley Centre
  • Daniel Cermak-Sassenrath and Stina Hasse
  • One challenging issue of cultural institutions such as museums and libraries is offering their audiences access to their often extensive materials in engaging ways. This is specifically the case with time-based media such as audio recordings. The Re-volution Sampler installation aims to mitigate the challenge. It is an open, participatory, multilayered assemblage of personal memories, associations, and performances of political revolutionary sonic texts. The installation integrates playback and recording of revolutionary sonic texts such as protest songs, political speeches or poems and personal stories. Visitors are not only able to listen and receive but also to add, extend and comment. The installation builds an archive of sonic documents and audience responses to it, thereby creating a network of meaningful relations accumulating during the time of the installation period. Re-volution Sampler becomes a lively, meaningful, ongoing collection of the multiple personal and collective experiences of revolution people have and share across countries and cultures.

  • Installation
  • ISEA2024: 29th International Symposium on Electronic Art
  • RE:GENERATE and TIME AFTER TIME
  • The Loft Theatre, QUT Creative Industries Precinct
  • L.C. Ray
  • It is so hard for us to feel the consequences of Climate Change because what happens to us under its influence is intangibly in the future, and changes are too slow to affect our everyday perception biased to feel phasic threat. To show Climate Change, then, we must fast forward the time, and let our own interactions drive its clock. Only then can we see both the promised destruction close to us and also the possibility of our own actions leading to recovery, not only the sense of doom but also what we can do to alter the future. It is with this new vision that we can see clearly the fourth dimension collapsed as a process of renewal, and to see our role not in the immediacy of now, but the promise of a future.
    RE:GENERATE attempts to alter our perception of climate change by exploring speculative narratives of the future in the form of machine-learning-created visualizations of an urban landscape under threat. The imaginary timeline moves backward-forward to show our resilience despite destruction.
    Adaptation is indeed possible, if we engage with a speculative understanding of potential outcomes.
    RE:GENERATE was inspired by cityscapes of Hong Kong during times of flooding. Hundreds of thou-sands of inhabitants were rushed out of their homes and the flooded subway system. The images were so surreal they became almost imaginary. Yet, we recovered, we adapted. In response, to create the art work, Control Net and Stable Diffusion Deforum in automatic1111 were used to prompt the model to generate a surreal video of destruction and recovery in a speculative future of frequent climate change. We con-strain us algorithmically to a generative principle of nonrepetitive variation based on the imaginary land-scape specified in the first frame that is allowed to vary throughout the video without changing the foun-dations of the structures found within. A timer is added to the final video to remind us that the clock is ticking. The video loops forward and backward in time, showing us that the algorithmically generated vision is ours to control. It’s up to us to frame the story, to adapt to the technology.
    Premiered in Venice with La Storta Scala Mata in parallel with the Venice Biennale, 20 May 2023.

  • https://gallery.styly.cc/scene/b9194fe7-5b8c-4235-9001-2fa380c7eb01
  • ISEA2015: 21st International Symposium on Electronic Art
  • Read For Us… And Show Us The Pictures
  • Goldcorp Centre for the Arts
  • John Cayley and Daniel C. Howe
  • Founded on its earlier installation, “Read For Us” The Readers Project presents the work of a software entity that generates digital video montage, with visual content sourced through live image search. The Montage Reader – developed initially for English – analyses its text and first establishes a overall visual grammar based on closed-class words that underlie linguistic structure. The reader then searches for images corresponding to phrases  – ‘longest common phrases’ whenever possible – finally composing a sequence of images that corresponds with the written language of the text both structurally and also semantically – at least in so far as contemporary image search proposes a correspondence that is meaningful for the human user-readers of network services and their aggregation of crowdsourced indexing. Texts read by the Montage Reader may include parts of Adam Smith’s An Inquiry into the Nature and Causes of the Wealth of Nations (1776), and Some Thing We Are, a short story by Daniel C. Howe.

  • Mixed media installation, custom software
  • ISEA2014: 20th International Symposium on Electronic Art
  • Ready to cloud
  • 2014 Overview: Video Screenings
  • U Energy
  • Christian Zöllner
  • FISEA: First International Symposium on Electronic Art
  • Reclining Nudes
  • Richard Colson
  • The work exhibited deals with similar themes as those which I tackle in my work in other media such as ink, charcoal and oil paint. I worked a great deal from life having models to sit for me in my studio, a practice I have continued since I left art school. Having said this, working on a screen is very different to other media, and although similarities in working methods may exist, I have always wanted to exploit with computers what was totally impossible with any other means.

    l spend a great deal of time constructing my own user defined work tools to draw textures such as skin and also to simulate light effects. These effects are not possible at all with other media. The colour available on screen has also been one of my major interests and I have tried to exploit both the intense colours offered by the medium and the very subtle nuances and changes in colour that can be effected.

    First and foremost I consider myself to be a draughtsman and the work shown here reveals attempts to draw figures with a computer using the features that it offers to create images which are convincing, not only in the way that they deal with light and shade, but also in their portrayal of movement in a static image. I am also concerned to reveal the method of creation so that the images can be recreated by the viewer thus allowing for a measure of open access to the work. I therefore have made no attempt to hide individual marks but rather have sought to underline that each image is both image and the sum of a
    collection of pixels on the screen.

    This I think is in marked contrast to the kinds of concerns which occupy the commercial world of advertising’s use of computer imagery which has been largely concerned with hiding the methods by which images have been achieved thus rendering them rather closed and without sufficient depth.

  • ISEA2023: 28th International Symposium on Electronic Art
  • ReCollection
  • Weidi Zhang and Rodger Luo
  • Hacnum Exhibition, Various locations, May 16 – 21

    ReCollection is an interactive AI art installation that assembles synthetic collective visual memories based on language input, blurring the boundaries between remembrance and imagination through AI system design and interactive experimental visualization.

    According to Dr. Mary Steedly, memories are a “densely layered, sometimes conflictual negotiation with the passage of time.” As a result of Alzheimer’s disease and related dementias, at least 50 million people suffer memory regression and cognitive difficulties. Meanwhile, text-to-image artificial intelligence (AI) systems have gained a great deal of attention in 2022 as exciting forms of AI that generate visuals based on language input, which creates new possibilities for reassembling fragmented memories.

    -​When we coexist with machines, will we accumulate synthetic recollections of symbiotic imagination?
    -Is language capable of triggering and synthesizing memories?
    -How does our collective memory inspire new visual forms and alternative narratives?

    Recollection is an assemblage of human-machine artifacts that emphasizes the contributions from three sides: artists, machines, and participants. This customized AI application facilitates multiple AI techniques, like speech recognition, text auto-completion, and text-to-image, to convert language input into image sequences of new memories. As an interactive experience, participants will describe their memories with fragmented sentences, and our system will automatically fill in details, creating new visual memories.

    We developed our customized AI system by fine-tuning a pre-trained transformer-based AI model to learn the documentaries of Alzheimer patients’ visual memories and their descriptions. The system imagines new memories by interpreting real-time narratives from participants in the installation. We did not employ the generative visual output from our AI system as our final delivery in the installation. Instead, we draw inspiration from Monotype, a printmaking technique with a history that dates back to the 1640s, which produces unique visualizations on paper through printing and reprinting. Therefore, we program our system to automatically transform the machine-generated visuals algorithmically into an evolving real-time visualization with a unique aesthetic through image processing and experimental data visualization. We collaborate with our AI system to design this art experience and intentionally bridge fine art-making techniques with generative AI art to emphasize the symbiotic relationships between past and future, as well as machinic vision and human perception towards a new aesthetic and visual language.

    By providing a conceptual framework for non-linear narratives, which constitute symbiotic imaginations, and future scenarios of memories, culture production, and reproductions. It may inspire the cure for memory regression by providing a future scenario, a thought experiment, and an intimate recollection of symbiosis between beings and apparatus. It raises people’s awareness of future memory preservation and their empathy for the dementia community through a personalized aesthetic experience. It offers an artistic approach and future prototype for cultural heritage reproduction and re-imagination and explores the tensions that exist in the co-relations between visual representations, language, and narratives.​

  • https://www.zhangweidi.com/recollection
  • ISEA2002: 11th International Symposium on Electronic Art
  • Reconstruction #1
  • Nagoya City Art Museum
  • Jim Campbell
  • A poured resin diffusion screen is mounted in these works in front of a matrix of LED pixels. Various pedestrian, auto and boat traffic scenes are displayed from the perspective of an outside viewer. The resin block softens the image from the highly pixelated representation of the LEDs to a decipherable image. The pixel is captured when viewed from the side. In some the cast of light gradually changes from its smallest condensed point to a homogeneous glow of information, in others the cast of light remains a soft glowing orb.

  • Custom electronics, 192 LEDs, cast resin screen. 27.9 cm x 38.1 cm x 7.6 cm.
  • ISEA2020: 26th International Symposium on Electronic Art
  • Reconstructions
  • Allison Parrish
  • Reconstructions is an infinite computer-generated poem whose output conforms to the literary figure of chiasmus. The program samples a sequence of text from a variational autoencoder neural network trained on millions of lines of English poetry, and pairs that line with a reconstruction of the sequence in reverse order. The lines of poetry thereby produced are semantic and syntactic mirror images of one another, exhibiting a classic chiastic X structure: ABBA. At regular intervals, the system produces a new pair of lines, which are then displayed between the lines of the previous step, creating a chiastic structure in the arrangement not just of words within lines but among the lines themselves. As the program progresses, lines continue to appear in the middle of each pair, leading to an endlessly nested chiastic structure (ABCCBA, ABCDDCBA, ABCDEEDCBA, etc.). Older lines fade as they move away from the center but are never fully erased from the screen.

  • Infinite computer-generated poem
  • https://reconstructions.decontextualize.com/
  • autoencoder neural network, Computer-Generated, Infinity, Poetry, and writing
  • ISEA2014: 20th International Symposium on Electronic Art
  • Recover
  • Zayed University - Abu Dhabi
  • Mark Pilkington
  • To photograph myself as a responder to both urban and rural lansdcapes within the UAE. This work develops work I showed as part of Sikka 2013.

  • SISEA: Second International Symposium on Electronic Art
  • Reds Dream
  • Cultural Center de Oosterpoort
  • Life as the sole sale item in the clearance corner of Eben’s Bikes can get lonely. So Red, a unicycle, dreams up a clown owner and his own juggling act that steals the show. But all too soon, the applause turns into the sound of rainfall as reality rushes back. Red must resign himself to sitting in the corner and await his fate.

    Don’t let Red’s sale tag fool you. He’s really a priceless unicycle with a big heart who could help out juggling performers like Lumpy the Clown—if only someone would see him resting against the back wall and give him a chance.

  • Computer Animation
  • https://www.pixar.com/reds-dream
  • ISEA2022: 27th International Symposium on Electronic Art
  • Redundant Assembly
  • El Centre d’Art Cal Massó
  • Rafael Lozano-Hemmer
  • May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: Origins. Public event.

    In “Redundant Assembly” an arrangement of several cameras composes a live-portrait of the visitor from six perspectives simultaneously, aligned using face detection. The resulting image is uncanny, detached from the laws of symmetry and the depth perception of binocular vision. If several visitors are standing in front of the work, a composite portrait of their different facial features develops in real time, creating a mongrel “selfie”.

    A version of the work for public space includes a time-component that allows the face blending to take place mixing present and the past. Face recognition is a technique often used by police, military, and corporate entities to search for and find suspicious or target people. Here the same technology is used to confuse portraits and emphasize the artificiality and arbitrariness of identification.
    http://www.lozano-hemmer.com/videos/artwork/redundant_assembly_basel_2016_rlh_001.mp4
    [Source https://www.beepcollection.art/rafael-lozano-hemmer]

  • ISEA2014: 20th International Symposium on Electronic Art
  • Reflecting Place
  • Zayed University - Dubai
  • Deborah Cornell and Richard Cornell
  • An installation and workshop that fuses geophysical and cultural mapping to create a multi-level locative vision of an expansive present.

  • ISEA2016: 22nd International Symposium on Electronic Art
  • Reflections of the Peacock
  • National Palace Museum
  • N7 Communication
  • Original work of art: Peacock Spreading Its Tail Feathers by Giuseppe Castiglione

    This installation takes Castiglione’s painting of two peacocks and separates its iconographic elements into layers that are then individually printed onto a succession of large glass panes. This spatial and optical re-formulation of the painting illuminates the unique fusion of Western single-point perspective and Chinese painterly aesthetics that Castiglione achieved in his work.

  • https://theme.npm.edu.tw/exh105/hongkong/en/page-3_2.html
  • ISEA2014: 20th International Symposium on Electronic Art
  • Refraction
  • American University in Dubai
  • Russell Bellamy, Scott Michael Conard, and Jordan Vinyard
  • The work consists of several marble tiles, assembled on a platform. The experience for the audience can be summarized by an overwhelming sensation. The culmination of the machines, the sounds, and the reflecting pool is designed to be all encompassing.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Rehousing Technosphere
  • The Loft Theatre, QUT Creative Industries Precinct
  • This speculative animated film takes place on Earth in a distant future. Playing with the tone and structure of a nature documentary, it offers glimpses into how life forms adapt to a new planetary ecology.

    Earth has been home to humanity for around two hundred thousand years – a fraction of the geological time scale. Yet in this short slice of habitation, our imprint has been so vast, so palpable, that some now describe the littered layer of human generated structures and systems as the ‘technosphere’. This is a quickly evolving stratum of neo-geologic time and one that, unlike the biosphere, is comparatively deficient in recycling its own materials.

    This film takes us into a desert-like world, soft and colourful. New species exploit a degrading layer of the planet’s crust by digging, foraging, and designing new homes. What is toxic for one species is a perfect habitat for another. Among the remnants of the Anthropocene, life moves.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Remembrance: Coral
  • The Loft Theatre, QUT Creative Industries Precinct
  • Chanee Choi
  • Remembrance: Coral is a biofeedback gamified performance art project created by the artist to confront the fear of inheriting early-onset Alzheimer’s, from which her mother now suffers. The project utilizes machine learning to create interactive animations, similar to video games, that respond to EEG brain sensor interactions. It combines a surrealistic artistic sensibility with technical expertise and represents a culmination of the artist’s creative concepts.
    Remembrance: Coral traces the story of a woman slowly dying of dementia through an aesthetically vibrant world. It was created through the use of motion capture and machine-learning animation. Real hospital records and patient information were transformed into visuals and with the addition of a database of existing poems, novels, and other writings about memory loss, synthesized into poetry by the OpenAI program GPT-2. This forms the basis of the audio track.
    EEG input is used in order to provoke questions about oblivion and the extinction of memories. The brainwaves are divided into two categories: concentration and no concentration. While concentration is maintained, the narrative of the video game is forwarded, and progress continues sequentially. However, in the case of no concentration, the action of the video game is stuck, and visual elements disperse like dust. The audio and visual text are computer-generated poems about memory loss created by the AI, GPT-2. The poem is composed of 4 parts that progress continuously while concentration is maintained. When concentration is lost the letters are erased one by one.

  • https://gallery.styly.cc/scene/4c057d16-9dc0-458c-ade4-e05ad0f45cf4
  • ISEA2022: 27th International Symposium on Electronic Art
  • Repository
  • Santa Mònica
  • Weidi Zhang
  • Our digital footprints in the vast data universe are duplicatable, transferrable and mutable.  Deletion has become much harder than throwing a piece of paper into a shredder, which was first invented over a hundred years ago. Photos, videos, geographical tag or just simple texts living on social media platforms as the virtual presence of digitized human memories strengthen the power of machine computation and analysis while underlying the control from us.

    When we try to preserve or delete our own stories in the digital landscape, do we still have the authorship of them? Are they in a constant shift of meaning and representation?

    Repository is a virtual reality experience created around the issue and question of data authorship and data oblivion.  It builds a world of data in motion merging the structure of a server farm (A place physically stores data) with a  paper shredder (A machine deconstructing data). Repository gradually transforms from a surreal bank safely stores memories into a space filled with floating shreds of letters and characters through assembling and fragmenting various conversations borrowed from Twitter posts in 2019. Its non-linear narrativity, interactive experimental sound, and surreal aesthetic provide a conceptualization of an alternative model of human-machine interaction, and question whether we have the right to be forgotten, at the same time as the right to be remembered?

     

  • ISEA2018: 24th International Symposium on Electronic Art
  • Resounding Walls
  • 2018 Overview: Public Events
  • BAT Centre
  • Wayne Reddiar
  • Resounding Walls takes its conceptual starting point from the interdisciplinary field of Acoustic Ecology and the practice of Sound Design. Acoustic Ecology highlights the importance of creating an awareness of the role that sounds plays in shaping our experience with our respective environment and habitat. These experiences affect us physiologically, psychologically, cognitively and behaviourally. Parallel to this field, the practice of Sound Design has the potential to activate our awareness of our acoustic surrounding. The project will be actualised as an immersive sound installation which intersects with the context of the exhibition space. This will be composed of a Sound Design artwork based on field recordings taken in and around the city of Durban.

  • Sound design artwork
  • ISEA2023: 28th International Symposium on Electronic Art
  • Retornar
  • Centre Culturel Canadien
  • Santiago Tamayo Soler
  • Exhibition. Centre Culturel Canadien, May 16 – 20

    Set in a fictional Andes in the year 2222 Retornar narrates the story of the nine last living humans on Earth, and their journey towards a big «reset». Narratively structured as a video game, Retornar takes place in an eco-pessimistic world, where Latin America has nothing else to give: its soil has dried up and the atmosphere has become increasingly dangerous. After a big war driven by an extreme exploitation of natural resources, the surviving characters wander around a dystopian Andean landscape, aimlessly and alone, with no other purpose but to spend their day going through different “puzzles” and “loading screens”, until they are summoned by a mysterious blue orb that will transport them into a digital celestial world where – after a big celebratory “last dance” – they will become the seeds for a new generation.

    Retornar was made through a multilayered process. The world itself was designed from scenes created in The Sims 4, SketchUp, Photoshop, as well as real footage shot in front of a green screen. The scenarios were built using an isometric perspective to mimic early 8 bit video games, as well as early life simulation games, and videochat universes.

    Created as part of the PHI Montreal 2021 Residency.

  • Video HD
  • https://www.santiagotamayosoler.com/retornar
  • ISEA2018: 24th International Symposium on Electronic Art
  • Return of the Amersfoort
  • BAT Centre
  • Aline Xavier and Haroon Gunn-Salie
  • Return of the Amersfoort is the result of the collaboration between Haroon Gunn-Salie and Aline Xavier formulated during a research residency at Thami Mnyele Foundation in Amsterdam. Staging a symbolic repatriation, the project presents a reoriented perspective on the historic and contemporary connections shared between South Africa, the Netherlands and Brazil. Anchoring the ghost of the East India Company (VOC) merchant ship Amersfoort in the historic city it honours. In January 1658, Amersfoort, pirated a Portuguese slaving vessel off the coast of Baía de Todos os Santos. In its hold, 500 male and female Angolan slaves, destined to be sold in the slave markets of Brazil. 250 slaves were taken aboard Amersfoort, which docked in Table Bay on 28 March 1658, marking the day the Cape became a slave trading colony. The installation conceptualized as a chain of experiences, invoking ancestral elements evoking the presence of the ghost vessel, flagging its remains to dismantle and contest eurocentric historical-fact.

  • Video
  • https://www.instagram.com/p/BkiC41xh7B1/
  • ISEA2024: 29th International Symposium on Electronic Art
  • Returning… as…
  • QUT Creative Industries Precinct, The Block
  • This takes place in a virtual reality space with a black, silhouetted foreground. The Styly installation has excerpts of gameplay on a video loop, with a link to the software. The application can be side-loaded onto a Meta Quest 1-3. Quest 1 is preferred, as its screen shows the darkest black.

    The landscape is coming toward you. With you, your neighbours look out from their balconies. The time of day is always sunset. Bodies disappear and re-appear in different forms.

    The future arrives like waves and washes things away. Entities like fireflies move and flash in the darkness. They buzz when you touch and transform when you grasp them: a body, a parasite, dirt.

    Each body is in a state of transition. Some have roots and mud. Some are moved by mysterious, microscopic processes.

    Disaster repeats and death transforms, both of which you are watching happen from a frozen point in the ongoing collapse. The darkness obscures the details that might illuminate what happened up until now.

    You and your neighbours are separately all staring vacantly at the horizon. You can feel the vibrations of the memories of this place through your hands.

  • ISEA2017: 23rd International Symposium on Electronic Art
  • Reunion 2: Performance of the Data Stethoscope for complex networks of fMRI data and chess board
  • The performance is in honor of the celebration of the 50th anniversary of the Nine Evening performances in 1966 where prominent artists and Bell Labs engineers performed in public in New York. The performance used both the data and the software developed for a data stethoscope project that is associated with ongoing research with a team of Neuroscientists at the Center for Vital Longevity Studies at UTDallas. The project data was fMRI data on age cohorts of healthy individuals from 20 to 80. The research involved adding sonification to visualisation tools as a strategy for data exploration. The performing artist is Scot Gresham Lancaster in collaboration with astrophysicist Roger Malina. The artist developed an interface and performance strategies with a chess board and various midi controllers. Using various data sets from the research a soundscape and real time interventions based on the “Reunion” electro-acoustically enhanced chess match between Cage and Marcel Duchamp from 1968. In this case the two collaborating scientists play chess on an electronically enhanced chess board. The moves they make drive the soundscape and interaction of both the video and audio of the performance. The interactions are enhanced by actions and reactions during the performance.

  • FISEA: First International Symposium on Electronic Art
  • Reverie and other works
  • Stephen Boyd Davis
  • These pieces of work are as much an enquiry into the medium itself a they are a use of a medium to explore external ideas. I must confess to some disappointment at much that comes from computer paint systems. In many cases surface qualities seem to become emphasized at the expense of structure, and the medium seems to impose its own dead hand on the character of the work.

    In many ways, with my background in textile and surface design, I felt particularly endangered by this tendency. I also sensed that it would become all too easy for me to begin ’embroidering’ the work with distracting elements, or with equally distracting fine adjustments to such a point that the work would die in front of me. This did in fact happen in less successful pieces.

    As I further allempt to discipline the work, I strove to avoid the Englishness of English art by adopting a sparser and a bolder structure based on what I can only call a ‘European’ strength. ln fact one of the external themes of the work became that of the myth of Europe, or Italy in particular, as it seemed obvious to one that l could only partake in that strength as an outsider and never as a true participant. This of course was reinforced by the nature of the medium, in that I was engaged in a minimally physical activity in a room without windows or other contact with the real world. I began to feel like those travellers who have only journeyed by conjuring up the mental states which they believe or hope particular countries inspire, rather than by visiting them in reality.

    The way I have used the medium involves several layers of deceit, with fragments of photographic imagery mixed with grossly obvious passages of printing and repainting together with some far subtler alterations and transpositions, in the hope that the observer will be for some time left unsure what has at some time existed in reality and what has not. The other principal use I wanted to make of the characteristics of the medium was in the facility to place in different colour, scale and orientation the same or similar components in several related pieces of work. Musical ideas were a strong influence here – not just the Obvious analogy of musical variations, but also an attempt to evoke a similar suggestive quality to that of music through the use of shapes and objects that set off echoes at a variety of levels, whether overt or concealed. The facility that paint systems provide, to choose the exact degree of disguise which some object shall wear, seems to me one of their more interesting characteristics.

    Of course the subject matter is chosen with a similar aim in view, to suggest vestigial fragments of a greater civilisation which we can admire but not recreate. This incorporates the very nostalgia which I originally set out to avoid.

  • ISEA2023: 28th International Symposium on Electronic Art
  • Reverse Phylogenesis
  • Golnaz Behrouznia and Dominique Peysson
  • Hacnum Exhibition, Various Locations, May 16 – 21

    A Parallel Natural History Museum
    Art-Science trans-media installation
    12 devices within a scenographic route

    Passionate about the living, Golnaz Behrouznia and I imagined the concept of the exhibition together Reverse phylogenesis. This is a journey featuring twelve of our works, from which we create a logic between fiction and natural science. A trans-media and literary work, from our imagination.

    Very recently, biologists discovered a species of jellyfish capable of performing a true reversal of its life cycle, allowing it to return to a previous cellular state. Could it be that certain living species can go through a process of rejuvenation over time, and thus move up the phylogenetic tree? A process of de-evolution that scientists might call “reverse phylogenesis”.

    The discoveries of organic molecules in space, in particular on comet Tchouri, update the question of the emergence of life from inert matter in a prebiotic world. Over time, evolution has made it possible to explore an extraordinary diversity of systems, an incredible fauna whose traces persist in fossil form in the Burgess Shale. Only the most robust forms of which we know the current descendants have survived. Life experiments are now much less diversified.

    “Reverse phylogenesis” envisages a de-evolution that would allow to explore again, with extreme freedom, varied, extravagant forms of life, with strange anatomy and enigmatic functioning. The mini-museum presented here reappropriates the unknowns of the living. He questions the forms emerging from our contemporary imagination, mixing the living, artifice and human technologies. A face to face with the fundamental questions that are the nature of life or the fate of biological evolution on earth.

    “Inverse phylogenesis”, between plastic, digital, audiovisual and textual forms, is a proposal that aims to be offbeat and poetic, but which is characterized at the same time, in a roundabout way, by a strong anchoring in reality. Because it is through sensitive forms that we will be able to constitute new imaginaries of the living, richer, more complete, more open too. “Reverse phylogenesis” leads the viewer to re-examine what “the living” and “life” can be.

    Signed by Rémi Boulnois, the scenographic route as well as the design of the lights, are proposed in such a way as to recreate the atmosphere of a scientific museum. The scenography is accompanied by a sound creation by Florent Colautti, which ensures the coherence of the whole.

    The artists lead us there, over time taken backwards. To re-imagine a living thing that comes from almost the same constraints, the same laws as current organisms, but which escapes classification. Forms of life that try out different means of breathing, nutrition, setting in motion, metamorphoses, interacting with their environment… The exhibition ends at time zero, this suspended moment when inert matter first became alive. The point of origin of the thread of life.

    Rejuvenation according to the biologist Braun can be either individual with a return to a previous form (we are always subject to the force of rejuvenation which continues to sculpt our body), or more global, with the rejuvenation of the species through the succession of individuals. The living is not a stable state: it is maintained in its state by the continuous management of flows of growth and destruction, absorption and rejection. Of rejuvenation and aging. Youth and old age are organic and spiritual forces constantly at work and constantly opposing each other. If rejuvenation takes precedence, why not imagine the possibility of des-evolution, and the return to freedom of an “inverse phylogenesis”.

    Creation Golnaz Behrouznia & Dominique Peysson
    Scenographic creation Remi Boulnois
    Sound design Florent Colautti
    Photos ​Golnaz Behrouznia & Dominique Peysson

  • https://dominiquepeysson.net/en/project/reverse-phylogenesis
  • ISEA2024: 29th International Symposium on Electronic Art
  • Reworlding: Play The World We Want
  • Museum of Brisbane
  • Troy Innocent
  • So, you want to imagine a different world? Start with urban play.

    Reworlding: Meanjin is an immersive role-playing game set on the streets of Meanjin/Brisbane in 2050. You are invited to join artist and academic Troy Innocent on a three-hour journey through the inner-city, working with your group to imagine a Meanjin of the future. Along the way, take part in urban role-play encompassing augmented reality, participatory games and sound. At the end of your journey, return to the Museum to share your findings together.

    ‘Reworlding’ is a form of speculative and relational world-building. To ‘reworld’ is to nurture and develop existing patterns in culture, nature and society – evolution over revolution. Reworlding embraces actions for change, do-it-yourself skills and speculative design to answer the question: when one world collapses, how do we build the next?

    Reworlding: Meanjin was developed in conversation with Warunghu, Aunty Raelene Baker and Museum of Brisbane experts. The project expands on a previous iteration, Reworlding: Play The World We Want, presented in Naarm/Melbourne by RMIT future play lab during Melbourne Design Week 2023. The game was designed using research provided by Aboriginal Elders, urbanists, designers, artists, policymakers and game makers.

  • ISEA2024: 29th International Symposium on Electronic Art
  • RGB
  • Vacant Assembly
  • Jenny Fraser
  • the screen-based world – is it the reflector or the director?

    Do we imitate it, or does it imitate us?

    The ‘RGB’ triptych explores common colonisation techniques through the “gods eye” of mainstream movies with an international reach. When witnessing a recurring action, some say ‘I’ve seen that movie’. it is an ambiguous expression of dismissal / resignation / fatigue, recognising predictability and history repeating itself. unless of course you haven’t seen the movie or are unaware of the history, then the expression is a way of opening up discussion. naming and defining is a way of breaking down the power of neo-liberal actions. in this instance ‘name that movie’ is a video that’s set up like a guessing game…

    The object of the game is to guess the movie through summary cues and a film excerpt. There are only a few (re)colonisation techniques named here, but there are plenty more. if you don’t recognise these movies then when you’re next on the couch – keep your sharp eye open. if you do recognise these colonisation techniques, then you need to get off the couch – with your sharp tongue!

    keep naming the movies.

    When inspecting a screen up close, we can see that it is also composed of Red, Green and Blue dots, like an aerial view of a landscape or seascape.

    ‘RGB’ is a video study specific to contested sites. Most movies subconsciously say a lot about culture wars, often mirroring issues of belonging, identity, ownership, entitlement and consequent conflict.

  • ISEA2002: 11th International Symposium on Electronic Art
  • Richard Devine Live Performance Nov 1
  • Diamond Hall
  • ISEA2018: 24th International Symposium on Electronic Art
  • Rio de Janeiro & Bruxelas
  • BAT Centre
  • Paulo Nimer Pjota
  • Paulo Nimer Pjota’s work is developed based on the nature of collectively originated phenomena. His research and practice concentrate on a profound study of a kind of popular iconography which can only be developed through complex processes conducted by countless sets of hands. We can thus think of his body of work as the representation of a dialogue that is pluralist and unsettled, whose understandings are in constant transformation, spanning multiple streams of consciousness. A conference of many voices with open channels of research in a time and space that is not homogenous, nor linear.

  • Cellphone photos
  • https://juligontijo.wordpress.com/2018/06/26/fracture-zone-an-exhibition-by-conversations-in-gondwana/
  • ISEA2024: 29th International Symposium on Electronic Art
  • Rise of the Tidal Island/ Ice Queens
  • The Loft Theatre, QUT Creative Industries Precinct
  • Andrea G Artz
  • The VR experience was inspired by an ancient Greek myth and a series of self – portraits that the artist took at age 50. The project developed during a digital residency for Mozilla hubs with Agora Digital Art, a London based organization that advocates the work of women and non-binary artists. The work weaves together surreal CGI imagery inspired by the myth of Aphrodite’s violent birth; how the goddess was born a grown woman, and an audio piece that is a virtual continuation of Frigga Hauge’s “memory work” and built upon the oral reflections of middle-aged women.

    “Some of you may recall the myth of Aphrodite’s violent birth; how the goddess of Love and Fertility was born a grown woman shaped form the white foam of the sea. Adding narrative from the surrealist artist Ithell Colquhoun with her vision of divine femininity, in which the woman becomes a landscape and merges with Earth – an entity alive inhabited by spirits… In this metaphor, the project question’s themes related to mature women such as ageism, body confidence, and criticism of the eternal youthful representation of the female body. The clash between the two players: the body and the mind.” (MiMi, Agora Digital Art, 2022).

    In 2022, I answered a residency call to develop and adapt my XR project “Rise of the Tidal Island Queens” to the stories and landscapes of Lapland, Sweden. The project is an ever evolving, site-specific work that dynamically adapts to each environment it inhabits, and during my residency at Moskosel Creative Lab/ Northern Sustainable Futures it developed into the VR work “Rise of the Ice Queens.”
    During my stay, I visited the Ajtte Museum in Jokkmokk to research Sami traditions, 3d scanned the Northern environments and recorded 360 videos of Aurora to build the virtual world for the Island Queens covered in ice and snow and skies illuminated by Aurora.

    I was particularly curious about the role of women in Sami culture and read Ann – Helen Laestadius’s book Stolen, where she portrays a woman’s struggle to defend her heritage in a world where climate change looms and the tensions that arise when modern ideas come up against traditional culture.

    In the VR experience visitors witness and can take part in a ritual performed by the “Ice Queens” under the skies of Aurora, and accompanied by a sound design of fellow artist in residence and experimental musician Christoph Zeckel. They can further interact with 3 floating spheres and experience the original Island Queens and listen to the quotes of middle aged women how they feel in body and mind (sound design Isa Suarez).

  • https://gallery.styly.cc/scene/0339bd6c-32f9-4ade-bc0c-f066beeade5c
  • ISEA2024: 29th International Symposium on Electronic Art
  • River Listening
  • Leah Barclay
  • Looking at the surface of a river, it is virtually impossible to detect environmental changes. The impacts of climate change are often visible in terrestrial environments, yet dramatic changes in aquatic ecosystems can go unnoticed simply due to
    visibility. Listening to hydrophones (underwater microphones) provides access to a non-invasive way of understanding changing aquatic ecosystems.

    River Listening is an interdisciplinary project exploring the possibilities of sound in the conservation and management of
    global river systems. The project works at the intersection of art and science by investigating the cultural and biological
    diversity of freshwater ecosystems through real-time listening and underwater recording used for biodiversity monitoring and
    public engagement. The resulting database of hydrophone recordings is used for ongoing scientific research and diverse creative projects disseminated worldwide. The artistic outcomes from River Listening are central to our public engagement efforts
    and include mobile phone applications with augmented reality audio, GPS trigged soundscapes and live streaming hydrophone arrays.

    For ISEA2024, the River Listening team will provide a guided dusk kayak tours of the Brisbane River with a live mix of the soundscapes beneath the surface. Additionally, the team are launching a new mobile app that will feature a live generative sound mix of the Brisbane River for the duration of ISEA2024. The live soundscapes will be accessible via a mobile app and guided interactive tours where audiences will learn about the art and science of listening to rivers while immersed in the soundscapes beneath the surface. The mobile app will include geolocated points and will focus around connecting ISEA venues along the Brisbane River. For ISEA204, these interactive experiences draw on a database of recordings from the Brisbane River over the last 10 years, along with live hydrophones during ISEA mixing into a generative sound environment immersing listeners beneath the surface.

  • ISEA2022: 27th International Symposium on Electronic Art
  • RNR Project
  • CCCB: Centre de Cultura Contemporània de Barcelona
  • Patrick Tresset
  • In the award-winning Human Study #1 series of performative installations, a human is drawn live by several robots during a 20-minute session, Both audiences and participants often mention the robot’s attention as a striking element. It is conceived as such, a camera mounted on the pan and tilt system enables the robot to observe the sitter with tiny saccades, occasionally comparing with the drawing, and most of the time following the pen’s movements. Although these movements are theatrical, they effectively convey a character and give the impression of the system paying attention to the human in an animal mammal-like way. Furthermore, the robot’s eye following the pen’s movement gives the impression that it is looking at what it is doing.

    I have been researching a forthcoming series of installations for the past three years, including developing a new robot (RNR). Instead of being strongly influenced by human behaviour that is perceived as familiar like the human study #1 robots, I am exploring ways to make it [RNR] perceived as alien, unfamiliar, and foreign.

    The RNR is an intermediary work, where I will specifically explore how having a robot looking at us with a different unfamiliar perceptual system affects our perception of it. As an animal, if attention is directed toward us, it needs to be evaluated instantly: can we eat it? Is it going to eat us? As humans, the way we are observed triggers a wealth of emotions. What if we can’t decode the intention of the observer? And what will the robot draw if it sees differently?

    The aim for the final installation would be for the emotions in the human being drawn during ten-minute performances to progressively move from unsettled to intrigued, reassured, captivated, and charmed.

  • ISEA2014: 20th International Symposium on Electronic Art
  • RoboterStück
  • Maraya Art Park
  • Arne Eigenfeldt
  • Every 15 minutes, a robotic percussion instrument performs a new generated composition that is the result of an ongoing negotiation between virtual agents. Each composition lasts between 3-5 minutes.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Roboterstück
  • 2013 Overview: The Musical Metacreation Weekend
  • The University of Sydney
  • Arne Eigenfeldt and Ajay Kapur
  • This footage was recorded at the Musical Metacreation Weekend in the University of Sydney, part of the ISEA 2013 exhibition. Credit: Arne Eigenfeldt, Ajay Kapur. Recording by Xavier Ho.

    Roboterstück is a tongue-in-cheek homage to Karlheinz Stockhausen’s famous total-serialist work Klavierstück XI, in which the performer glances at a sheet of music and randomly chooses to play from 15 notated fragments. In this case, agents negotiate a texture – from 16 possible combinations – based upon the following features: slow/fast; sparse/dense; loud/soft; rhythmic/arhythmic. When the same texture has appeared three times, the performance is complete. Unlike all of Eigenfeldt’s other multi-agents works, Roboterstück makes no attempt at anything human-like, either in conception, or performance, by the NotomotoN (an 18-armed robotic percussionist). Video: footage recorded at the Musical Metacreation Weekend in the University of Sydney. Recording by Xavier Ho

  • ISEA2024: 29th International Symposium on Electronic Art
  • Robotic Blended Sonification
  • ARM HUB
  • Jared Donovan and Stine S. Johansen
  • This installation invites participants to explore the inner soundscape of a robotic arm. We capture and amplify rather than mask consequential robot sounds and modify them according to contextual information. Drawing on approaches from design, Human-Robot Interaction, and creative practice, the resulting “Robotic Blended Sonification” transforms consequential robot sounds into a creative material that can be artistically explored.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Role Model
  • Creekside
  • Sheryl Oring
  • Role Model performances pose the question: What can Dubai teach the world?, while the installation shows answers from shows done in Russia and Brazil.

  • http://www.sheryloring.org/role-model
  • ISEA2002: 11th International Symposium on Electronic Art
  • Romeo and Juliet
  • Nagoya Citizens' Gallery Yada
  • Yoko Toma
  • acrylic, oil, screen print
  • ISEA2024: 29th International Symposium on Electronic Art
  • Rough and Squishy
  • Griffith University Art Museum
  • Tara Pattenden
  • Rough and Squishy presents interactive exploratory materials research created in the early stages of Tara Pattenden’s PhD project – Crafting Sonic Expression – that combines wearable technologies with sonic participatory practices to explore different possibilities for creative co-collaborative participatory works. The work generates material knowledge through methods such as absurd making and public making to generate divergent ideas and disrupt notions of technologies for critical reflection. By exploring materials such as custom hardware, software, e-textiles and crafts, Rough and Squishy explores how perceived notions of technology can create enchantment and play within participatory sonic art.

  • ISEA2018: 24th International Symposium on Electronic Art
  • Run Dry
  • Ushaka Aquarium and Beach
  • Kristine Diekman
  • What does clean water bring us and why should we tell the story of its loss? Functionally, without water, we cannot drink, bathe, cook or clean. Essentially, it is indispensable for empowerment, health, dignity and economic security. Water is a human right, yet 10% of the world’s population, mostly living in rural areas, lives without safe water. While globally we use 70% of our water resources for agriculture and 10% for domestic use, catastrophic droughts are devastating parts of North and South America, Africa, China and Southeast Asia, worsening universal access to water.

    Run Dry is a film project told through personal stories, investigates the significance of water and reveals the systems of power that govern water distribution. The project addresses how water is accessed and resourced, what systems govern water resources, how they have developed over decades, and how they impact human well-being today. Audiences will learn specifically about the water crisis in Central California as a model for understanding how race, class, migration, water policy, hydrology and agricultural history combine to create this crisis.

  • Run Dry is in partnership with the Community Water Center, Self-Help Enterprises, CSUSM.

  • Film
  • http://www.rundry.org/
  • ISEA2014: 20th International Symposium on Electronic Art
  • Running in parallel, four decade analogy: UAE and the Short History of the Electronic Art
  • American University of Sharjah
  • Collectively harvested data and an interactive AR presentation of the History of the Electronic Arts over the period of last four decades.

  • ISEA2013: 19th International Symposium on Electronic Art
  • Runscape
  • 2013 Overview: Performances
  • Laurent Gutierrez and Valerie Portefaix
  • MAP Office will develop a project that deploys Parkour as a form of city mapping. In Runscape, performers run at high speed through the urban centres of Hong  Kong (2010), Berlin (2012) and Sydney (2013), cutting through crowded thoroughfares and jumping across the tops of buildings. Runscape HK is a fast-paced, high-energy video that explores a highly pedestrianized cityscape from an athlete’s viewpoint. The Sydney run was made in Sydney during February 2013 for Running the City and will be augmented by a running performance event in Sydney during ISEA in June, organised for the CBD in association with the City of Sydney and NIEA’s Curating Cities team. Source: xmedialab.com/mentor/valrie-portefaix

  • Runtime Error
  • ISEA2019: 25th International Symposium on Electronic Art
  • RuShi
  • Asia Culture Center (ACC)
  • John Wong
  • This work is about big data and prediction, fate and superstition, questioning what we really need or want in the age of big data and AI.
    RuShi (如是)) means “As Is”: nothing more or less, but the true colors of something. Every Buddhist scripture starts with these two words to show the scripture has no interpretation by anyone else and totally comes from Buddha.
    RuShi is a piece of algorithmic interactive installation art that uses the ancient Chinese fortune-telling algorithm “BaZi” (八字). In English, BaZi means “eight words.” BaZi is an application that uses eight words to analyze a person’s destiny. Every person’s date of birth can be used as data and converted into eight words and the eight words are all translated into five elements (metal/ wood/water/fire/earth). The interrelationship of the five elements can predict one’s character and happenings throughout his or her whole life, and it has become widely used since China’s Song Dynasty.
    What if big data and AI are the new superstitions? What if a fortune-teller or data scientist is only a storyteller? We allow ourselves to believe in something that we don’t understand, as if we are seeing a fortune-teller and hoping the mysterious algorithm can show us our future and tell us what we should do. Indeed, all of the questions we want to ask the fortune-teller are unconsciously built on fear.
    In RuShi, I’m using the ancient data analysis application yet taking out all the extra cultural signs and materialistic interpretations, there remains only the “As Is,” i.e. the five elements. It goes back to the basic. We can see no prediction of life from this machine, but only time, changes of color and the beauty of different people’s balance of life. Photo: 
    RuShi

  • Projection (x2)
  • https://www.johnwong.asia/rushi
  • ISEA2014: 20th International Symposium on Electronic Art
  • Saber The Brave
  • Amna Mohammed Al Suwaidi
  • ISEA2018: 24th International Symposium on Electronic Art
  • Safar (travel)
  • Ushaka Aquarium and Beach
  • Zahrah Alghamdi
  • During her residency at Eawag, Zahrah Alghamdi has accompanied the Stream Ecology research group on three excursions to the Roseg Valley in the Engadine. Taking her inspiration from the activities of the scientists in the midst of the mountain terrain with its countless rivers and streams, she captured her impressions in the form of works that make use of found materials, directly intervening in the landscape. She created the pieces either by hand or using simple tools, and made use of materials that she mostly picked up in the Roseg Valley — such as sand from a river bank, or dried plants. This process enabled Alghamdi to tune in to an unfamiliar landscape and leave her own imprint on it while at the same time offering up these imprints to the effects of impermanence. Having been documented in a series of photographs, the works represent a moment in time, as do the scientific data collected in the Roseg Valley.

  • Film
  • https://vimeo.com/287022747
  • ISEA2002: 11th International Symposium on Electronic Art
  • SAKASA
  • Assembly Hall, Nagoya Port Building
  • The immersion.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Saleh´s Adventure
  • Khulood Ghuloom Al Janahi
  • ISEA2018: 24th International Symposium on Electronic Art
  • Same, Same, but Different
  • Durbin City Hall/Durban Art Gallery
  • Andreia Machado Oliveira and Luyanda Zindela
  • Same, Same, but Different is a transdisciplinary collaborative project between the Laboratory of Art and Science at Durban University of Technology (South Africa) and the Interdisciplinary Interactive Laboratory (LabInter) at the University of Santa Maria (Brazil). This project brings together people from Fine Arts, Engineering, Computer Science and Video to create an interactive electronic artwork that uses water as a conceptual metaphor for access to internet bandwidth and information as a human right and commodity which should be widely available without restriction, as essential to human life, and to which every person is entitled. This project seeks to bolster existing collaborative transdisciplinary initiatives along a South-South axis between South Africa and Brazil, in light of the two countries facing similar artistic, cultural and socio-economic challenges.

    LabInter is composed by artists, teachers, researchers and students from visual arts, design, music, letters, architecture, cinema, computer engineering and computer science. The lab has developed research projects in game art, interactive applications, augmented reality, mixed reality, interactive installations, visual music, web art, telematic art, and, recently, a Fulldome proposal. LabInter is associated with the Graduate Program in Visual Arts at UFSM/Brazil. Andreia Oliveira, Cassio Lemos, Eduardo Custodio, Evaristo do Nascimento, Fabio Almeida and Indira Richter are members of the LabInter’s team.

  • ISEA2024: 29th International Symposium on Electronic Art
  • Sampling the Cirrus Band
  • University of the Sunshine Coast Art Gallery
  • Grayson Cooke
  • The images shown here are derived from the “cirrus” band of the Landsat 8 satellite and show a series of cloud formations over the Great Australian Bight.

    Satellite sensors are multi-spectral, recording discrete wavelength ranges of the electromagnetic spectrum in separate “bands” which are combined in different ways to highlight environmental phenomena.

    In addition to bands for visible and infrared light, Landsat 8 records a single extremely narrow band in the shortwave infrared, 1.36-1.39 microns, designed solely to gather images of cirrus clouds. Cirrus are very high and very cold, and their thin wispy forms are often difficult to see and so constitute a form of noise in optical data; the cirrus band is recorded so it can be used for filtering and correcting for cloud noise.

    In other words, Landsat 8 records images of cirrus clouds the world over, solely in order to remove them from the record. These stunning and dramatically lit confections of wispy clouds and towering thunderstorms are gathered for algorithmic purposes and are never meant to be seen by human eyes.

  • ISEA2018: 24th International Symposium on Electronic Art
  • Saturation Point
  • Durbin City Hall/Durban Art Gallery
  • Shannon Bennetts
  • The attention spans of users has become somewhat of a commodity to platforms such as Facebook, YouTube, Twitter, and others. Unfortunately, due to the constant bombardment of information and imagery from these sites, not only have the length of our attentions spans shortened, but many of us have become oversaturated with (and even addicted to) the easily digestible and almost comforting stream of distraction that our devices steadily provide us with. This project consists of a desktop PC running a fake YouTube browser. The browser leads participants to a single video made up of 10 overlaid videos playing simultaneous at various levels of opacity. This visual and audible bombard of faces and voices is a manifestation of the effect that this platform has on those who use it. In this way, it mirrors the effect that it has on others back onto itself. It creates a space in which nothing can be retained and focusing on any single aspect proves difficult. It is this state which I find myself in when I have overexposed myself to this sort of stimuli, and it is a state which I aim to not only portray, but hopefully also replicate in those who interact with the piece.

    Coding: Simone Beneke-Graham

  • ISEA2013: 19th International Symposium on Electronic Art
  • Say it like you want it
  • Art Gallery of New South Wales
  • Anne Landa Award for Video and New Media Arts 2013.

    James Newitt orchestrated a mock confrontation between two groups of demonstrators, although it is never clear what they are arguing about. [source: ttps://www.johnmcdonald.net.au)
    Say it like you want it is a video of staged protest/demonstration which incorporates signs, slogans and ideologies taken from opposing political positions which have been decontextualised from their original sources. The work was filmed in Liverpool UK within a community theatre space and reveals an artificial social encounter that brings together a group of non-professional actors who were provided with pre-made banners, masks, flags and disguises. The performers were paid an hourly fee for their time. https://jnewitt.com/work/say-it.html

    By participating in the ‘protest’ the performers were asked to try to temporarily erase their identity and personal ideologies and perform someone else’s words, which may or may not resonate with their own belief. The work explores the spaces between hearing something, saying something, understanding something and believing in something.

    The video is exhibited alongside documentation of an Orange Order march which was filmed in Toxteth, Liverpool – the site of the infamous 1981 Toxteth riots.

  • https://www.jnewitt.com/work/say-it.html
  • ISEA2020: 26th International Symposium on Electronic Art
  • SCAMP: Mont Royal
  • Steve Heimbecker
  • SCAMP: Mont Royal is an interactive, non-linear, geolocalized sound walk composed for mobile application on android and iPhone OS. This is the 2nd site-specific version of SCAMP to be created by Heimbecker. The production is sponsored by Sporobole Centre en Art Actuel, who first commissioned SCAMP: lac des nations for Espace [IM] Média 2019, Sherbrooke, QC.

    Heimbecker created the project interactivity concept along with the unique ambisonic audio track composed in a palindrome designed to play forward and backward, fast or slow. It is made from 40 layers of stereo field recordings of a forest similar to the forest of Parc Mont-Royal (Montreal, Canada). The composition uses sound filters and layers of harmonic processing that give a synthesized sense of both nature and abstraction together with the companionship of a family dog: her heartbeat and her voice.

    Scamp was my dog.
    She loved to run.
    If I ran, she ran.
    If I walked, she walked.
    If I stopped, she stopped.
    She was a good dog.
    She loved to play.
    She loved to be outdoors.
    She loved to be at the lake.
    She loved to be in the forest.
    She loved the sounds of nature.
    Would you like to go for a tour with Scamp at park Mont Royal?
    She would like that too!

    Walk or ride your bike… just take the path (with your mobile and headphones).

    SCAMP “forward play” starts at the Cartier Monument on ave du Parc.“Reverse play” begins at Le Serpentin path on ave du Pine O. between Redpath Crescent and rue Peel.

  • The production is sponsored by Sporobole Centre en Art Actuel.

  • App
  • https://art2020.isea-international.org/public-interventions/
  • app, interactive art, and Participatory
  • ISEA2013: 19th International Symposium on Electronic Art
  • scienceFUTURE: The Cloudlife of X
  • TIN SHEDS GALLERY
  • Christine Cynn and Valentin Manz
  • Can we imagine how the science of today might shape the world of tomorrow? You are invited to help create the world of X, a woman born in 2045, and be a part of the first demonstration of ‘xquisiteFUTURE’, a custom video software by Ollie Bown inspired by the Surrealist drawing game ‘cadavre exquis’ (‘exquisite corpse’). A mobile FUTUREpod will bring xquisiteFUTURE to the University of Sydney campus (11th-14th June) and feature live storyboarding by visual artist Valentin Manz.

    scienceFUTURE is a multi-year collaborative documentary experiment that will provide a dreamlike glimpse of the future in the present. By playing with both the good and bad potentials projected into our future, participants will explore the personal joys and dilemmas extrapoloated from our partly unconscious experience of accelerating change. The goal is not so much to predict the future, as to nurture deeper and more complex attitudes towards the eternal ‘becoming’ of the present. scienceFUTURE is in an early research and development phase.

  • ISEA94: Fifth International Symposium on Electronic Art
  • Seafari (1994)
  • Old Harbour Warehouse K13
  • An ambitious underwater ride produced for MCA Universal and to be shown at Matsushita’s new theme park in Wakayama, Japan. A co-operation between the ride veterans, executive producer Sherry McKennan and director Mario Kamperg, the ride shows the current level sophistication that the genre has reached.

  • ISEA2019: 25th International Symposium on Electronic Art
  • Searching Darkness
  • 2019 Overview: Concerts & Performances
  • Asia Culture Center (ACC)
  • Marcus Neustetter
  • In a search for the dark corners of lit cities we find ourselves searching the spaces between the rigidity of the organized systems and the city grids. We
    look for the respite from the connected, surveilled and illuminated spaces in an attempt to find and celebrate darkness and silence. Part of this search is to
    experience these found spaces, attempt to capture them in image and sound, acknowledge their juxtaposition to their surrounding activity, map them onto
    the city grid and publish these findings.
    This performative workshop and performance installation is in line with a trajectory of the artist’s 10 years of light interventions and community
    engagement projects questioning the meaning of darkness and silence in the context of South Africa, across Africa and Europe. The play of darkness and light is one that is not only easily accessible to participants and audiences, but can be read as highly critical of social conditions and behavior, the power of politics and propaganda, and evidence of control and surveillance.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Searching For Substance
  • Lobo Listone Gallery
  • Jodi Magi and Scott Michael Conard
  • Searching for Substance is an indoor video installation that examines the ideas of consumerism, manicured spaces, and manufactured environments.

  • ISEA2019: 25th International Symposium on Electronic Art
  • Secrets of the Dark
  • Asia Culture Center (ACC)
  • Matthew Mosher
  • Secrets of the Dark manifests both audio and visual noise in harmony with each other. Participants can manipulate visual effects on a projected live video stream by using the custom dual joystick interface in this artwork. The system rewards large hand gestures with increased prismatic video distortion. At the same time, these tangible inputs also drive an FM synthesizer that compliments the visual noise with scrumbly audio. From a distance, the projections and sounds draw people in, often enticed by seeing abstract representations of themselves. At this range, many people can engage with the work simultaneously, while at a more intimate scale, one person can play the interface for the gathered audience. By combing these elements the installation allows people to transform the world around them into one of colorful kaleidoscopic light through expressive movement.
    The interface is born of a hacked GameTrak controller embedded in a purple- heart wooden box. Exotic woods were used to mirror colors found at the extreme end of the digital video filters. The interface leverages craftsmanship, traditional methods, and warm materials not often found in digital projects. This materiality both invites people in and juxtaposes the high tech with tangible forms.
    The projections stem from a live video feed of the surrounding area. In its neutral state, they are grayscale with a flame effect. Upon manipulation of the interface, the visuals spring to life. The left joystick controls video rotation along the XY plane and zoom on the Z-axis. The right joystick controls horizontal and vertical pixelation on the XY plane and downsampling on the Z-axis. The Z-axes automatically retract, which provides a nice haptic resistance to the user’s input gestures. Combined with FM synthesis, these elements provide the user with a multimodal embodied experience.

  • Computer, GameTrak, Max7 Code, projector, Purple Heart, Red Heart, speakers, USB camera
  • https://mosher.art/portfolio_entry.php?art_id=114&category=
  • ISEA2022: 27th International Symposium on Electronic Art
  • See You at Home – The Domestic Spaces as Public Encounter
  • Santa Mònica
  • Joan Soler-Adillon, Bettina Katja Lange, and Uwe Brunner
  • #See You at Home is an interactive and immersive installation about changing the role of the private space in a time of crisis. It is part of an ongoing participatory project that reflects on our everyday domestic life between private and public spheres, and thus on our relationship with living spaces in general. The project consists of a collection of hundreds of three-dimensional documents taken between 2020 and 2021 in over 40 different countries during the most intense periods of self-isolation and home confinement.

    Following an open call, the collected videos were converted to 3D objects using the technique of photogrammetry. These imperfect objects (pointcloud images with gaps and unfinished endings) are the core content of the work’s archive, along with personal statements about the time of quarantine and the changing meaning of private spaces in the form of audio pieces and text.

    #See You at Home (SYAH) is a physical installation that includes 3D-printed objects, plotter prints on the wall, and interactive objects with QR codes leading to 360 degree virtual spaces that visitors can view through the ‘magic window’ feature of their phone. Additionally, the work expands on, and includes within, a previous work: the VR installation The Smallest of Worlds. With it, #See You at Home offers a journey within a journey that explores the private spaces as its possible forms develop and change, in a back and forth between the real and the virtual that is both conceptual and experiential.

  • ISEA2015: 21st International Symposium on Electronic Art
  • Seismik
  • Wong Theatre
  • Seismik is a dazzling, tension charged performance that taps into seismic waves, frictional  resistance and the Earth’s tremor related phenomena in real time. True to Kolgen’s temporal/ spatial conceptual preoccupations and radiographic approach, he again renders the invisible  visible: he has developed sophisticated software that picks up on the Earth’s magnetic fields and seismic activity from São Paolo to Kyoto, in turn generating abstracted sound and dramatic visual motifs. Exploring the ambiguity of realism in post human landscapes, Kolgen creates three-dimensional simulations through the instability of dynamical systems and converts them into large scale cinematic visuals. A dramatic display of terrestrial activity, Seismik plays on notions of physical, cerebral and emotional tension, in this case using vibrational data and vertical through-lines to explore seismic strains and fractures of varying  intensities, planting the audience squarely on terra (not so) firma.

  • Audiovisual performance
  • http://kolgen.net/performances/seismik/
  • ISEA2014: 20th International Symposium on Electronic Art
  • Self-Organized Landscapes
  • Cuadro
  • Ben Bogart
  • Self-Organized Landscapes are print collages composed of thousands of closeup photos that are taken using robotic or hand-held cameras that pan and tilt to examine a visual context.

  • ISEA2002: 11th International Symposium on Electronic Art
  • SELF-PORTRAIT 78
  • Assembly Hall, Nagoya Port Building
  • It would not be too much to say that an artist’s self-referential perspective, which is the origin of all artistic perception, is concentrated in the self portrait.

    Each person’s life an d death is limited by time. Within these limits, in the momentary artistic consciousness, the artist’s whole way of thought is captured in a microcosm of a lifetime’s achievement, compressed and self-represented as a self-portrait.

  • ISEA2014: 20th International Symposium on Electronic Art
  • Sensorium in correlations: A journey from the sea to the river
  • Al Fahidi Historical Neighborhood
  • Karla Schuch Brunet
  • This artwork is a visualization of the correlations of the data collected with 5 arduinos and 8 different sensors on a boat trip held by professors, university students and artists.