Art Events Data Table

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

Maraya: Sisyphean Cart is a mobile ‘sousveillance’ cart mounted with an automated pan-tilt-zoom camera pulled along the Dubai Marina seawall Marina Walk interacting with local residents and visitors.

Animation based on images made with Ochre on Stringybark

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

Computer Graphics Research Group, Ohio State University: Student Work

Winner of the 2021 International Alliance of Women in Music Ruth Anderson Prize, Women’s Labor is a feminist-activist project that repurposes domestic tools to become new musical instruments. Using embedded technologies, these household-devices-turned instruments are explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement and performative spectacle.

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

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

ISEA2018 closed with a large party at the Durban city hall. The whole PS2 team including its partners “Elektro Moon Vision”, “Xenorama”, “HOP ON”, the “Amasosha Art Movement”, “BAT Centre” and more engaged in organizing the event. Result was a digital jam session in the digital “share jam” style: all participants, artists, digital artists, DJs, musicians, singers were asked to co-create a sound layer for the visual mash up of all the works from the different PS2 workshops and art activities, e.g. the digitalized art works from “The Public Space as Shared Museum”. The result was a projection from the balcony of the city hall on the pavement of the great public square in front of the building.

Material Music is an installation developed in an effort to underscore the significance of physical materiality within the field of object-based sound art. The work consists of a linear array of eight kinetic sound sculptures, each of which is comprised of an electromechanically-struck block of solid matter.

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

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

n.a.

I was inspired from the sounds and architecture of Istanbul and the ancient geographical referents of the central Australian desert. The artwork is created with specialized software using my meditating brainwaves.

Another cutting edge premiere for ISEA2013 – combining ancient religion and tradition with modern technology, this work is scored for Tibetan singing bowl robots and live flute, with multichannel surround-sound electronic processing and ambisonic field recordings made in Australia and Arizona. A meditation on being present in the landscape, the work is part of an ongoing enquiry into the ways in which we converse with nature.

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

Exhibition. Forum des Images, May 16 – 21

Bastien Didier is an ISEA2023 selected artist

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

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

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

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

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

Message in the Sky, taking shape as a site-specific/crowd-responsive installation, pools together the city’s modern-day 1001 dreams, and casts them away into the celestial using a radio telescope. The installation invites local public to bring in their favorite fragrances and spray on hand-gold-leafed paper cards. In exchange, they are given unique codes which enable them the privilege of casting their hopes and dreams as messages to the stars.

2013, interactive media,  display objects  

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

Performance at Opening Launch

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

Design & Animation: Wilson Burrows
Associate producer: John Donkin
Production co-ordinator: Scott Dyer
Dynamic motion software: James Hahn
Rocketry assistant: Flip Phillips
Plasma control: Andy White

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

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

Calculated on a Convex C-1 computer.

Metaphone- the art project consists of interactive apparatus, painting technique and sonic art. The machine captures bio-data from participants and creates paintings and sounds through the interaction.

Anne Landa Award for Video and New Media Arts 2013. 

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

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

We explore a hybrid language that not only processes formal symbols but also interacts with the oral microbes. This materiality of language takes on meaning against the background of the parallel decline in the diversity of microbiomes and languages.

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

The project is a call to recalibrate the approach to design by recognizing the microbiome as an additional parameter and overlooked agent of terraforming. The technological mediation of the continuous, interchangeable and entangled relationships between microbiomes, environments and ourselves allows for higher resolutions of perception in the way we compose synthetic landscapes. When germ theory originally framed microbes as pathogens, design was driven by “sterilization” and aimed at the “extermination” of microbial life and the production of highly tempered and sealed environments, propelling a culture of cleanliness. With the potential advancement and accessibility of metagenomic sequencing, we may be at the cusp of refining our understanding of these microbial systems, and reframing our design practices from the reactory to the nuanced, adaptive, and proactive. Manifesting alternative, more precise compositions across various sites and scales of intervention, the project narrates how sequencing could become a potential design tool to inform deliberate terraforming.

Artist Jess Holz creates ‘microsculptures’ incorporating insect and plant material, imaged by scanning electron microscopy. By collaging materials into small sculptures she creates imagined interactions between entities present. Most recently, she’s been experimenting with bizarre distortions due to charge buildup (an imaging artifact) as a way to challenge the assumed objectivity of scientific images.

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

Mirror Sonata in Four Kinetic Movements is a flexible site-specific video-animation project that incorporates animation of the visual elements in my painting, where I explore the ideas of cultural pride, the self as maker of past, present and future, the self as creator of melody and movement.

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

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

Mist Collector is a long-term research and developing project focusing on exploration of various surfaces that allow collecting water from moisture in the air.

In Miziara Architects we follow father and son through their design journey, which we see taking shape as a 3-D structure. As they debate and collaborate, an architectural narrative unfolds, which opens doors to sociological norms and generation gaps. The video spans across three generations as each floor is envisioned.

The experimental video “Models for Environmental Literacy” invites us to rethink the nature and application of artificial intelligence in the context of the environment. As three A.I. voices guide us through a series of landscapes at the intersections of nature and human intervention, we follow a dialogue somewhere within the spectrum of human and non-human language. How does our reading of this computer-generated language point back to our own personal subjectivities and our own environmental literacy? And equally so, how can encounters with non-human language act as a kind of dress rehearsal for future relationships with the Other?

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

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

Moments in Place is a series of site-specific performances inviting visitors to consider movement qualities of different locations using augmented reality to explore relationship between the performance and location.

Mona Lisa is a video art work produced on the basis of the painting masterpiece with the same title, using SCANIMATE for the first time in Japan. At the time of production I was interested in using a simple, still object out of which to spin a rich moving image.

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

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

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

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

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

A live geo-locative game addressing the mobility between nature, vehicles and culture.

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

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

Where is the moon right now?

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

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

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

This series “depicts disabled individuals as they walk. Campbell reduced the information to the point that only the gait remains intelligible—only the movement, no other factor of the individual’s appearance, remains expressively meaningful.” (Richard Shiff, “Look to See By Looking”)

This series “depicts disabled individuals as they walk. Campbell reduced the information to the point that only the gait remains intelligible—only the movement, no other factor of the individual’s appearance, remains expressively meaningful.” (Richard Shiff, “Look to See By Looking”)

This series “depicts disabled individuals as they walk. Campbell reduced the information to the point that only the gait remains intelligible—only the movement, no other factor of the individual’s appearance, remains expressively meaningful.” (Richard Shiff, “Look to See By Looking”)

Light objects, 28 x 11 x 8cm, Three painted steel casings, three LED-light sticks, each equipped with 128 elliptic LEDs, three circuit boards with microprocessor, flash memory, two light sensors, power supply

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

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

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

Mullaloo and Magnus is an exhibition about an interconnected system composed of an aquifer — Mullaloo — and a supercomputer Magnus.

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

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

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

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

A voyage between dimensional planes, reaching beyond the observable universe and into imagined environments where the laws of physics are ever changing and unrecognizable to our own.

Musebots are pieces of software that autonomously create music, collaboratively with other musebots. The goal of this project is to establish a creative platform for experimenting with musical autonomy, open to people developing cuttingedge music AI, or simply exploring the creative potential of generative processes in music. Not simply a robot jam, but individual virtual instrumentalists coming together, like a band, to autonomously create (in this case) downtempo EDM. For this Canadian premiere of the MuseBot ensemble, we have contributions from Europe, Australia, and North America. Curated by Arne Eigenfeldt & Oliver Bown.

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

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

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

Under the theme of “my body: Impossibility of self-identification” two works were exhibited. One was the images of body parts which people can’t easily see – like their backs. They were displayed on four surrounding TV screens. The other was the pictures of the five faces, each with a different expression. Their eyes were covered with their own hair.

2014, single channel HDV

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

Symbiosis and Humanity(s) Exhibition, MSH Paris Nord, May 17- 27

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

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

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

The piece was inspired by different Colombian native clothes. The nomadic shifts occur between regions and mixes the sylvatic and pre-Columbian to urban and global.

Naxos began with a meeting between artists and researchers from four disciplines: visual arts, music, writing and astrophysics to co-create a singular artistic universe. The resulting work is an eight-minute film that, by activating instruments and data linked to space research, interrogates not only the transmission forms of science, but those of art. The delineated space thus reveals itself as an imagination engine and a magnifying lens on the contemporary mechanisms at work on our planet, and interrogates the Earth’s present state and our ways of inhabiting it.

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

Plotting brainwave activity into a knitted pattern.

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’.

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.

[e] movie works

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.

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.

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.

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.

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

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.

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.

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.

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.

“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?

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.

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.

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).

“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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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]

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.

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.

‘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.

“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.

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.

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.

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.

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.

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.

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.

Petting Zoo: Noble Orphans is about the sly, the absurd, and the abject.

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.

This project is an Arduino light sensitive video installation, celebrating interactivity, color, and light. It is a collaboration between Sarah Lahti and Christian Kantner.

Selected commercials from Pixar using computer graphics.

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.

This project is a projection or video artwork that demonstrates new techniques and a new artistic approach to creating animated metamorphosis using digital sculpture.

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

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.

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.”

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.

Poetry reading event

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.

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.

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.

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.

Point of View is an interactive documentary based on footage shot by Palestinians working with B’Tselem’s Camera Distribution Project.

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.

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.

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] 

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.

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]

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.

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.