Art Events Data Table

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Symposium	Title	Category	Venue	Artist	Artist Statement	Technical Info	Contributors	Sponsors	Medium	Website	Keywords
ISEA2023: 28th International Symposium on Electronic Art	The WhiteOut			Frédéric Deslias	Hacnum Exhibition. various locations, May 16 – 21 Immersive Theater and Virtual Reality. for 50 to 100 people including 20 with VR headset. Approximate duration: 1h15. The White Out is a performance for an actor and an immersive audiovisual device, on the edge of theater and virtual reality, adapted from a short story by Alain Damasio. An investigation against a backdrop of injections of memories, coupled with an ode to past, present and future resistance. Through the adaptation of a thriller by Alain Damasio, spectators will be led to conduct an investigation through different media in order to become the jurors of a rather special futuristic trial. This immersive show is divided into three parts for around fifty spectators, 20 of whom will be immersed in VR headphones. Active participation is requested from the public in a memory reconstruction exercise in a forensic setting. Thirty lucid witnesses equipped with audio headsets will follow the experience from the outside guided by a coryphean actor, who will embody the guinea pig of an investigation by injections of memories. Other spectators immersed in the VR headset will form a chorus, guided in a process of memory manipulation in order to have access, just like the actor on stage, to the memories of the various suspects. The story takes place in winter, in the mountains. The Vercors territory, snow and water are important aesthetic elements. Summary: A memory storage factory explodes, thousands of samples contained in snowflakes spill out into the wild. To reconstruct the circumstances of the accident (or attack?), a volunteer is injected with samples of memories stored in water molecules. On stage, an actor will find himself crossed by the memories, sometimes incomplete or even contradictory, of various witnesses considered as potentially suspicious. after “The Chamois of the Alps Leaps” by Alain Damasio Direction and sound: Frédéric Deslias Performer: Pierre Mignard 3D: Benjamin Bardou Music: Perig Villerbu Artistic Collaborator: Mathilde Gentil Lighting: Quentin Pallier Dramaturgy: Cathy Blisson Voiceover: Jérôme Thibault, Jana Klein, Eric Schlaefin, Angie Pict, Marion Suzanne . Photos: Alban Van Wassenhove					https://www.leclairobscur.net/projects/le-white-out-laboratoire-de-creation-transmedia-2022-2023
ISEA2018: 24th International Symposium on Electronic Art	The [ECO]Nomic Revolution: When Microbiological Logic Determines Everything		Denis Hurley Centre	Cesar Baio and Lois Solomon	[ECO]nomy. This is a rejection of the one-directional sovereignty of globalized humanity over nature, with adverse environmental conditions as the byproduct of profit-driven decisions. The [ECO]Nomic Revolution shifts the logic of economic decisions from individualized choice to reflect the logic of nature on a microbiological level. The installation documents the artists’ scientific and socioeconomic experimentation as they reflect on how values are assigned. The artists encode economic indicators and area demographics into the microbiological terrain overlaid on a map of Durban. As the microorganism, Physarum polycephalum, charts the territory with its own growth algorithm, Cesar & Lois reference the growth dynamics of this nature-based culture to ponder a city’s dynamics. Cesar & Lois respond to the algorithmic growth of the organism with a log of observations, interspersed with community members’ reflections on societal dynamics and growth. By referencing nature’s networking and the organism’s system of sharing resources, alternative logic models for growth may emerge. By reorienting the logic of a city to the smallest entities within nature, the project hierarchizes the biological culture’s logic over human design.		Contributors include biologist Scott Morgans at California State University San Marcos and CSUSM undergraduate researchers Kiana Ajir, Kodie Gerritsen, Mei-Ling Mirow, and Derick Northington. Special thanks to Marc Ronald Kalina of the Urban Futures Centre, Durban University of Technology, for his contributions.	Cesar Baio is funded by Capes Scholarship Program / Post-Doctoral Research / Process. Support from i-DAT at University of Plymouth, U.K. and Universidade Federal do Ceará, Brazil; Lucy HG Solomon / The League of Imaginary Scientists and California State University, San Marcos.	Social project
ISEA2013: 19th International Symposium on Electronic Art	Thermal Acoustics (2013)		UTS Gallery / DAB LAB Gallery	Minoru Sato	Minoru Sato has been thinking about ‘heat’ a lot recently, from his perspective its lack of palpability rendering it ‘ghostly’. Sato muses on the very narrow temperature range within which we and our technologies exist, contrasting these with the extremes of the core of the planet, the surface of our Sun or even the core of an incinerator. Whilst these are unimaginable they are not exceptional in the grand scheme of things. In this work Sato creates a microscopic world of heat energy, transforming and transducing heat into a sonic experience, inviting us to reconsider our relationships to natural phenomena.					http://ms-wrk.com/
ISEA2014: 20th International Symposium on Electronic Art	Thin Membrane		Al Fahidi Historical Neighborhood		Thin Membrane is a video installation that shows how media electronics are embraced similarly across cultures as tools and status symbols in order to enhance feelings of community and belonging.					http://minnalangstrom.net/index.php?page=the-thin-membrane-ohut-kalvo-den-tunna-hinnan
ISEA2002: 11th International Symposium on Electronic Art	Through the Water - cafe version		Museum of Contemporary Art, Nagoya	Takamitsu Kawarasaki	The taste of drinking. When drinking coffee, the first thing to assail you is the aroma. Location also plays a part. It seems as though deciding where to drink causes the aroma to reawaken in your mind. Roasting your own coffee, and especially grinding your own beans, awakens a sensation of having already imbibed. Slurp some down. Touch the aromatic bitterness and the warmth, and feel the aroma rise above your head. Savour the atmosphere when you drink your fill of this kind. View it the same way. Pouring a cup of coffee is like pouring images through your head. View the artefacts in the museum, and view the sea from the terrace; come and sample new vistas while drinking a little coffee.
ISEA2002: 11th International Symposium on Electronic Art	TIES		Assembly Hall, Nagoya Port Building		TV image and the shadow of my hand were reflected on the floor. The reflected images were recorded by a video camera. I did this hand performance by watching the images on the TV monitor. A closed circuit consisted of a video camera, a monitor and my body. The angle that was used to materialize this performance was from the position where the video camera situated.
ISEA2022: 27th International Symposium on Electronic Art	Time Capsule		El Centre d’Art Cal Massó	Eduardo Kac	May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: Origins. Public event. On 11 November 1997, Eduardo Kac created his “Time Capsule” in the cultural centre Casa das Rosas of Sao Paulo (Brasil). Transmitting on live television and the internet, the artist implanted a digital microchip before a series of sepia coloured photographs that documented the life of his family in Europe previous to 1939. In this way, Kac became the first human carrier of a microchip. To celebrate its 10th anniversary and with the piece in its final form, including all the diverse original elements of this live performance, he activated a webcast and a web scanner to allow an interactive, tele-robotic tracing of the chip on internet. “Time Capsule” won the 1st edition of the ARCO-BEEP Electronic Art Award. [Source: https://www.beepcollection.art/eduardo-kac]
ISEA2013: 19th International Symposium on Electronic Art	time: a token of constancy		Studio 22, ABC Ultimo	Shane Fahey, Evan Carr, David Carr, and Honi Ryan	In this fascinating look at – or rather listen to – time, Shane Fahey collaborates with horologist Evan Carr and recording engineer David Carr and collectively they entertain whether time is “an increment of revolutions or a lagging magnification of vibration”. Fahey comments that “its image as a series of numbers seems to be such a useful aid for setting up activities but the sound of ticking is so delightfully paranoid!” He sees analogue timepieces as early robots, “many faced harmonic character[s] with proto-intelligence”, a “mesh of teeth and tiny fields of electromagnetic current … abject personalities with bare bones drive”. In this work they lay aside “notion[s] of productivity and equation with money”, and explore the pitch perception implications of different microphone characteristics located in close proximity to such timepieces; the shifting phase relationships between two or more timepieces sharing the same ‘sound stage’; and natural and artificial stereophonic images of two movements. Shane Fahey: Conceptual Artist/Sound Engineer Evan Carr: Horologist/Radio Broadcaster David Carr: Musician/Sound Engineer Honi Ryan: Visual Imagery					https://abcmedia.akamaized.net/rn/audio/201310/sqy_20132806_time-a-token-of-constancy.mp3
ISEA2014: 20th International Symposium on Electronic Art	Timebinder		American University of Sharjah	Bronia Iwanczak	2004, Artist book – Archival inkjet on Archival rag paper 2010, DVD – Digital book – Interactive Timebinder is a book and interactive documenting the psychometric responses of six clairvoyants to fragments collected from a variety of Polish wartime stories including Hitlers Lair, Lambsdorf (the labour camp that her father was interned in) and Auschwitz-Birkenau. The work sits at the intersection between subjectivity and history; how we come to embody, if at all, and understand the nature of events that exceed rational understanding. Programming and interface design by Gary Warner
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Andries Botha
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Andries Gouws
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Brett Murray
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Christine Dixie
FISEA: First International Symposium on Electronic Art	Title Unknown		Omniversum						Computer Animation
SISEA: Second International Symposium on Electronic Art	Title Unknown	1990 Overview: Art Exhibition		Delle Maxwell		Hardware: Ridge 3200, Raster Tech frame buffer Software: P.D.I.
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Godfrey Gumede
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Isaac Khanyile
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Judy Jordan
FISEA: First International Symposium on Electronic Art	Title Unknown		Jaarbeurs		Computer animation category winner.				Computer Animation
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Malcolm Christian
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Nils Severin Andersen
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Norman Catherine
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Paul Edmunds
FISEA: First International Symposium on Electronic Art	Title Unknown	1988 Overview: Art Exhibitions	Jaarbeurs	Peter Bleekemolen
FISEA: First International Symposium on Electronic Art	Title Unknown		Jaarbeurs		Computer animation category winner.				Computer Animation
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	Thami Dube
ISEA2018: 24th International Symposium on Electronic Art	Title Unknown		Durbin City Hall/Durban Art Gallery	William Kentridge
ISEA2014: 20th International Symposium on Electronic Art	To Where They Are		Al Fahidi Historical Neighborhood	Khawla Darwish	n.a.
ISEA2023: 28th International Symposium on Electronic Art	Tobia		Le Tetris	Davide Porta	Exhibition. Le Tétris, Le Havre, June 14 – 24 Davide Porta is an ISEA2023 selected artist Tobia explores and imagines alternatives to human-machine interactions. It is part of the experimental project “Towards a new Liminality”. It questions the dialogues between humans and digital entities, explores the modes of cohabitation between organic and non-organic matter. It questions different forms of intelligence, artificial or not, and the ways of feeling things beyond hearing, touch or smell. Like a slightly strange plant, Tobia is a robot that reacts to external stimuli. Through eyes scattered on his skin, he perceives light and detects human presence. An invitation to dialogue with a most surprising being.
ISEA2022: 27th International Symposium on Electronic Art	Tools for a Warming Planet		Santa Mònica	Sara Dean, Beth Ferguson, and Marina Monsonís	We live on a planet in flux–with warming waters and land, chaotic weather, and unknown futures. Our adaptability and ingenuity are crucial to our survival, and our planet’s. In response to this condition, we are exploring new tools for understanding, engaging, and responding to our current and future environment. Bringing together artists, designers, scientists, and activists, this crowd-sourced piece focuses on ‘tools’, as a call for action, access, and collective engagement. New tools are needed to build more adaptable, resilient communities, as well as to imagine new ways of living on a fragile planet. Tools for a Warming Planet is focused on the idea of tools–tools of collection, translation, engagement, connection, and care–which directly speaks to a time of climatic flux. Through display of physical and digital objects, as well as narratives on the use of these tools from the participating artists, the installation is a living archived of methods for working and living together. The project will develop over the course of the exhibit, allowing attendees and the larger global community to contribute tools to grow the collection. The term ‘tool’ is used to focus on action: from hand craft, to care and repair, to data mapping, to digital filters, to community engagement. New tools posited across the works represent new possibilities of working and open up a conversation about our role as cultural and social activators. Tools for a Warming Planet brings together global voices into a visual dialog across languages and cultures that all must adapt to a changing climate on planet Earth. These global perspectives will allow for both localized perspectives and universal experiences, advancing a collective conversation with endless possibilities.
ISEA2016: 22nd International Symposium on Electronic Art	Topography of Movement, 2016		Lau Ming Wai Academic Building, City University of Hong Kong	Ruth Schnell	The dynamic image projection Topography of Movement features two oversized hands in motion. They seem to be feeling out their environment, gliding or swiping over the surface upon which they rest. The two cropped projections cover the walls and parts of the floor and ceiling in the exhibition space. A projection mirror further enhances the dynamic depending on how the movement patterns of the hand and the mirror coincide. The projection of a left and right hand suggests an (absent) body. Even though a subjective observer position is made impossible by the high magnification of the image content, the events are spatialised through the authenticity of the movements and the corresponding sounds, which were made in the process of recording, leading to a sensory experience of space.				Computer-controlled mirror, media player, 2 projections, 2 videos, speakers
ISEA2022: 27th International Symposium on Electronic Art	Tortuous Drift – Live Cinema Performance	2022 Overview: Concerts & Performances:	Casa Amèrica Catalunya		Moving images and sounds recorded in selected locations of the Mediterranean as Ceuta, Gibraltar, Valencia, Ebro’s Delta, Formentera, Ibiza, Malta, Sardinia, Sicilia, and Cyprus create Tortuous Drift. Each place has a particularity, whether geographical, subjective, social, or environmental. For example, Ceuta and Gibraltar are the entrance gate to the Sea as they are a very regulated frontier between Europe and Africa. Islands on the central Mediterranean are the entrance gate to the majority of the attempts to arrive in Europe and it states the greater number of deaths by drowning. Western Mediterranean has the saltiest sea and Ebro’s Delta is one of the areas at great risk of being flooded with global warming. Data visualizations of salinity, conductivity, temperature, and pH of the water collected during the field trips are mixed in the performance as animated graphs, molecules and numbers. These visualizations raise questions of acidification of the sea and global warming. Another date used in the performance is the statistics of drowned persons trying to cross the sea in search of a better life. These data – social and environmental – are played together with images and sounds collected in the field trips. In this performance layers of materials entangle together to construct a narrative with visuals and sounds. The live cinema performance is ephemeral; a time-based event that recreates the experience of sensing the Mediterranean Sea. Tortuous Drift creates a statement of this journey. It’s not a drift in a straightforward way, it’s complex, sinuous, and tangled like the feelings and stories lived in the sea. The performance will be presented on June 10 in Casa Amèrica Catalunya, entity that works on the links between Latin America and Catalonia, which understands culture as a tool to understand and approach the realities of the different peoples at both sides of the Atlantic.
ISEA2020: 26th International Symposium on Electronic Art	Towards a parliament of things 2			Katherine Melançon	Lately, I, Katherine Melançon, have been focusing on having nature control what humans create. In this installation, the pH data of the soil around the location of the artwork modulates an animation created with the leaves, plants and flowers planted in that same soil at an earlier stage of their life. The evolutive state of nature controls the life of the artwork created by a human and nature controls its own representation. My practice is interested in process, nontraditional tools and materials and the use of camera-less photography to reveal aspects of the natural. Through cycles of transformation between the virtual and the physical, I create “new seeds” that I plant in different materials to discover what emerges. The starting point is often natural specimens from a specific location scanogramed. Recently, I have encompassed interests for spiritual utopias and experimental projects. The concept of “flatness” interests me for its capacity to reboot societies under no, or different, hierarchies, including non-human people.				Leaves, plants and flowers		animation, Camera-Less Photography, and Soil
ISEA2002: 11th International Symposium on Electronic Art	Town is fading away.		Canolfan		The participating artists were divided into two groups. One group presented an opening live music show using images on four TV sets and electronic music which was listened to on headsets. The other exhibited and performed the works whose theme was “Delivery” which connected people in town.
ISEA2023: 28th International Symposium on Electronic Art	Toxic Garden: Dance Dance Dance		Topographie de l’art	Kamilia Kard	Fusion of the Possible, Topographie de l’art, April 15 – June 15 2022 Video of the participatory performance on Roblox, 9’30”, FullHD Photo print, variable dimensions Courtesy of the artist and gallery Odile Ouizeman. Toxic Garden – Dance Dance Dance is an online participatory performance taking place in Toxic Garden, a Roblox map designed by Kamilia Kard. Spoiled of their custom avatar and randomly converted into one of the 7 poisonous plants inhabiting the environment, participants dance together, automatically synching to the artist's avatar. Inspired by the defenses of poisonous plants, Kard imagined a choreography intended as a warning and a reaction to manipulative attitudes, using AI to capture and process the movements of four professional dancers.					https://kamiliakard.love/Portfolio_KK_2023.pdf
ISEA2006: 13th International Symposium on Electronic Art	Trace		South Hall	Alison Sant	My work tends to focus on the hidden dynamics of the urban landscape http://www.alisant.net. In my most recent project, TRACE http://www.tracemap.net, I have been examining the overlay of wireless networks on urban space and have been particularly interested in the ways in which WiFi networks undermine our conventional understanding of architecture and the city. Thousands of WiFi hubs are installed in residential and commercial spaces every week, each of which further disintegrates the traditional architectural boundaries between public and private space. A typical WiFi hub may have a signal radius of 150 feet. Some of these hubs extend intentionally and unintentionally into public space, creating an invisible front porch to the houses, apartments and businesses where they are installed. This spatial phenomenon has produced new urban practices in which neighbors or passers-by access unlocked private networks to borrow bandwidth. As private space is extended into the public realm, the margins of the built infrastructure become increasingly eroded by the use patterns that penetrate them. Our understanding of physical space becomes complicated by traces of electronic signals, the way they are formatted, and the information they project to us. The wireless network suggests a new subtext to urban space. In turn, these transmissions change our fundamental understanding of location. Instead of responding purely to the physical space around us, we also become engaged with the fleeting qualities of wireless signal. I am interested in how the network in turn begins to inform and direct our interactions with the urban landscape, possibly as significantly as the material landmarks on city maps. Further, as the traditional structures of urban reference are intersected by the dynamics of an unseen landscape, I am interested in how we develop new means of orientation. Urban planner, Michael Batty is especially instructive on this point. In his essay entitled “Thinking About Cities as Spatial Events,” he proposes that “It is possible to conceive of cities as being clusters of ‘spatial events'” He argues for a temporal understanding of the life of the city as a means for appreciating the profound effects of events that take place in cities over short periods of time. As we chart this emerging landscape I am interested in the ways in which the strategies of mapping can be used to both respond and suggest a notion of urban space in which the temporal life of the city may become more prominent than the static landmarks of the urban grid.
ISEA2014: 20th International Symposium on Electronic Art	Transit	2014 Overview: Video Screenings		Denis Farley
ISEA2014: 20th International Symposium on Electronic Art	Transit-Borderless		Zayed University - Abu Dhabi	Denis Farley	Transit explores the representation of clouds within the context of wireless networks.
ISEA2002: 11th International Symposium on Electronic Art	TRANSIT2002 Nagoya Zokei Bauhaus University		Nagoya Citizens' Gallery Yada		It was an exchange exhibition between Nagoya Zokei University and it’s affiliated school, Bauhaus University in Germany, The members of each seminar at each school presented the results of their projects and exhibited their works, The themes of their works were technology, media, ecology, plants, and others.
ISEA2014: 20th International Symposium on Electronic Art	Transmission and Diaspora			Joshua Watts	Actively engaging ISEA members by asking them to locate solar-powered lightboxes placed around Dubai, taking them back to their home country, and sharing the journey through Google Earth.
ISEA2016: 22nd International Symposium on Electronic Art	Transmission+Interference		Lau Ming Wai Academic Building, City University of Hong Kong	David Strang and Vincent van Uffelen	The artists explore the creative potential within light as both the creator and transmitter of sound and actively move away from creating visualisations of sound towards an audiovisual experience based on resonance and feedback loops between light, sound and object. Using performances, workshops, and installations they attempt to learn about information, disturbance, noise, glitch, communication, as well as the ephemeral relationships that emerge from both theirs and the audience’s engagement. The artists aim to reveal the complexity of these fleeting experiences that occur in the moment, those glitches that happen somewhere between physical sensors and mental representation, that can’t be recorded, repeated, or simulated. TRANSMITTER > MULTI-MODAL CROSSOVER > RECEIVER Consisting of three parts the interactive installation investigates the potential for using digital devices to create a synesthetic communication system. The installation draws on the different experiences of synesthetes and uses this to explore a messy and playful way of communication. Using digital protocols of ASCII, MIDI and frequency conversion letters are encoded into a combination of a light colour and a sound frequency (e.g. “A” is transmitted as yellow light and a 50 Hz sine wave) allowing a simulated synesthete to decode the text that has been transmitted through space. However, to reach closer to a synesthetic communication process the classic Transmitter -> Receiver pattern must be interrupted by a multi-modal crossover that mimics a synesthetes’ unique experience of light and sound. The visitor is able to adjust the multi-modal crossover to gain further understanding of a synesthetes unique experience whilst interfering with a potentially flawless communication flow. By expanding the communication system across three distinct sections, the installation develops defined territories or zones where information (noise and signal) flows over and through. Although these sections of the system appear as physical material in the space the artists are actively exploring the spaces between the physical parts. It is here where we encounter the resonance within the system; where neighbouring sections meet through the interference of external noise (light and sound) and through which new meaning potentially begins to emerge. The system encourages a nomadic movement of information across a technological plateau that is initially understood as linear, allowing for the spreading, leaking and disruption of information across undefined routes. What if one could utilize someone’s unique sensing ability? Would this be an effective tool to securely communicate? After all, one could covertly send hidden messages in plain sight that only an intended receiver could decode (steganography). Such a system for transmission could, in the odd event, be learned and understood by someone able to perceive the blurring of these senses and, with practice, the user could claim our proposal as their own efficient, albeit abstract, working communication tool. Furthermore, the installation is a cybernetic experiment tapping into the unknowable and becoming. The physical installation is also an enquiry into practice in its own right and aims to raise questions about our relationships with technology, our co-evolution, and the blurry lines that our minds try to define as borders between the self, the body and other technological systems.					http://transmit-interfere.com/
ISEA2020: 26th International Symposium on Electronic Art	TranSwarm Entities			Maartje Dijkstra	TranSwarm Entities is a couture piece developed by fashion designer Maartje Dijkstra in collaboration with creative programmer and music producer Newk. This interactive design is created during Fashion Fusion, a fashion/ technology program of T-Mobile in Berlin.	The sculptural, totally black dress, is build up out dozens of small repeated fragments in the shape of bird skulls sculptured together like cells building an organism. The parts , that are all manual 3D printed, meaning using a 3D printer pen to create fabrics. are all connected together by hand with black polyester wires. The technology part is not directly all integrated within the design but is connected and presented in a more surprising way. 4 small drones, that where customized to appear the same as the dress design, fly up out of the design so it looks like parts of the dress are flying away. The drones fly on the beats and melodies of music producer Newk around the model creating a little swarm.			Dress	https://maartjedijkstra.com/index.php/transwarm-entities/	3D printing, Design, Fashion, technology2, Drones, and performance
ISEA2012: 18th International Symposium on Electronic Art	Trash Dance		KiMo Theater	Andrew Garrison and Allison Orr	Sometimes inspiration can be found in unexpected places. Choreographer Allison Orr finds beauty and grace in garbage trucks, and in the men and women who pick up our trash. Filmmaker Andrew Garrison follows Orr as she joins city sanitation workers on their daily routs to listen, learn and untimely to convene them to collaborate in a unique dance performance. Hard working, often carrying a second job, their lives are already full with work, family and dreams of their own. But some step forward, and after months of rehearsal, two dozen trash collectors and their trucks perform an extraordinary spectacle. On an abandoned airport runway in Austin, Texas, thousands of people show up to see how a garbage truck can “dance.”				Screening
	Trash Dwellers			Marija Avramovic and Sam Twidale	Exhibition. Grand Palais Ephémère, June 23 – 25 The installative corpus Trash Dwellers is comprised of a series of sculptures, sound and interactive real-time animations. The installation uses the language of sci-fi and speculative fiction to portray a new archaic community of Dwellers in an ecosphere of junk. Born of Trash, a real-time, interactive piece, is a search for the divine in the detritus: visitors join the protagonists of a new speculative tale aiming at provoking a positive reimagining, or (re)building, of our collective future. Part of this narration are also all the other elements of the installation: a VR immersive experience and a series of moist, trashy sculptural artefacts from the otherwordly reality.					https://www.ofluxo.net/artverona-lea-porre-xenoangel-virginia-bianchi-gallery
SISEA: Second International Symposium on Electronic Art	Trash		Cultural Center de Oosterpoort						Animation
ISEA2014: 20th International Symposium on Electronic Art	Treadmill, Dreamtime, Running, In Place		American University in Dubai	Steven Klems and Anthony Obr	Treadmill, Dreamtime, Running, in Place is a hybrid work of interactive installation and performance that invites spectators to consider their relationship with the environment. A large-scale multimedia event constructed for both live performance and interactive installation; it is a response to our current global environmental crisis.
ISEA2011: 17th International Symposium on Electronic Art	Triangles Mounted In A Circle		Taksim Cumhuriyet Art Gallery	Teoman Madra	Selection of artworks inspired by light, using multiple digital media based on instant and random inspiration.					https://www.flickr.com/photos/teomanmadra/6191226353/in/album-72157627771528172/
ISEA2018: 24th International Symposium on Electronic Art	Tricky Apatheosis		BAT Centre	Mikhael Subotzky	Tricky Apatheosis 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.				Video	https://conversationsingondwana.tumblr.com/
ISEA2022: 27th International Symposium on Electronic Art	Try Not To Think So Much		El Centre d’Art Cal Massó	Eugenio Ampudia	May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: Origins. Public event. With this piece Ampudia continues his line of work of emphasizing on art as an effective communication method. In this case, the artist plays with the paradox of breaking that flow through communicational noise. By applying the term “noise” to communication, he not only addresses an unpleasant sound but also any interference in this process. With this work, he alludes to the communicational noise with which we cohabit and which surrounds us, and transforms into a silent method of influence in our everyday environment. The artist aims at communication in the art world, that tends to be endogamic and self-referencing while proclaiming discourses which are supposedly intended to bring culture to the spectator. The fact that the piece´s noise is made from the appropriation and superposition of conferences related to the art world which are hardly understandable, is an ironic nod to the theoretical apparatus and the codes on which the art system relies. The phrase is a composed amplifier, and every letter comprising it has a pertubing mission, allowing Ampudia to configure a faltering narrative, which also speaks about subjetivity of the discourse and opens doors towards ideas sunch as the discourse of powers or the power of Foucalt´s discourse. “Try Not To Think So Much” won the 13th edition of the ARCO-BEEP Electronic Art Award [Source: https://www.beepcollection.art/eugenio-ampudia]
ISEA2018: 24th International Symposium on Electronic Art	Tuk Tuk Ride		KZNSA	Peter Chanthanakone	Our childhood often shapes us into adulthood. Trauma, happiness, fear and pain stay with us till we die. This series of shorts is entitled “Childhood Memories”, in collaboration with the Vientianale International Film Festival in Vientiane, Laos. Story, concept art and voice recordings were realized in 2013. The first in the series of childhood stories is Chasing Grasshoppers (2013). The second in the animated series of Lao Childhood stories is Tuk Tuk Ride (2017).				Film
ISEA2014: 20th International Symposium on Electronic Art	Turn-Over 2		Art Hub	Yoshiyuki Abe	Turn-over 2 is an installation to prompt spectators to touch the art works directly. The artist wants you taste the colors and feel the paper.				Inkjet prints , Epson Velvet Fine Art paper
ISEA2012: 18th International Symposium on Electronic Art	Tweets in Space		International Albuquerque Balloon Museum	Scott Kildall and Nathaniel Stern	During a live, interactive performance at the ISEA2012 Gala, artists Scott Kildall and Nathaniel Stern will send Twitter messages from participants worldwide towards an exoplanet 20 light years away that can support extraterrestrial life. By engaging millions of voices in the Twitterverse and dispatching them into the larger universe, Tweets in Space activates a potent discussion about communication and life that traverses beyond our understanding. tweetsinspace.org
ISEA2011: 17th International Symposium on Electronic Art	Twitch Of The Death Nerve			Ian Haig	Twitch Of The Death Nerve seeks to explore the idea of the uncanny and the unsettling feeling of seeing elements of the face cut up, recombined and reanimated through simple electrical motors.
ISEA2013: 19th International Symposium on Electronic Art	Twittering Machine (2013)		UTS Gallery / DAB LAB Gallery	Jon Drummond	Tweets, once the sounds of birds chirping, are now the data of social media texting; the twittering of this physical computing real-time composition machine is inspired by both birdsong and the chaotic twittering chorus of social media.					http://jondrummond.com.au/
ISEA2019: 25th International Symposium on Electronic Art	Two lights and artificial cloud		Asia Culture Center (ACC)	Sang Ha Yoon, U Ri Bae, Ji Eun Kim, So Young Choi, Won Wi Kim, and Jung Hun Go
ISEA2020: 26th International Symposium on Electronic Art	TX-1			Adriana Knouf	The enchanting Earth is too-often made inhospitable to those marked as transgender. To survive we xenomogrify ourselves through social and biological technologies, altering our surfaces, our viscera, our molecular balances. None of us have been to space even if we possess somatic knowledges of deep bodily transformations, necessary experiences for extraterrestrial environments. TX-1 launches bits of the artist’s hormone replacement medications, marking the first-known time that elements of the transgender experience orbit the earth. TX-1 includes a fragment of my spironolactone pill, a slice of my estradiol patch, and a miniature handmade paper sculpture, included to gesture towards the absent-yet-present xenoentities of the cosmos. A symbolic exodus to an orbit high above, the eventual return of TX-1 to Earth is also a sign of resilience, of not being disposed, of coming back to thrive once again.			This project was the result of a ThoughtWorks Arts Residency, and was sponsored by the Consortium for Research & Robotics at Pratt Institute, and supported by Reach Robotics, Great Britain.	fragment of spironolactone pill, a slice of estradiol patch, a miniature handmade paper sculpture		Bio Art, Interplanetary, Queer, Trans, and Futurities
ISEA2022: 27th International Symposium on Electronic Art	Tycho: Test One		El Centre d’Art Cal Massó	Paul Friedlander	May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: Origins. Public event. Tycho was one of the last astronomers to carry out all his work without a telescope as he died in 1601, shortly before its invention. Instead his observatory contained a great globe and numerous quadrants and astrolabes. It was thinking about the experience of being in this strange observatory that was in part to inspire this installation. It also happens that the work in luminous concrete has come to take on a shape approximating the monolith in the movie 2001, and that it was discovered by astronauts on the moon, according to the story, concealed under dust in the floor of the crater Tycho. [Source: Ars Electronica/flickr: https://www.flickr.com/photos/arselectronica/44513806421]
ISEA2002: 11th International Symposium on Electronic Art	Ukawa Live Visual Performance Nov 1		Diamond Hall
ISEA2002: 11th International Symposium on Electronic Art	Ultra Living
ISEA2024: 29th International Symposium on Electronic Art	Ulu Kupu				Ulu (ʻŌlelo Hawai’i): “to grow, increase, spread, to protect, to rise”; Kupu: “sprout, offspring, germinate” or a “spirit or supernatural being”. Through video that mixes parallel visual narratives, Ulu Kupu follows a performance of harvesting plants/materials from the ‘āina (land): hala which is used for weaving; wauke, which is used to create kapa or tapa, a textile; and hau which is also used as a textile or decorative fiber. This dance with the materials of the land is further expanded through the performance of a dancer, wearing the materials on their body and dancing in a wahi pana (sacred place) as well as in a grove of hau trees. The labor hula is continued in a river, where the materials are cleaned and processed. It commences almost ritualistically, as if the movements were inherited within the performers, each of whom specializes in these crafts. The actions are meant to convey an offering, and akua (elemental deities) are shown watching these actions throughout the film. The film aims to convey that all of this ike (knowledge) is in fact inherited by all Kānaka, and that all it takes is a remembering. Through the transference of ike through the medium of film, a remembrance is offered to the viewer.					https://isea2024.isea-international.org/ulu-kupu/
ISEA2014: 20th International Symposium on Electronic Art	Umbrella Performance		Zayed University - Dubai		On the cultural night of ISEA2014, in the garden of Zayed University, Dubai, there were demonstrations of traditional arabic food making, calligraphy, music and dancing. The students of the College of Arts and Creative Enterprises (Zayed University) prepared a special performance for the occasion, with umbrellas and lights. In the UAE, music is typically performed by men, and visual arts are women’s trade. So, all students of the College of Arts and Creative Enterprises are female.				Performance
ISEA2014: 20th International Symposium on Electronic Art	Under Examination		Lobo Listone Gallery		There are many times in the life when he or she is put under examination of a community’s standards, laws, and customs that he or she might reject completely.
ISEA2023: 28th International Symposium on Electronic Art	Unforeseen Spaces			Marie Lelouche	For Unforeseen Spaces, Marie Lelouche continues her exploration of the relationships between the physical and the virtual realities of the space. The exhibition at the gallery is an extension of a research project started during an artist residency at Les Tanneries Contemporary Art Center in Amilly (France), in 2021. During this residency, Marie Lelouche was interested in the birds that inhabit the park of the Art Center, as a means of decentralizing our point of view on this area. Building on this, she created an exhibition that appeals both to hearing and sight, as well as to the movements of visitors and the experience of the space “augmented” by a virtual reality device. The development of the virtual reality artwork entitled Unforeseen Spaces (2021) benefited from the participation of the DICRéAM, a french program for the support of artistic multimedia and digital creation of the CNC – Centre national du cinéma et de l’image animée. A part of the sound elements of the work Unforeseen Spaces rely on the use of the programs/software for bird song recognition BirdNET and BirdNET-Pi as well as the online collaborative bird sound library XENO CANTO, thanks to 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.					https://albertapane.com/exhibitions/unforseen-spaces
ISEA2022: 27th International Symposium on Electronic Art	Unforgotten		CCCB: Centre de Cultura Contemporània de Barcelona		The animation Unforgotten tells a traumatic historical event that happened to the most vulnerable group of women during a wartime and had been forgotten for a half-century. The animation shines a light on the victims’ voices and their willingness to give testimonies that deliver the historical truth rejected and denied by mainstream history. The women who give the testimonies in the animation spent the last moments of their lives fighting for women’s human rights so that women will never be sexually sacrificed again during wartime. Unforgotten tells the atrocious wartime sexual violence through fairy-like visuals that are metaphorical and poetic so as not to perpetuate violent imagery and retraumatize the victims. This approach is for changing how we conceive victims of wartime sexual violence, who were commonly considered filthy women by their community and retraumatized in media by repeatedly reproducing sexual sensations. The animation ultimately intends to change the way we conceive our past and historical trauma and, most importantly, pursue our future to embrace the history of marginalized people.						Human Rights, comfort women, World War II, historical testimony, and 3D animation
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Andrew Kayser
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Colleen Alborough
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Deborah Bell
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Faith47
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Fred Clarke
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Janus Fouché
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Lehlogonolo Mashaba
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Marcus Neustetter
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Mbongeni Fakudze
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Minnette Vári
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Robyn Penn
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	Stephen Hobbs
ISEA2018: 24th International Symposium on Electronic Art	Unknown 3D Virtual Reality Painting		Durbin City Hall/Durban Art Gallery	William Kentridge
ISEA2009: 15th International Symposium on Electronic Art	Unknown Title		Millennium Court Arts Centre	3.14...
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Ben Nsusha
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Bucks Ndimande
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Derrick Nxumalo
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Faye Spencer
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Gift Madziva
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Julius Mfethe
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Langa Magwa
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Mzwake Mbatha
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	P Ntliziwana
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Richard Shange
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Sibusiso Maphumulo
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Thomas Nkuna
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Tito Zungu
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Vina Ndwandwe
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Virginia McKenny
ISEA2018: 24th International Symposium on Electronic Art	Unknown Title		Durbin City Hall/Durban Art Gallery	Walter Oltmann
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Aram Bartholl
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Benjamin Gaulon
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Blackletter
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Christian Nold
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Conor McGarrigle
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Eve Mosher
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Glenn Loughran
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Gordan Savicic
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	I Left This Here For You To Read
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Institute for Applied Autonomy
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Jeremy Wood
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	John Buckley
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Joseph DeLappe
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Kate Paterson
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Laboratorio de Situaciones
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Mark Shepard
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Martin John Callanan
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	PARKing
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Quadrafónica Urbana
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Ralph Borland
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Surveillance Camera Players
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Thorsten Knaub
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Transborder Immigrant Tool
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	Trespass
ISEA2009: 15th International Symposium on Electronic Art	Unknown Works in the Space is the Place exhibition		National College of Art and Design	You Are Not Here
ISEA2022: 27th International Symposium on Electronic Art	Unreal Window		Santa Mònica		Unreal Window was inspired by zoom meetings during the covid-19 pandemic, the loneliness produced from the sense of being monitored, the painful absence of rapport that politeness dictates we have to pretend not to feel, the despair and creeping terror of not being able to connect with others physically, their smell, their touch, their heat, and longing for that which can only be shared through physicality. I wonder how far down this path we might go. If this situation continues until I die, then what does this mean for my identity? Who can I be under these circumstances? I ask, ‘Where do I exist?’ and if a part of the answer is in the digital, what does that imply about AI?In Unreal Window, I manifest myself fifteen to twenty times in embodiments of different ages and forms. I appear as a baby, a toddler, an adult, an elderly woman, and as a human-computer hybrid, a woman with a monitor for a head, forever in a zoom meeting. All versions of me are following after this hybrid as she flees – attempting to stay in the frame of the webcam, competing, desperate to show that they exist. I also attached a surveillance camera to each character, creating a scenario in which they are all constantly spying on each other. Unreal Window is a real-time virtual animation video that is designed for video game simulation, but this video game has no player. The computer’s systems play each other without the need for further input. Like I Ching, These characters are doomed to watch each other randomly and chase the camera infinitely in the auto-gameplay of machine composition (NPC) set to a chasing and fleeing game scenario. I wanted to create a situation without an end, both as a reflection of feeling of endlessness in this pandemic, and also so that the machine learning system could develop the action in ways that might surprise me. For example if the characters learn to chase and flee using obstacles and tools, what kind of relationships and environments might that produce? I wanted to know, in a place where everything is made with AI, would I feel like I could breathe? Is there a bottom to this abyss, or is it infinite sliding? I wonder whether we are actually in conversation when telecommuting. I can see the person I talk to only in a square box. Sometimes I feel confused whether I’m speaking to a real person or not, and I notice that I watch myself as I speak as much as I look at the other. I want to express this wandering between reality and unreality. I feel very anxious that communication and relationships between people might be lost in the absence of physical presence, and this virtual world will persist, existing online even as generations come and go. I’ve started thinking about the real meaning of confinement.
ISEA2014: 20th International Symposium on Electronic Art	Unsymmetrical		Lobo Listone Gallery	Chadi Adib Salama	This Artwork is a book art for digital contour drawing and the product is presented as an interactive digital pdf book format in a touch screen or tablet. It is also shown as a printed book with hand-made paintings.
ISEA2022: 27th International Symposium on Electronic Art	Untitled (A New Landscape)		CCCB: Centre de Cultura Contemporània de Barcelona		“Untitled (A New Landscape)” explores a possible speculative future of the quick-stop convenience of Capitalism. The work is inspired by an actual neoclassical building in Washington, DC which outlived its former purpose and was transformed into a gas station snack shop. In some ways, the transformation of this grand building into something so mundane is a metaphor for the post-capitalist society in which we are living. Set to “the most famous hold music in the world” (Cisco’s “Opus #1” by Tim Carleton and Darrick Deel), the piece provides a pause for contemplation.						speculative future, meaning, consumerism, and reality
ISEA2016: 22nd International Symposium on Electronic Art	Untitled		International Commerce Center (ICC) Tower	Cedric van Eenoo	The Japanese concept of Ma describes the gap, empty space or pause between two forms that allows for intensification of vision.				Projection Mapping Installation
ISEA2002: 11th International Symposium on Electronic Art	Untitled		Nagoya Citizens' Gallery Yada	Takeshi Masada					acrylic on cotton
ISEA2018: 24th International Symposium on Electronic Art	Urban Intonation	2018 Overview: Public Events	BAT Centre	Brian House	This installation is part of the ongoing ultrasonic recording project and installation series Urban Intonation, which explores human-murine relationships. To my knowledge, these are the first ultrasonic recordings made of “wild” rats in New York City, and reveal surprising things about the use of the acoustic spectrum by animals in cities. Living under the paving stones, consuming our refuse, and incubating our diseases, the city rat is a ubiquitous part of global, urban capitalism. The revulsion rats inspire actually speaks of our closeness to them— neither domesticated nor “wild,” rattus norvegicus belies the notion that we are separate from nature. And just as we continually negotiate our place in a dynamic city, so have rats developed elaborate social codes intertwined with urban architecture and geography. We are not usually privy to the vocal address of one rat to another, however, as they primarily speak above the (20khz) threshold of human hearing. But for Urban Intonation, I recorded rats at multiple sites in NYC with a custom ultrasonic microphone that I left in their burrows for 24-hour periods. I then pitch-shifted the result into the human auditory range and mixed it for multi-channel playback over a human public address system, repositioning rat sound as something that is recognizable, if not intelligible, as speech. In addition, this project has revealed that rats adapt to niches in the acoustic frequency spectrum created by human and mechanical noise in the city.				Ultrasonic recording project and installation
ISEA2019: 25th International Symposium on Electronic Art	Value of Values		Asia Culture Center (ACC)	Nicolás Mendoza, Tobias Klein, and Maurice Benayoun	Value of Values (VoV) is a blockchain-based art project. It aims to find out the real, economic value of human values through EEG (Electroencephalography, and biofeedback). VoV is an extension to the acclaimed Brain Factory project. In both, exhibition visitors (aka Brain workers) give –straight from their brain waves– a three-dimensional shape to abstract concepts, like FREEDOM, PEACE, MONEY, LOVE, POWER. In VoV, the resulting shapes are brought into the context of an “ethical realism”, an objective representation of the individual and collective hierarchy of values. While Brain Factory deals with a wide range of human abstractions, VoV only gives shape to those that could be considered as human values. The neuro-designed shapes, produced by individual visitors, become named and numbered digital 3D models: FREEDOM 0001, FREEDOM 0002… FREEDOM 000X. Each numbered item is an artwork registered on the Blockchain. At the end of the process, the Brain Worker, the shaper of the value, becomes the owner of the Blockchain VoV and the owner of the 3D model, the “idea” of the shape. VoVs are convertible into Ethereum, a common crypto currency. The owner can sell or barter the VoV, or even freely use the shape to produce artefacts, artworks, or goods. During the process, the visitor of the art show has become an artist giving shape to ideas, a curator validating the model according to the abstract concept, a collector preciously keeping the freshly minted token, an art dealer selling or bartering pieces of one’s collection of values for more “valuable” ones. The transaction is the only way to know the objective value of a given value. If the owner of the VOVs PEACE0404 + LOVE0002 decides to barter them for MONEY0088, he or she defines the relative value of all the involved values. With thousands of similar transactions, we can monitor in real-time the relative value of human values, for one person, a region, a country, a continent. If the median price of MONEY (i.e. the median price of all minted MONEY tokens) is 3 ETH or 1200 USD and the median price of LOVE is 240 USD, we get a clear idea of the relative value of these values. The observation of the trading process produces real-time monitoring of human values in their transactional milieu. VoV is at the same time a real currency, a critical metaphor of the art production narrative, and a dynamic reflection on its founding ontology. Value of Values (VoV) explores the nexus of human creation, the value systems of artistic production, and our insatiable desire for reified representations of human thought. The result is a Global Art Project based on Critical Fusion, the speculative and convertible merging of Fiction and Reality.				3D graphic generator, EEG headband, Blockchain, trading platform, computers, HD screens, massage chairs, projectors, QR ticket printer, touch screen, speakers	https://benayoun.com/moben/2019/06/24/value-of-values-at-isea2019-gwangju/
ISEA2014: 20th International Symposium on Electronic Art	Variations For Rooms and a Tone		Tashkeel		Variations for Rooms and a Tone explores the relationship between architecture and sound using only the natural, resonant frequencies of a space. Every built environment has a unique sonic identity defined by itsarchitecture, and certain notes are naturally emphasised over others creating a sonic self-portrait of the space.
ISEA2022: 27th International Symposium on Electronic Art	VastWaste		CITM UPC - Campus UPC Terrassa	Ozge Samanci	Humans once perceived oceans as boundless, and thus impossible to pollute—until we created the Great Pacific Garbage Patch. The same pattern is now repeating in outer space. VastWaste is a data-driven, projection art installation that illuminates the parallels and interplay between marine pollution and space debris. It can also be experienced in Virtual Reality. Human activities have scattered millions of objects into Earth’s orbit. Since there is no friction, debris travel at 18,000mph. Even tiny paint flecks can create explosive crashes. Approximately 4,000 operational satellites are currently in Earth’s orbit and the amount of space debris is already at a critical point. US and European Space Agencies track space debris and maneuver spacecraft to avoid collisions. SpaceX’s Starlink plans to add 40,000 satellites in the next decade. There is no known solution for mitigating the space debris. If the amount of space debris passes a critical mass, each collision will lead to more collisions in a chain reaction, known as the Kessler Effect. Ultimately, future spacecraft launches from Earth may become impossible. VastWaste generates an everchanging Kessler Effect in conjunction with a data-driven soundtrack. In this installation, satellites spin based on the speed of marine debris. This is calculated by using ocean currents and ocean winds.The number of fragments falling into the ocean is tied to human use of satellites, symbolized by number of tweets per second. Generative music varies in each play based on collisions, number of fragments, their contact with the surface of the ocean and their descent into the ocean. Humans observe marine pollution with satellites, and we bury dead satellites into our oceans. The future of two vast spaces is entangled.
ISEA2014: 20th International Symposium on Electronic Art	Vedic Remnants (Indian Accent Chanting)		American University in Dubai		Vedic Remnants is an immersive electroacoustic performance by Australian composer Leah Barclay responding to the Athirathram, an ancient Vedic ritual from Kerala, South India.					https://leahbarclay.com/portfolio_page/vedic-remnants-2013/
ISEA2023: 28th International Symposium on Electronic Art	Vegetal/digital		Le Cube Garges, 36 degrés, and Galerie Charlot	Alison Bennett	Exhibition. Le Cube Garges, April 27 – May 18 and Southern Winter Exhibitions 2023 at Hangars Numériques, May 16 – 21 then August 1 – 15 2022 Interactive installation Vegetal/digital is presented as a digital and poetic attempt at digital reconstruction of Australian flora. Engaging in ‘critical plant thinking’, a concept of studies aimed at promoting a symbiotic and sensitive relationship with plants, artist Alison Bennett has recreated endangered Australian native flowers as 3D point clouds with which visitors can interact using a motion capture device. In this way, Alison Bennett establishes technique and technology as vectors of increased sensitivity to non-human elements with which we sometimes coexist without much consideration. By taking us into the slow and sublime time of the plant world, Alison Bennett’s work invites us to consider and value the plant heritage of the world for which we are responsible. By taking us into the slow and sublime time of the plant world, Alison Bennett’s work invites us to consider and value the plant heritage of the world for which we are responsible. Hacnum Exhibition. various locations, May 16 – 21 Exploring vegetal thinking, digital gardening and post-human neuroqueer phenomenology through the affordances of expanded photography, artist Alison Bennett considers Australian native flowers as celestial encounters. Slowly rotating 3D point-clouds of floral forms coalesce and dissolve – the authenticity of the image as loosely aligned imprecise points of reference folded into the immersive field of extended reality mediation. Rendered as point-cloud models, foliage structures resonate as vibrant matter, testing the affordances of the digital image as a field of thinking. Arising out of the heightened sensory perceptions of extended lock-down, this creative investigation began through contemplation of flowering street-trees. Through 262 days of lock-down, residents of Melbourne retreated to the hyper-local, often reinforced by a 5 kilometer travel bubble and a one-hour daily time-limit outdoors. The sublime ephemeral springtime flowers of street-trees were amplified by the extreme sensory and social constraints of social distancing. Drawing us into a suspended moment of slow encounter, we attuned to the contained glowing pulse of plants. In this project, Bennett engages with ‘vegetal thinking’, a concept of critical plant studies that considers our symbiotic relationship with plants (Gibson 2018). This theoretical context is placed alongside the practice of ‘digital gardening’, of “seeds of thought cultivated in public” (Ness Labs) through slow thinking and organic speculation. Indeed, these domains of the vegetal and digital come together in post-human philosophy (Haraway 2016) and notions of compost and soil, seeking to subvert subject/object dichotomies. Mediated through an autistic queer lens (Yergeau 2018), Bennett’s work sides with the object, creating encounters that collapse the spectral, floral and machinic.					https://alisonbennett.net/2021/10/14/vegetal-digital-2021
ISEA2022: 27th International Symposium on Electronic Art	Ventriloquist Ontology	2022 Overview: Concerts & Performances:	Recinte Modernista de Sant Pau		Ventriloquist Ontology is a media performance that conceptually stems out of philosophical ideas that are rooted in the realms of Posthumanism, Actor Network Theory and Object-Oriented Ontology. Inspired by Alejandro Jodorowsky’s dystopian theatrical play The School of Ventriloquists, it encompasses the creation of a modular wearable, trained using Natural Language Processing to create its own language that manifests in the form of speech and movement actuation. It explores the idea of soft control and points of hybridization between human and machine through the relationship of a performer and a wearable entity. This soft modular entity speaks through text generated using the GPT-2 language model, trained on a dataset of texts around biopolitics, algo-governance, the surveillanced body, and queer theory. The softness aspect of its control refers to the plasticity of the interface, the malleability of its hardware connections, the suggestive nature that the GPT-2 generated text pertains to, and the indicative nature of the movement of the actuators. Sequentially, it brings forth the soft data of the body inextricably linked to ideas of care and intimacy, as well as to the pliability of the different levels of interpretation between the human and the machine. The aspect of control is tied to the cybernetic idea of steering the body to its optimal movement through a feedback loop between machinic language, and human assimilation. It also deals with the hardness of the linear actuators and the microcontroller that manipulates them, to the domination of these mechanical components over the softness and vulnerability of the human flesh. Ultimately, the idea of ventriloquism is used to give agency to an ontological entity comprised of subtle suggestive wearable modules, human flesh and cognitive motor abilities, born-digital, able to produce novel language, but also conditioned to reproduce the biases of its algorithmic parts.
ISEA2014: 20th International Symposium on Electronic Art	Veritable Vicissitudes		American University in Dubai		The audience enters an interactive maze of live sound and videos. Sharing the maze is a solo dancer, whom the audience can choreograph through the use of symbolic signs.					http://seanclute.net/veritable-vicissitudes-dubai/
ISEA2016: 22nd International Symposium on Electronic Art	Vertical		Lau Ming Wai Academic Building, City University of Hong Kong	Anke Eckardt	Vertical is part of SONIC SPACES, a series of installations on elements of architecture Vertical 1 A vertical line of loudspeakers plays a downward sliding tone which is followed by a heavy subbass punch on the ground, very present in the installation, too low and therefore not audible in the video documentation. The punch seems to trigger an ‘eruption’ in a tank, which is filled with black liquid. The liquid erupts in the form of a round wave, which disintegrates and splashes in all directions. Over the duration of the exhibition a black speckled, dirty image thus forms on the initially clean, white floor. What compromises do we make when we interpret the world by the ambiguous information we receive from our senses? Because of the temporal and spatial conjunction of the two independent events, the ‘falling sound’ and the visual impact right after, we interpret the scene as cause and effect. Synaesthetic perception enables the physical experience of an intermodal illusion. The exploration of the phenomenology of the senses culminates in the investigation of illusions, this raises the issue of the fallibility of the senses. As we seek consistency in the perceived world we reduce it to a fragment, which appears coherent when related to our life experience. Technological advances offer us ever greater reason to distrust our senses, though. Vertical 2 Audiovisual Installation (2016): Interfacial Microphone, 1 Loudspeaker, Wooden box, two mirrors, LED lights In Vertical 2 confusion, disinformation and communication are provoked by a small white cuboid standing in a large exhibition space. It can be entered by one person at a time. Contradictory, even paradoxical spatial information are produced via visual and audible stimuli. Low and small from the outside, the space gains unexpected height and thereby largeness when entered. The absence of consistency between the inner and outer perspective is furthermore deepened by another aspect to be experienced inside. The cuboid not only seems to open up vertically, but also downward below the feet. The space seems to become an open vertical tunnel. Neuronal information about direction is given via reflected light, information about size via acoustic impulse responses and shepard effects. It might catch the visitor’s eye that the constructional elements of the cuboid are visible from the outside in a reductionist manner. Its building style lies open; there seem to be no secrets. All the more visitors are left alone with the ambivalence of their sensation. The realness of the outside world is considered to be independent of human observations. In this regard Vertical 2 appears to be an intentional aesthetic object that questions realness and enables visitors to synthesize virtuality. Vertical 2 is a continuation of a series of artworks by Anke Eckardt on elements of architecture called Sonic Spaces: Vertical 2 (2016), Ground (2014), Wall (“Between \| You \| And \| Me” 2012), Vertical 1 (“!” 2010). In this series, the artist explores the ambivalence of sensation. [source: ankeeckardt.com/]					http://ankeeckardt.com/
ISEA2022: 27th International Symposium on Electronic Art	Vestibular_1		El Centre d’Art Cal Massó	Marc Marzenit and Albert Barqué-Duran	May 27-July 23, Centre d’Art Cal Massó de Reus, Beep Collection: Origins. Public event. VESTIBULAR_1 is an immersive audio-visual installation that invites the audience to wander inside a vestibular system structure. In specific, the installation induces illusory sensations of self-motion by temporarily disrupting the audience’s vestibular functioning via specific patterns and configurations of audio and light stimuli. Any organism moving through its environment receives a constant stream of sensory signals about self-motion: optic flow inputs from vision, proprioceptive information about the position of the body from muscles, joints and tendons, and inputs for acceleration via the vestibular system. This latter seems particularly important for self-motion (Green & Angelaki, 2010). Under normal circumstances, the brain optimally combines sensory signals for self-motion, which are successfully integrated to produce a coherent representation of the organism in the external environment. However, conflicts between sensory modalities may occur when sensory signals carry discrepant information. If the vestibular system is altered with conflicting sensory information, we easily realise that the usual way in which we perceive objects of human expression, such as visual forms, music, and art, does dramatically change (Gallagher, M., Dowsett, R., & Ferrè, E.R., 2019). The installation VESTIBULAR_1 is based on the innovative research from the VeME (Vestibular Multisensory Embodiment) Lab at Royal Holloway, University of London, which investigates the role played by vestibular signals in the perception and representation of the body and the external world and how it affects aesthetic preferences. Co-Producer: .BEEP { collection;} – NewArtFoundation. Technology Partner: Protopixel Technology Collaborators: Sfëar – Eurecat. Silentsystem. In collaboration with: Elisa Ferrè (Vestibular Multisensory Lab – Royal Holloway, University of London), https://vemerhul1.wixsite.com/vemerhul. [Source: https://www.beepcollection.art/albert-barqu%C3%A9-duran-marc-marzenit]
ISEA2022: 27th International Symposium on Electronic Art	Vibrant Landscapes		Santa Mònica		We live at a time where there are a set of predictive calculations occurring for any given action. This might be most obviously when we are online and as a result of data mining highly targeted ads appear. But predictive analytics powered by Artificial Intelligence is already being deployed throughout all levels of our social structure, from policing and medicine to models of climate change. The sheer persuasive utility of these AIs underwrite particular the logics of their practice. The amplification of the value of functionality accounts for their ever-increasing deployment even in the face of known problems such as the way in which they can retain or extends cultural bias. In this context using AI in a non-functional way is an act of resistance. The ai generated videos included in Vibrant Landscapes are based on movement through real ecologically fragile landscapes. The work acknowledges how our expansive technologies have led to crises; yet its aim is restorative. The AI algorithm, trained on original footage I shot of these landscapes, generates new sequences by predicting and adding new frames. The spatial trajectory of the source footage troubles the AI’s process of “understanding” patterns of relation. The resulting videos have an animate sense of desynchronization, an aesthetic strategy that reveals the copresence of multiple durations, temporalities, and tempos. The representational drift evokes upheavals in geological time, an ever-changing reshaping: destruction, renewal: vibrancy. We’ve tried to contain the natural world, to dam its living rivers and stop its fluctuations, but here they’re set adrift in the unresolved contingencies of our times. Comfort and crises.				AI generated videos
ISEA2016: 22nd International Symposium on Electronic Art	Video Circle			Danny Yung	Ellen Pau writes on Danny Yung: “At the time [1984], I frequently visited the clubhouse of experimental theater company Zuni Icosahedron to watch European New Wave cinema. There, I met the founder and artistic director Danny Yung. (…) In 1996, Danny invited me to take part in his video installation, Video Circle. The piece expanded on his concept of co-creation and collaboration, this time in providing a platform for video artists. In Zuni’s theater and workshops, Danny always created space for interaction, experimentation and brainstorming in order to cultivate collaboration. I would describe these creative processes as a dialogue, between ourselves and between us and the audience. In a similar way, dialogues are fed as inputs intoVideo Circle, the outputs of which are then visible in the black-box space of the videos. Video Circleis inspired by the I Ching. There are 32 identical monitors that are placed in a circle. The screens of the monitor face inward, so the audience is required to walk into the circle in order to view the videos. Yin and yang are present in this work; the screen is the bright “yang,” like the face of a coin. However, we don’t see all of the yang when we stand in the circle; some of the screens fall out of sight. Video Circle operates on an automatic playback platform in which each VHS player, attached to an individual monitor, plays an artist’s work in a staggered sequence, creating a loop across the 32 screens in either a clockwise or anticlockwise direction. In terms of time, two adjacent machines will have a playback lag of about five to eight seconds. The tape is played many times over the day and each work only begins after another has ended. Yet the tension of the tape, and the mechanics of the VHS players do not function perfectly. Over time, the differences between video playbacks increase. This platform—comprising VHS players, artists and audience—creates a different viewing experience. Video Circle brings forth not only the idea of automatic writing and reading but also comments on dualism: in machines and humans; in positives and negatives; in breathing in and breathing out. I found Video Circle fascinating, similar to John Horton Conway’s “Game of Life.” Danny presented more than six editions of Video Circle. Over 100 artists from Asia, Europe and the United States contributed. The project witnessed not only differences in artistic practices but also geographical and generational differences.” [source: artasiapacific.com/Magazine/112/EllenPauOnDannyYung]
ISEA2014: 20th International Symposium on Electronic Art	Video Savant: The Drowned		American University in Dubai		Live Cinema, collaborative improvisation with music and images responding to each other in real-time. Cross cultural dialogue in which this US based visual artist engages with local UAE based musicians.
ISEA2014: 20th International Symposium on Electronic Art	Video Savant: The Drowned		The Fridge		Live Cinema, collaborative improvisation with music and images responding to each other in real-time. Cross cultural dialogue in which this US based visual artist engages with local UAE based musicians.
ISEA2014: 20th International Symposium on Electronic Art	Vincent and Emily		American University in Dubai	Carolin Liebl and Nikolas Schmid-Pfähler	Vincent and Emily are two self-willed robots that show the viewer the solitude of a partner relationship and simultaneously the involvement of the partners in society and their impulses.
ISEA2018: 24th International Symposium on Electronic Art	Virtual Graffiti		KZNSA	Ivana Druzetic and Christian Geiger	This participative live art project was This participative live art project was implemented by the PS2 Team from the “Trails of Memory…” subproject in Düsseldorf, led by Ivana Druzetic and Chris Geiger of the Düsseldorf University of Applied Sciences. At the KZNSA Gallery Durban the project offered people to infuence the urban sphere through a virtual art practice and combined the virtual and the physical space. Artists, visitors, neighbors, and especially kids were invited to become creative in the re-design of their public space by drawing virtual graffti and “painting Durban together with Durban”. Whether by writing a message, making a drawing or creating a simple abstraction all participants were given the opportunity to create their own mark in a public space with the help of digital tools. By using a camera connected to the controller, the users were able to shoot a photo in the endless pallet of their real surroundings and choose local sights, objects, faces or random details as patterns for their VR graffti artwork. At the same time, the process was visible for the observers as a projection on a real nearby wall. Drawing on the symbolism of graffti art, this participative public activity offers an opportunity for personal expression in urban space. Multiple questions arose from the activity: However perishable and ephemeral on brick-and-mortar, can this virtual tool reproduce the contested terrains of the city walls while avoiding the controversies often attached to it? Can the virtual walls be vandalized? Can the virtually extended space be appropriated?			Supported by the PS2 Team, the Creative Europe Programme of EU.	Participative live art project
ISEA2016: 22nd International Symposium on Electronic Art	Virtual Memory Box – Wuhan		Kll Art Village		Rebecca and John are creating a project which can be split into three parts. Each part tied to the other, and leading from the other. The Wuhan Virtual Memory Box. A performance based on memories of Wuhan. A gallery installation in Hong Kong showing the Wuhan Virtual Memory Box, and a representation of the performance in Wuhan. The Wuhan Virtual Memory Box is a piece where we perform the act of archiving memories of participants’ engagement with the city. We have an empty shell of a website which I am specifically tailoring to Wuhan. Within a 90 min workshop we will fill this site with memories. These can be audio recordings, text, video, and images. A diverse range of people will be involved from connections we make. The final piece will allow the viewer to search out memories on a blank canvas, watching these memories, and then leaving a mark on the canvas of these memories. As new memories are explored old memories fade, though the old memories can be re-remembered. The single most important element of this piece is the range of people. Where it is easier to have memories from recent times, retrieving memories from the past requires a deeper engagement with the place. Throughout this first week we worked on building these relationships and are excited to have a commitment from an Architectural Historian living in the city to be part of the project. Of course another incredibly important element is getting to know the city ourselves, and although given the short time we are here, we will only have a surface level interaction with the city, we will be excited to include our memories of the city in the project. It’s already been an adventure exploring the local area around the art village, and the technology malls, street markets, and local cuisine. One of highlights for me as a technologist is to be able to have relatively sophisticated conversations with people, given the language barrier, using modern translation apps on my smart phone. The performance piece will be a live improvisation replaying and interacting with the memories of the city. There will be many screens which we can in real time push images, videos, sounds, colours, and text to. Deciding and acquiring the technology for this performance, and writing the software are the tasks I’ve set for myself for the first half of this residency. I’m excited I’ve already bypassed several technological hurdles, and set up some new ones! Over the coming weeks I will be creating a mockup of the performance space in my studio, and Rebecca and I will continue to collect and curate material for the performance.					https://www.thestandard.com.hk/section-news/section/12/170825/Wuhanese-memories-in-art-form
ISEA2020: 26th International Symposium on Electronic Art	Virtual States of Entanglement			susy.technology	susy.technology presents Virtual States of Entanglement, a multi-channel audio-visual installation exploring themes of non-locality, entanglement and the collective consciousness. As technologies continue to amplify an increasing interconnectedness between individuals and the collective sensorial experience, we consider the ways by which these systems shape, form and distribute feeling. The work presents a dialogue that is existential in focus and that directly relates to what it means for us to sense pain, conflict and discordance emerging at a global scale. Speculating on the implications that quantum mind theory and the many-minds interpretation may have on our near future relationships to sentience, Virtual States of Entanglement addresses an increased meta-awareness that rapid technological advancements continue to nurture. As a collective, susy.technology draws inspiration from lived experience in ways that support our exploratory research concerning societal relationships to and dependencies on technology and our collective understanding of these systems and experiences.				Multi-channel audio-visual installation		AV Installation, multi-channel, video, and sound art
ISEA2014: 20th International Symposium on Electronic Art	Visible From Space	2014 Overview: Video Screenings	Zayed University - Dubai	Paul Catanese
ISEA2022: 27th International Symposium on Electronic Art	Visualizing the Illkun (Anger)		MACBA - Convent dels Àngels	Marcela Antipan Olate	Visualizing the Illkun (Anger) is an interactive screen installation for the interpretative visualisation of anger in the province of Malleco, Chile. The installations seeks to reflect and discuss the concept of screen by relating it to the memories of dissidence. Thus, it takes as a case study the book Las Razones del Illkun/Rabia (The Reasons of the Anger), trying to visualise through images-diagrams the subjectivities arising from the feelings of dispossession in the Mapuche conflict in the Malleco region. In this way, the images-diagrams and the designed device seek to mediate spaces and territories of memory that conflict the notion of history in Chile. A problematic narrative that dates back to the times when Chile was a Spanish colony and later, as a republic, using openly repressive state policies and territorial usurpation. Situation that unleashed the wrath of one of the first indigenous peoples of the aforementioned territory; the Mapuche. The process of study and creative development of this project was divided into four stages: first, a study of the concept of the screen, which was analysed to understand the technical and conceptual characteristics that relate it to a memory apparatus. Secondly, a defined the theme of representation and the type of data to systematise, in this case, a historical book. Third, a way of representing anger by the abuses described in the aforementioned book; that is, through a subjectivist paradigm through the interpretation of the written archive. This decision is based on an interpretative view of a complex subject and totally opposed to a scientific naturalist paradigm; non-objective information goes from being delivered to uncertainties that are captured and interpreted; first by myself as the creator of a system of visual codes and then, by the individual facing the interface.				Installation art	https://marcela.io/2020/08/25/visualizing-the-illkun/	screen, memories of dissidenc, installation, apparatus, and data interpretation
ISEA2022: 27th International Symposium on Electronic Art	Visually reading the pandemic: Translating an Open Access Archive into an immersive interactive Artwork		MACBA - Convent dels Àngels	Elian Carsenat and Eveline Wandl-Vogt	The presented artwork is a cross-organisational, cross-sectoral, transatlantic collaboration between the art:scientists Dario Rordrighiero and Eveline Wandl-Vogt, the social entrepreneur Elian Carsenat and Ars Electronica Solutions as well as Garmantis. During the first year of the pandemic, the authors developed two pre-conceptioptions of 2D visual artworks based upon open data of a COVID19 related open access archive, namely the “COVID19 cartography” on the one hand, and the “Chinese Sea” on the other. During 2021 and funded by DARIAH.EU, the team scaled up and created an immersive, 3D production for Deep Space at Ars Electronica, launched at Ars Electronica Festival 2021. The artwork is not just a unique piece of art, it invites the participant to experience knowledge created at the moments of exploration in a playful approach. In their presentation the authors will refer as well to the guiding questions related to the innovation and implementation process, workflows, funding, scaling up and how the applied methods and technologies may be meaningful and applicable for other archives.				Data Visualization Installation art		3D Installation, COVID19, visualization, immersive artwork, and Deep Space
ISEA2024: 29th International Symposium on Electronic Art	Vivid Frequencies		QUT Art Museum	Anna Madeleine Raupach	Vivid Frequencies is an augmented reality (AR) artwork that digitally recomposes the audio-visual landscape of the surrounding physical world in response to nearby plant species. It highlights temporal and spatial behaviours of the environment that are usually imperceptible to humans to accentuate how plants affect us – rather than the other way around. Translating data into a live visual language, Vivid Frequencies dismantles and reforms the image in relation to the species’ geographic origin, while the sonic composition signifies its age, conveying layered temporalities at play in our environment. Through this audio-visual code, the mobile device acts as a portal through which to tune into divergent, non-human scales of time and space that are interwoven with ours and returns the scientific information of botanic collections into living ecosystems. Vivid Frequencies forges a connection between digital and plant communication networks to extend the human into relationship with the vegetal world in new ways. It proposes that agency emerges through plant-human co-presence and contributes an expressive apparatus for interdisciplinary research in this field.					https://isea2024.isea-international.org/vivid-frequencies/
ISEA2014: 20th International Symposium on Electronic Art	W3FI: Dubai		Zayed University - Dubai	Laleh Mehran and Christopher Coleman	W3FI is an immersive and interactive installation fusing the digital and the physical, inspiring viewers to consider how our digital selves interact with one another in our increasingly connected world.
ISEA2018: 24th International Symposium on Electronic Art	Waiting for a Revolution		Denis Hurley Centre	Jeremiah Ikongio	The project, which fuses staged studio and street portraiture and archives (newspaper headlines scans), explores, investigates and subverts some of the defining feature of memes. The photos can either be seen as Prints or Animated GIFs. Moreover, this part of a broader art project, “E-Go-Better?” which explores protest as an art form by using Social Media and Installation Art. The underlying idea is to question the effectiveness of ‘virtual’ protest by investigating the possibilities that modern technology present to ordinary people.				Multimedia artwork
ISEA2022: 27th International Symposium on Electronic Art	Waiting for Other		Santa Mònica	Nooroa Tapuni	The indigenous cultures of the Pacific believe material and immaterial worlds are connected, wherein the present exists, our past and future. Centred in this multi-layered and multidimensional understanding of the world, genealogy (akapapa, whakapapa) manifests interconnection and continuity through inherent recursive strategies. Through the lens of genearchelogy (Refiti, 2008), the manifestation of our ancestor is made present through the body. Here the notion of self (I) in the singular is positioned in relation to self as other as in ancestor as in the multiple. That is to say, the notion of self is understood as the binding relation of one’s ancestors through one’s gene archaeological matter, manifesting the past in the present. It is through this understanding of self that the thematic consideration for this work begins. The project explores the extent interconnection and continuity, from an indigenous Pacific lens, can be explored through digital means. The project has a two-forked approach. The first sequences body parts in relation to indigenous pacific cosmological beginnings. The animated sequence of body parts is a reorientation of ‘self’ and ancestor. The second looks at the relation between the skin of the body and skin of the digital image. Crucial to this exploration is the notion of tu ke (to stand in difference),as in the negative stereotype applied to black skin, and te’ta’i, (to stand as an(other) as in ancestor). This two-fold approach calls into question what ancestors manifest through the skin of the body and the skin of the digital image, and to what the digital interface surfaces in us. Reference: Refiti, A. L. (2008). The forked centre: duality & privacy in polynesian spaces & architecture. Alternative: An International Journal Of Indigenous Scholarship, 4(1), 97 – 106.				GIFs
ISEA2018: 24th International Symposium on Electronic Art	Wake		Ushaka Aquarium and Beach	Rena Detrixhe and Grace Grothaus	Wake is a video piece documenting the installation of the same name created for a gallery space. Constructed from shipping containers, Wake investigates water and its use in our infrastructures, particularly oil extraction. In this multi-sensory immersive installation water is animated by wave disturbances created via sound played through submerged speakers. Recordings of industrial water usage gathered by the artists across Oklahoma are composed into an audio track which rises and falls based on a ten-year graph of the state’s seismic activity, aggravated in recent years by the rapid increase in hydraulic fracturing (fracking). The water’s movement is reflected onto the interior walls, rendering the soundscape in shadow and light.				Video	https://vimeo.com/251049626
ISEA2018: 24th International Symposium on Electronic Art	Wakpon Museum Project: Off the Wall	2018 Overview: Public Events	BAT Centre	Pierrick Chabi	Wherever they are in the world, WAKPON takes its users on a journey to discover 10 contemporary Beninese artists whose work is featured in the Ouidah Museum collection and offers them a totally new experience, using specially-designed QR codes as AR markers to offer the viewer a guided tour through the gallery. Designed under the technical direction of Mr. Pierrick Chabi, it makes use of the possibilities afforded by the technology known as “augmented reality”.		Featured artists are: Samuel Fosso, Bruce Clarke, Gérard Quenum, Frédéric Bruly Bouabré, Cyprien Tokoudagba, George Lilanga, Omar Victor Diop, Soly Cissé, Romuald Hazoumè & J.D.’Okhai Ojeikere,		App	http://wakponapp.org/
ISEA2022: 27th International Symposium on Electronic Art	Walking on Sol		CCCB: Centre de Cultura Contemporània de Barcelona		In the central core of the ancient city of Kerman is a fortress belonging to the Persian empire that, over time, has worn out and turned into a giant dune. In Walking on Sol, I use digital tools to create an aesthetic form to investigate and interweave the possible impact of the fortress’s history and myth on the region and the world. The current view of the fortress does not relate much to the glorious Persian empire. Now it is a pile of dust. By looking at the fortress’s current condition, the product of erosion and human disregard, this project asks: To what extent does the fortress’s history, and the myths and legends surrounding it, foreshadow contemporary human impact—development and devastation— on the future of the world? In contrast to the belief of many young residents of the region, who consider the fortress a giant dune, the elders and great grandparents believe that it is the grave of a worm-like monster whose hatred has caused the city’s current situation of drought and scarcity. Through a digitalized speculative aesthetic—as an alternative narrative—Walking on Sol asks: what happens when disregarded beliefs and repressed regions are recalled and thought of in different ways? Can these forgotten remnants of the past be whisperings of the future? And by simulating an abstract 3D environment through digital software, the work asks: what aspects of the future can be imagined and constructed by technology? By juxtaposing the digital and physical structure of the region, Walking on Sol intertwines an aesthetic form for the future of the Past with the imagined Future.						myth, memory, immersive, repressed, and desert
ISEA2024: 29th International Symposium on Electronic Art	Wanyimbuwanyimbu (Always)		QUT Art Museum	Nicole Smede	First, they say After gili (light) and divine dulu (footsteps) was the word, that we hold the frequency of miriiyn (stars) in our galung (bones) Yet we have no name for their ‘word’ we have nyun.guba guthi (her song) the sacred gunungang (older) than djuya (talk) Wanyimbuwanyimbu is an Indigenous concept of time. Translated from my ancestral Gathang language to mean ‘Always’, it is a concept that cannot be captured in the colonial tongue. Its more than always. It’s Everywhen – where past, present and future constantly ripple. Wanyimbuwanyimbu ripples through time, through the body, across the tongue, echoing in the mouth cavity, born again and again from lips into the universe to be heard in light, sound and the song of Country. This sound piece is a sonic interpretation of this concept, a deep time journey through past, present and future that connects all things.					https://isea2024.isea-international.org/wanyimbuwanyimbu-always/
ISEA2002: 11th International Symposium on Electronic Art	Waraimochi Night
ISEA2020: 26th International Symposium on Electronic Art	wassaygane abi-mazina’igan \| maps of home and glowing bones			Scott Benesiinaabandan	wassaygane abi-mazina’igan \| maps of home and glowing bones (2020) is an experimental video and sonic work. Using a variety of technologies and strategies, the work seeks to create maps to better see living space-times I consider (a) home. In this work, I am relying on the extra-sensory abilities of technologies to allow me to see more clearly what is often hiddenness of home. Home as a living space regardless of my own awareness of it. A personal attempt to becomes friends with spaces lost to time and shortness of the senses.				Video	https://art2020.isea-international.org/art-portfolio/scott-benesiinaabandan-2/	Ecosophic, Experimental Film, and sound art
ISEA2022: 27th International Symposium on Electronic Art	Water drop viewer (indoor version, 2022)		La Capella	Roc Pares	Water drop viewer is an analog interactive indoor installation that uses human energy to create an intimate relationship between the viewer and a modest, beautiful, unique and fragile drop of water. The installation aims to promote a deep contemplative state that allows you to connect with a drop of water as an essential element of life and as a world in itself. After thirty years of dedication to electronic art, with this work I am forced to rethink my own relationship with the media and nature, with mediation and experience. Interaction: When looking through the eye piece, the viewer sees what she perceives as a suspended wobbling water drop. In fact, she is always looking at different drops of water in the same position, revealed by the flashing light coming in intermittently through the shutter. The mechanism draws an analogy between the frame of a film and the drop in a stream of water. The installation works thanks to the physical interaction of visitors, who can operate the water pump and the bicycle light (dynamo) using the pedal of a century-old sewing machine. I believe that by incorporating a treadle mechanism, I can involve visitors in a physical repetitive action that can potentiate the meditative state that I am willing to convey.						Climate Change, Hypernatural, Global Warming, peculative Design, and Philosophical Toy
ISEA2023: 28th International Symposium on Electronic Art	Water Organoids			Baudouin Saintyves and Severine Atis	Performance, Juried artwork, Maison du Geste et de l’Image Water Organoids is a performance that uses an “immersive microscope” to film and project an invisible reality of self-organizing water structures. Emerging artistic and natural forms are indiscernible in experiments executed in front of the audience using pipettes, syringes, tweezers, and motors. Water Organoids is presented with the support of the Outreach Program @PSL University, in collaboration with the CNRS researcher Etienne Reyssat from PMMH, ESPCI Paris – PSL University. It is part of the Shapes of Emergence project, which develops performances, videos, robotic installations and research at the crossroads of art, technology and science. This project has benefited from the support of CAMIT (Council of the Art at MIT), High Concept Lab @MANA Contemporary in Chicago, the University of Chicago and private companies Thorlabs and Pixelink.					http://www.shapesofemergence.com/
ISEA2014: 20th International Symposium on Electronic Art	Waterfall			Stephen Hilyard	Waterfall presents the viewer with a single static shot of a majestic waterfall. Over the course of the piece a number of figures walk slowly into the shot.
ISEA2023: 28th International Symposium on Electronic Art	We are Lichen		Sorbonne Artgallery	Pascale Gadon-González	From microcosm to macrocosm, lichens reflect the image of an ontological back and forth, the “other” is at the heart of what makes life. Lichen is a multiple being, it results from the symbiotic association of partners, generally an alga and a mushroom. It simultaneously exposes two levels of organization that question the notion of the individual. My research on ecology, in the sense of oikos logos, science of the habitat and interactions of living beings between them and with their environment, leads me to look at hidden worlds. What we perceive on a macroscopic scale becomes something else on a nanotechnological scale and yet we look at it with the same eye. What relationships can we perceive in this passage from one world to another? Molecular dimension leads us to reconsider the notion of the individual. At the origin of terrestrial plant life and of all organic forms is a mutualistic process: symbiosis. In lichens, while this process is complete and the two structures are exposed separately under the microscope, and while nature allows each of the two individuals to reproduce separately, the process only presents a unitary vision. In these conditions the one has a complex identity, multiple and one at the same time. Symbiosis engages possibilities that are not predetermined, nor calculated. As Anna Lowenhaupt Tsing points out in her book The Mushroom at the End of the World, “arrangements are always open gatherings. They allow us to question the effects of community without having to assume them. […] Agencies do not just put together ways of living; they make them.”					https://www.sorbonneartgallery.com/pascale-gadon-gonzales
ISEA2022: 27th International Symposium on Electronic Art	We as Waves	2022 Overview: Concerts & Performances:	CCCB: Centre de Cultura Contemporània de Barcelona		A two-part performance for voice, electroacoustic music, and sonified physiological markers of affect (heartbeat, skin conductance, and respiration). Using guided meditation, hypnosis, and Autonomous Sensory Meridian Response (ASMR), Gee triggers physiological response in listeners wearing DIY biofeedback hardware, transforming physiological signals into synthesized sound. Through psychosomatic contexts of group listening, Gee composes music to enact phenomenological positions that are post-subjective, leaky, and affective, drawing upon feminist epistemologies to emphasize the transductive and non-reductive qualities of sound. The goal: to connect our bodies and minds to perspectives normally beyond human representation, being both witness to measurement, and being within the measurement. Using second person to speak “directly” to the audience, Gee composes affective experience as grounds for composing biofeedback music, speaking directly to the unconscious mind of the listener while speculating a non-humanist intimacy on grounds of experimental physics. In part one, Gee worked with queer playwright Jena McLean to translate Tara Rodgers’ feminist epistemology of sound to induce transductive thought, drawing associations between sound waves, oceanic waves, and femininity. Through Rodgers’ work she references logics of non-linear time, contingency, and alternative relations to noise and sound, eventually hinting at a departure from the human in the last line by invoking Catherine Keller’s queer theology: “We are drops of an oceanic impersonality. We arch like waves: Like porpoises.” In part two, Gee invites audience members to don wearable, non-invasive biosensors, to become sensitive and sensible to their affective physiologies as waves of sound. Using clicks and synthesized tones, the respiration, heartbeats and skin conductance of the audience are sonified in real time, offering a window into the emotional engagement of listeners. This second section is inspired by the way that information is shared (and created) in quantum systems, and is created in collaboration with cyberpunk author Andrew Wenaus.
ISEA2022: 27th International Symposium on Electronic Art	We Move Together or Not At All	2022 Overview: Concerts & Performances:	Konvent Berga		We Move Together or Not At All is a choreographic installation that places consent, multi-sensory performance archive, and species inter-dependency in conversation. This performance by Sasha Kleinplatz and Navid Navab takes the form of an excitable plant-filled greenhouse with a dancer moving in its centre and it will be presented on June 11 at Konvent, a former convent of nuns located in Berga that has been converted into an experimental laboratory. Choreographer, dancer, and interdisciplinary artists work collaboratively to build performance scores meant to raise the temperature, moisture, scent, and bacteria in the greenhouse and co-orchestrate states of sensory access to the participants gestures, human or none. Through this practice the sweat of the dancer becomes a source of heat and humidity that supports the plant life. We frame this sweat and heat, and the plant life that they support as the barely visible, archival trace of performance, as emergent formations traversing condensation, movement, sound, and affect. The performers are augmented with sensors that respond to torque, horizontality, verticality, and percussivity. A responsive scenography transcodes qualitative variables of the performance into sound, vibration and condensation, as multimodal gestures towards a non-linear understanding of how the plants may experience the events within space.
ISEA2004: 12th International Symposium on Electronic Art	Wearable Technology		BonBon Club	Karolin Kuusik	Karolin Kuusik gives clinical-looking techno clothing a touch of humanity.
ISEA2017: 23rd International Symposium on Electronic Art	Web-Mindscape	2017 Overview: Art Exhibitions		Claudia Robles-Angel	WEB-MINDSCAPE is an interactive installation joining diverse aspects, such as social network, sound, brainwaves and visual elements. It creates an immersive audiovisual environment, which is site-specific, where sound is diffused in surround, and the visual elements consist of light produced via electroluminescent wires (EL wires). Visitors are invited to interact with the audiovisual environment (light and sound) by using an EEG interface, which reads their brain activity. Thereby, they are confronted to messages from a social network (in this case, Twitter). The tweet messages are turned into audible sound, and the computer measures thereafter the cerebral activity of the visitors, and analyses their emotional reactions to both the environment and the tweets, transforming this data into visual and audible signals, which reproduce how the inner of the subject is influenced by the outer environment and at the same time, having an impact on the installation’s audiovisual environment.					http://s751373519.online.de/mindscape
ISEA2002: 11th International Symposium on Electronic Art	Webcast - Solomon R. Guggenheim Museum	2002 Overview: Public Events			October 29 (Tue.) 10:00- 11 :00 (N.Y. Time: October 28 (Mon.) 20:00-21 :00) Live Streaming Project from Room 0, Harbor Hall SF The Sackler Center for Arts Education of Guggenheim Museum was the Web host to ISEAZ00Z Nagoya [Orai]. Discussions were transmitted live at the Sackler Center’s New Corporation New Media Theater, with response by local new media artists and scholars. Organized by the Utrecht University of Professional Education, Media Technology, Amersfoort, Netherlands Cooperation with the Solomon R. Guggenheim Museum				webcast
ISEA2002: 11th International Symposium on Electronic Art	Wedding road		Nagoya Citizens' Gallery Yada	Tamami Kubota					Video Projection, others
ISEA2020: 26th International Symposium on Electronic Art	What is the Shape of Water?			Lisa Moren and Tsvetan Bachvaroff	The audience enters a pitch-black room with millions of invisible organisms floating above their heads. They’re invited to speak, and if they do their voice will excite the bioluminescent dinoflagellate [pyrocistis] into bio-illuminating. Their blue glow swarms the shape of the waters sound waves created by the user’s voice. Therefore, if you ask “what’s the shape of water?”, the dinoflagellates will tell you. “What is the Shape of Water?” is part of a series of cross-species artworks allowing humans and non-humans to interact. There are three versions documented at Light City in Baltimore’s Inner Harbor for ISEA 2020 in Montreal. The first is as described above where the human speaks into a microphone connected to a system that triggers an arduino-driven ripple tank exciting the dinoflagellates bioillumination. The second version is a live vocalist, Bonnie Landers, who sang an improvisational chant, creating a 20-minute dialog with the live ancient critters. The vocalist creates a loop where she and the dinoflagellates react to each other. Finally, a third use of the system allows the dinoflagellate [pyrocistis] to bio-illuminate according to their own DNA. An algorithm transcribed the organisms DNA into a six-hour audio composition triggering the tank’s system exciting the organisms.					https://www.lisamoren.com/shapeofwater	augmented reality, Bio Art, immersive installation, and water
ISEA2014: 20th International Symposium on Electronic Art	When Mountains Speak
ISEA2023: 28th International Symposium on Electronic Art	Whiteout			Abel Korinsky and Carlo Korinsky	Hacnum Exhibition, Various Locations, May 16 – 21 At the crossroads of symbiosis with nature or extinction, korinsky/seo/kavrakoglu weaves a utopian/dystopian future on an artificial wheat field of lights to examine humanity’s approach to the future. The work visualizes a swaying field in the presence of wind using generative light patterns. The visual aspect develops following the sound. Starting with the sounds of nature, increasingly discordant sounds intersect, amplify and reach the climax of ‘whiteout’ with exploding sound and light. ‘whiteout’ – a state in which the earth and the sky become all white in the polar regions causing loss of sense of direction, could symbolize a confused mental state of mankind facing today’s problems, a state in which humans have been completely wiped out of existence from the earth, or a clean slate for starting over from the beginning through the symbiosis of human and nature. ‘whiteout’ stimulates various sensory connections and deals with the hopes and despair of human existence. Nature, aesthetics, utopia, nostalgia, aversion, fear, death, and dystopia merge imperceptibly, and the audience repeats the journey between fear and relief in ambivalence. Underneath the dark and heavy atmosphere of the work lies the human instinct to long for a better future. In collaboration with Sujin Seo & Orhan “aib” Kavrakoğlu					https://korinsky.com/whiteout
ISEA2023: 28th International Symposium on Electronic Art	Wilderness			David Bowen	Hacnum Exhibition, Various Locations, May 16 – 21 Thirteen disposable plastic shopping bags playfully dance in the gallery space articulated by wave data collected on a voyage across the Pacific Ocean. Data for this installation were collected as artist at sea resident aboard the Schmidt Ocean Institute Research Vessel Falkor as it transited from Astoria, Oregon to Honolulu, Hawaii, July 2019. While in the middle of the enormous ocean, at times, it felt this place was completely untouched by human activities. This delusion was destroyed by the occasional piece of human made debris floating in this vast wilderness. Using an on-board accelerometer, every movement of the ship caused by wave action was collected during the entire journey. The Z movement data is directly mapped to the movements of the bags floating in the gallery space creating the effect that the bags are suspended in waves of the Pacific.					https://www.dwbowen.com/wilderness
ISEA2014: 20th International Symposium on Electronic Art	WindChime: a web-driven audiovisual installation		New York University Abu Dhabi	Peter Beyls and George Legrady	WindChime is a real-time web-driven audio-visual installation interfacing complex dynamical systems: the progression of wind patterns around the globe, a particle system and a non–linear digital audio patch.					https://www.peterbeyls.net/workinstallations.html
ISEA2020: 26th International Symposium on Electronic Art	Wisk			Hannah Claus	The video installation “everlasting” (2016) incorporates imagery of the Everlasting Tree wampum belt and close-up footage of a cluster of white pine needles. On the wampum belt, the purple triangular forms represent the Tree of Peace: the great white pine designated by the Peacemaker, under which the five founding nations of the Haudenosaunee Confederacy buried their weapons. The footage of the white pine in this installation was shot on the mountain of Montreal/Tioh’tiá:ke.				Video Installation	https://www.hannahclaus.net/#/everlasting/	video, video installation, and pine
ISEA2016: 22nd International Symposium on Electronic Art	Wonderland		International Commerce Center (ICC) Tower	Hye Yeon Nam	Space takes on multiple definitions. For me, I understand space as the sum of cultural and social forces that act on me. Through the space, my body feels all changes around me instantly and intimately. When I move from Korea to the United States, my body became a gauge that felt my displacement and recognized not only the conformity inflicted on me in the United States, but it also allowed me to deconstruct the rule from my hometown that I had taken for granted as normal. In my video piece, I attempt to convey the feeling of displacement by acting of walking backward and playing reversely.				Projection Mapping Installation
ISEA2023: 28th International Symposium on Electronic Art	World-Objects (Objets-Monde)			Sabrina Ratté	Focus Québec Exhibition. Forum des Images, May 16 – 21 World-Objects Interactive installation Objets-monde is interested in the traces that humans leave on the environment as well as the way in which these become an intrinsic part of our ecosystem. Abandoned objects, such as cars and computer screens, were captured with the help of photogrammetry to create a video collage composed of extracts from reality. Re-contextualized in disproportionately large proportions within landscapes seen from afar, these objects stand out like the ruins of monumental architecture. The absence of life as well as the luminous atmosphere of the work create a tension between apocalyptic feeling and nostalgia, between precious object and waste, between idealized nature and the indelible presence of human traces. These vestiges of the Anthropocene are deployed within an interactive installation in collaboration with Guillaume Arseneault, and a soundtrack composed by Roger Tellier-Craig. This is the single-channel version of the project. Interactivity: Guillaume Arseneault Soundtrack: Roger Tellier Craig A production by Le FRESNOY – Studio national des arts contemporains (Tourcoing, France).					https://www.elektramontreal.ca/isea-2023-sabrina-ratt%C3%A9
ISEA2020: 26th International Symposium on Electronic Art	Wunderkammer			Allison Moore	Wunderkammer is a multi-screen installation work representing a magical cabinet of curiosity. Strange and wondrous objects appear within the cabinet frame of video screens and are animated alive. A Wunderkammer is a Cabinet of Curiousity and wonder. Beginning in the 16th century, Wunderkammer were a precursor to the modern museum and displayed a random assortment of collected objects ranging from natural history, geology, archeology and cultural artifacts. The objects were organized in wooden cabinets and drawers of various scales. Some collections contain surreal and strange objects that are unknown or unclassifiable. Wunderkammer by Allison Moore, as part of a Call for projects in partnership with the Conseil des arts et des lettres du Québec and the Société de la Place des Arts de Montréal. In response to the recent COVID-19 health regulations and recommendations in Montreal, the ISEA2020 Exhibition at the Maison de la culture Janine-Sutto is cancelled. We invite you to check out Allison Moore’s work online.				35-screen installation work	http://www.allisonmoore.net/home	Collections, installation, Multiscreen, New Media, and Media Art Installations
ISEA2019: 25th International Symposium on Electronic Art	XSICHT		Asia Culture Center (ACC)	Jens Schindel and Timo Dufner	Over several weeks, XSICHT has been trained to match faces and audio. With a training batch of tens of thousands of frames, the AI has learned to construct a human face from any given audio input. What happens when we abstract the input? This is the question, XSICHT tries to answer. Since it is nothing more than a complex concatenation of intertwined non- linear functions that get amplified or dampened, its complexity is often hard to understand, which is why the intrinsic of an AI is called Hidden Layers or a Blackbox. XSICHT doubles the unpredictability by feeding it not the voices it was trained on, but music, leading to unexpected results when confronted with various genres or instruments. Harmonic piano music, for example, more often leads to the recreation of female faces, while bassline-driven techno mostly resembles male speakers. A brief technical overview can be split into data and network architecture. The former is given to XSICHT in form of a 0.2-second-long spectrogram, calculated using the Short Time Fourier Transformation. To enhance the spatial representation of lower frequencies, the spectrogram is logarithmically recalculated to resemble the human sound perception, called a MEL spectrogram. The latter takes this input and convolutes it down to a 1×1 pixel sized latent space from where the information is used to deconvolute the compressed information. This is called a U-shaped architecture or more common an Image- to-Image GAN network, but here it is used without skip connections between the de- and convolution pipe. During learning, the counterpart of this generator, the discriminator, works in a patch-based manner. XSICHT gets input from a live dialog between Synthesizers and acoustic instruments produced by Timo Dufner, a voice or prerecorded sounds that harmonize with the visualization.				Ambient music, artificial intelligence, audio reactive, neural network, interactive installation
ISEA2023: 28th International Symposium on Electronic Art	Yanto		Le Tetris	Shervin Saremi, Iris Qu Xiaoyu, and Marc Lee	Exhibition. Le Tétris, Le Havre, June 14 – 24 Iris Qu Xiaoyu, Marc Lee & Shervin Saremi are ISEA2023 selected artists A digital journey in the ocean to meet marine fauna. YANTO – yaw and not tip over is a speculative piece on the future of aquafarming. The narrative sets in a speculative fish farm 30 years from now, where artificial intelligence and synthetic biology work together to create an optimized environment for farmed species. A simulator powered by artificial intelligence creates hybrid species to balance a delicate ecosystem in this imagined scenario. Given the dire projection on global warming and ocean acidification, humans increasingly look to technology for creative solutions. In Under a White Sky, author Elizabeth Kolbert pointed to “control” as the fundamental false logic of the Anthropocene: “If control is the problem, then, by the logic of the Anthropocene, still more control must be the solution.” As we navigate an increasingly delicate political atmosphere, techno-solutionism dominates conversations about climate change. Artificial intelligence has become the star of the techno-solutionist way of thinking with its promises of creative problem-solving packaged in a “black-box technology”. The technology comes with its own human-imposed biases – what do we optimize, and who do we optimize for? When we try to compute an uncomputable system, whose needs do we consider and prioritize? YANTO looks at some of the technologies we use in aquafarming today and imagines a future where artificial intelligence takes them to an extreme. In Unruly Appetites: Salmon Domestication “All the Way Down” (Lien, 2017), Marianne Elisabeth Lien investigated the delicate dance of balancing an aquafarm ecosystem: to reduce sea lice in a crowded salmon population, fish farmers introduced wrasse as a cleaner species, which in turn requires “artificial kelp” (plastic stripes in this case) to act as a habitat. In introducing the species, humans learn to balance the system for their maximized profit. We already use machine learning technology for species identification in the underwater environments – and it’s not hard to imagine a not-so-distant future where machine learning does the balancing act for us, and “optimize” for human objectives. Each speculative species in the environment has a backstory rooted in real-life scenarios: the shellfish species that would slowly lose their abilities to form shells in an acidified water environment; the tropical species that would lose their vibrant colors in extreme heat; the fish species would lose their sense due to high PH. We imagine a future where technologies like 3D printing, CRISPR, and synthetic biology play a part in modifying species for a higher chance of survival – shellfish with 3D printed parts, tropical fish with artificial fins, species with kelp DNA for lower PH. With an image generative adversarial network – VQGan, we created these hybrid creatures based on their real-life counterparts. Not photoshopped, but rather generated by artificial intelligence based on speculative descriptions and countless images from the internet. Audience Experience and Impact The audience interact with the installation through a mobile interface and navigate through a speculative underwater environment with a smartphone. This virtual environment is endless and can be navigated in every direction. The sonic sound experiences are specially composed for this aquafarming simulation and respond to all movements and navigation modes. In the exhibition space, the display of the smartphone could be projected onto a large wall. Through the point-of-view of an A.I. simulator, the audiences are invited to swim with the engineered/mutated species, and create new simulations to observe the changing ecosystem. When the audience approaches a species, they will have the chance to learn about the species’ backstory. We hope to invite the audience to investigate our tendency to engineer nature and treat ecosystems as a system that can be fixed. Credits Iris Qu Xiaoyu, Marc Lee and Shervin Saremi (sound) https://marclee.io/en/yanto/ https://xiaoyu.ooo/w/yawandnottipover					https://marclee.io/en/yanto/
ISEA2024: 29th International Symposium on Electronic Art	Year Without a Sun		QUT Art Museum	Anna May Kirk	In 1815 Mount Tambora erupted on the Indonesian island of Sumbawa. Dense rock and superheated gases filled the sky, ash fell like snow, and vast quantities of sun-blocking particles circulated the planet, blown by stratospheric winds. By the following year, the Earth had cooled by an average of one degree Celsius sparking extreme weather events across the globe: social breakdown, crop failure, and widespread famine. This period of darkness stretched for three years from 1815–18, and is remembered in Europe as the ‘year without a summer’, but perhaps is better described as the years without a sun. Year Without a Sun looks at the present through the lens of this historical climate crisis. In sculptural glass and film, the past catastrophe, caused by the eruption of Tambora, is reanimated as an eye through which we can view the environmental precarity of the present. Here, black volcanic sand from Tambora has been melted and shaped into a camera lens. Through this lens, Australia’s recently unseasonable wet weather has been documented, mobilising the past to inspect the present. A large volcanic sand glass lens hangs in front of the film, distorting its perception and giving history a form that is both tangible and transparent. Two centuries after the eruption of Tambora, humanity once again finds itself in the midst of a climate crisis – but this time it is a catastrophe of its own making. Where Tambora plunged the global temperature by 1 degree, the 21st century will be defined by its contemporary reversal, forecasting at least 1.5 degrees of warming. Year Without a Sun explores Tambora as a climatic case study, lens, and urgent warning.					https://isea2024.isea-international.org/year-without-a-sun/
ISEA2002: 11th International Symposium on Electronic Art	Yoshihiro Hanno Live Performance Nov 1		Diamond Hall
ISEA2002: 11th International Symposium on Electronic Art	Yosuke Kawamura Solo Exhibition		Towers Plaza Hall	Yosuke Kawamura	The installation of moving images and sounds using several turntables was exhibited at the show. The performance, progressing from the operations of the player, was held at the installation The audience experienced manipulated changes of time axis with their visual and auditory senses.
ISEA2019: 25th International Symposium on Electronic Art	Yöti, The Algortihmic Portrait Artist		Asia Culture Center (ACC)	Jean-Philippe Côté	Yöti is an automated portrait artist that uses salvaged 1980s pen plotters to draw, the likeness of participants using algorithmically-generated squiggly lines, on actual paper. From up close, the portraits look like an abstract collection of linear markings. However, from a distance, the lines clearly reveal Yöti’s interpretation of the visitor’s visage. Yöti can be thought of as a deconstructed photobooth. Just like the good old analog photobooths, Yöti takes a few minutes to draw a portrait. During this time, visitors can witness their face slowly being drawn on paper by the plotters. The installation invites the visitor to reconsider its relation to anticipation and immediateness. This feels particularly relevant in these times of instant gratification through selfies, SnapChat and Instagram. By purposefully using “outdated” technologies, the installation also questions our relation to obsolescence, ephemerality and permanence. Furthermore, it also takes interest in our rapport to the physical world. All participants leave with a physical object: a piece of paper bearing their portrait. Virtual, artificial and augmented realities are all fine but sometimes it just feels good to hold on to an actual, tangible object.				Computer, webcam, plotters, silver pens, black paper, plastic tubing and lighting	https://djip.co/art/yoti
ISEA2002: 11th International Symposium on Electronic Art	Youthful days		Nagoya Citizens' Gallery Yada	Katsuhiro Yamada					silver powder, alkyd resin
ISEA2014: 20th International Symposium on Electronic Art	Z.E-R.O		Zayed University - Dubai	Dara Hussein and Emily Maxwell	Z.E-R.O represents the timescale and development of technology from floppy disks to CDs to iPads. There is a contrast between the LG phone torso, back, the Apple logo and button on the shoulder.
ISEA2022: 27th International Symposium on Electronic Art	ZENZ(A)I		La Capella	Anna Pascó	The sayings of the time represent the cultural heritage of a changing landscape and time, and also exemplify the search for models, for generations, to understand natural phenomena and thus predict the future. Predictions that are based on probability theories, but also on imaginative ability. ZENZ(A)I is a neural network that processes information from the outside world and learns from it. Artificial intelligence creates meteorological sayings from existing meteorological data and sayings, and thus confronts principles such as failure, vagrancy, and open, untargeted discovery. The project addresses issues related to the configuration and functioning of common sense and the senses of artificial intelligence involved in the perception and understanding of reality.					http://www.zenz-ai.net/
ISEA2018: 24th International Symposium on Electronic Art	zim.doc		BAT Centre	Rabia Williams, Tsitsi Dangarembga, and Maíra Sala	ZIM.DOC is a cross-platform documentary project that consists of an interactive web-documentary and a real-space exhibition. The project is born from the collaboration of women filmmakers, programmers, painters, and graphic artists. The zim.doc celebrates the creative exploration of the documentary form, collaborative filmmaking and provides a unique vision of Zimbabwe’s past and present through the eyes of women. The interactive web-documentary unfolds in chapters with two story worlds; the Surface Layer set in the present and the Inner Layer set in the past; and an interactive interview archive called The Interview Mosaic. The Surface Layer narrative traces the journey of this group of women as they embark in an experimental documentary project, revealing aspects of their lives and a personal vision of contemporary Zimbabwe. It is the collective process that is the catalyst of this story: we start in the present, trying to march forward and yet we often find interrelated circumstances that complicate our journey. In intimate interviews, found in the Interview Mosaic, authors/protagonists explore these subjects and reveal thoughts about their process. And in the Inner Layer story world the artists offer a poetic interpretation of Zimbabwe’s past – keys to understanding the present.			With the support of: Common Wealth / Prince Claus Conflict and Culture, Panasonic, Beachtek Canada, Ljudmila Art and Science Laboratory and Kuda Meza Artist Asylum, i_doc Vision du Reél.	Cross-platform, new media – interactive webdocumentary	http://talatala.net/nuevo/portfolio-items/zim-doc/?portfolioID=4750
ISEA2022: 27th International Symposium on Electronic Art	Zone #1, installation/performance for a percussion player, electronics and video – Collaboration as Creation	2022 Overview: Concerts & Performances:	CCCB: Centre de Cultura Contemporània de Barcelona		Collaboration is a common practice in different artistic fields during the creative process of the work, and a several artistic formats could emerge from a collaboration. There are several examples that we can find and mention in the history of art, and the existing reports of the collaborative processes have in common the exposure of the mutual contributions, not only for the creation of the proposed work, but for the advancement of the art itself, and the each one involved in the process. The composer’s creativity can be amplified by a dialogue and interaction with the performer, which had impact in the creative process, the interpretation of the work, and even in the sound result represented in the perception of the work by the audience. A process of close collaboration between performer and composer in creation allows constantly triggering different paths of knowledge and discovery, transcending limits in the way of playing and composing, mutually enriching the two positions involved. The starting point of the compositional process of Zone#1 was the idea that this piece/installation should enable the performer to have absolute real-time control of whole musical and visual discourse, musical timing and elements, thus creating a composed-improvisation environment in which the audiovisual content is defined by the composer (both on score, sound design and Max programming), but the timing and narrative choices are taken by the performer. To achieve this level of controlled freedom, a detailed electronic setup was created to serve an ideal improvisation situation, where the audiovisual material is pre-organized and programmed into a hybrid acoustic/digital setup, that provides a user-friendly system to react and interact to the artistic choices of the performer, within a set of rules defined by the score. This work was driven through a close process of collaborative work by composer and performer.
ISEA2020: 26th International Symposium on Electronic Art	Zone of Inhibition			Louise Mackenzie	Zone of Inhibition suggests a reconsideration of our relationship to microbial bodies, particularly in the context of laboratory practices. It is a short film based on activities that took place during the first artist-led genetic modification workshop in Scotland, created by artist Louise Mackenzie in collaboration with Dr Ana Topf and Dr Stephanie Carr of the Institute of Genetic Medicine, Newcastle, UK and ASCUS Art and Science, Edinburgh, UK in 2017. In the workshop, Mackenzie brought her personal engagement with micro-organisms in a laboratory to a public forum, sharing a vital materialist approach to our relationship to the microbial other through imaginative and anthropomorphic interaction. Zone of Inhibition explores a speculative space of encounter between micro-organisms and humans. The title of the film refers to the threshold space in which microbial growth is inhibited as a result of antibiotics – a space in which microbes encounter humanity’s resistance to them as other. Using darkness as a cover of anonymity, Mackenzie facilitates a dialogue between the speculative kin of microbes and those who have genetically modified them.				Short film	https://www.loumackenzie.com/zone-of-inhibition	Film, Experimental Film, and Micro-organisms
ISEA2013: 19th International Symposium on Electronic Art	Zydnei	2013 Overview: Public Events		Troy Innocent	Presented by dLuxMediaArts and ISEA2013. Join this street game that explores colonisation as an ongoing process via urban codes and language. Choose one of the three warring factions in a battle to revert, renew or remake the city. Traces of recolonisation have emerged, pointing to a future city named ‘Zydnei’. This is the work of one of the most pervasive forces since the first invasion in 1788. Will you join the invaders? Or will you fight? The second wave is coming. Be prepared. Know your city. zydnei.net/index.php facebook.com/zydnei
ISEA2002: 11th International Symposium on Electronic Art	[Kingdom of Piracy]		Warehouses 4 & 20 on the Garden Pier in the port of Nagoya	Shu Lea Cheang, Armin Medosch, and Yukiko Shikata	Consisted of 13 online art works and 3 writing projects, raises the intellectual property issue in digital-based society from the global and local point of view.
ISEA2017: 23rd International Symposium on Electronic Art	_nybble_		Centro Cultural Universitario Rogelio Salmona - Segundo Piso	Alex Augier	_nybble_ is an audiovisual, formal and spatial performance which aesthetics fluctuates between « digital minimalism and organicity ». Two poles of a same continuum. The formal fluctuation is made by a generative visual where various forces impose, to a particle system, both natural movements and more or less complex geometric movements. The modular synthesizer replaces the musician in the heart of the proposal and brings the musical fluctuation desired by the project. The stage design allows the audiovisual medium to deploy in space via a specific structure composed with 4 transparent screens and 4 points of sound diffusion. It offers to the public a quadriphonic and quadriscopic image for a total synaesthetic experience. _nybble_ is coproduced by Arcadi (Paris, FR), Stereolux (Nantes, FR), Alex Augier Studio (Paris, FR) and supported by La muse en circuit (Alfortville, FR)					https://www.alexaugier.com/_nybble_/
ISEA2016: 22nd International Symposium on Electronic Art	‘A Letter to Mo’ and ‘She Said Why Me’			May Fung	Fung’s works straddle the personal and the public, tackling diverse issues that range from gender politics to Hong Kong’s and Asia’s cultural and political landscape. “No References” juxtaposes an early 1995 work with a recent creation from 2016: A Letter to Mo (1995) features poignant documentary scenes of Chinese boatmen battling Chang Jiang tides, while She Said Why Me (2016) is a hypnotic montage of the artist herself performing strange Taichi-like movements against backdrops of contemporary Hong Kong. Her artist statement reads: “She does not run amok in the city anymore. This was once her city, but now it is no longer hers. Did the city desert her, or did she reject it instead? She is not moving now, staying put, using her hands and body to push herself away.” [source: artradarjournal.com/2016/07/06/no-references-9-hong-kong-video-and-new-media-artists-part-1/]
ISEA2016: 22nd International Symposium on Electronic Art	‘ngo5’and ‘Can Fish See The Same Face Twice’			Man-yu Mo	Two of Mo’s works hailing from the early 1990s grace the exhibition: ngo5 (1993) is a disorienting yet mesmerising short film that combines footage of impromptu performances shot in various locations (Mai Po Marshes in Hong Kong, New York City and San Francisco); while Can Fish See The Same Face Twice (1992) is an introspective, reflexive yet somewhat playful meditation on the nature of performance and spectatorship. A 1994 magazine review of these two pieces, quoted by the exhibition booklet, reads: That the significance of the idiosyncratic imagery contained in the film is obscure and evidently highly personal does not detract from its poetic resonance. On the contrary, it is the evocation of such an esoteric quality that the film shares with much narrative avant garde cinema, carrying the viewer into its universe and demanding a reflexive and necessarily subjective response. [source: artradarjournal.com/2016/07/06/no-references-9-hong-kong-video-and-new-media-artists-part-1/]
ISEA2018: 24th International Symposium on Electronic Art	“What is the Internet for You?” Pt. 1		KZNSA	Lorenz Potthast	In this participative digital art installation Lorenz Potthast (Xenorama) and the PS2 Subproject “Express Yourself/ City” at KZNSA Gallery broached the internet based connectivity between Africa and Europe and in particular the one deep sea internet cable that connects the two sister cities Durban and Bremen and what it means for people. People could send an email and the different opinions became part of a projection on the front of the gallery. A second part of “What is the Internet for You” took place at uShaka Beach as a cooperation between Potthast, “Express Yourself/City” and the “uShaka Marine World” and the seaside at Durban Point. A digital stream of particles was projected on the sand to symbolize the online data send through the deep sea cable constantly. Cables like the one between Bremen and Durban reach a coast deeply buried under the sand. The installation made visible that the simple communication that is enabled by the internet is connected to gigantic infrastructure that most people do not think about.			Supported by M2C Institute, Partnerschaft Bremen-Durban e.V., Creative Europe Programme of EU.	Participative Projection Mapping	http://9483km-843ms.net/isea2018/
ISEA2018: 24th International Symposium on Electronic Art	“What is the Internet for You?” Pt. 2		Ushaka Aquarium and Beach	Lorenz Potthast	“What is the Internet for You” is a two-part participative installation. The second part took place at uShaka Beach as a cooperation between Potthast, “Express Yourself/City” and the “uShaka Marine World” and the seaside at Durban Point. A digital stream of particles was projected on the sand to symbolize the online data send through the deep sea cable constantly. Cables like the one between Bremen and Durban reach a coast deeply buried under the sand. The installation made visible that the simple communication that is enabled by the internet is connected to gigantic infrastructure that most people do not think about. The first part consists of a participative digital art installation by Lorenz Potthast (Xenorama) in collaboration with the PS2 Subproject “Express Yourself/ City” at KZNSA Gallery. It broached the internet based connectivity between Africa and Europe and in particular the one deep sea internet cable that connects the two sister cities Durban and Bremen and what it means for people. People could send an email and the different opinions became part of a projection on the front of the gallery.			Supported by M2C Institute, Partnerschaft Bremen-Durban e.V., Creative Europe Programme of EU.	Installation Projection Mapping	http://9483km-843ms.net/isea2018/
ISEA2022: 27th International Symposium on Electronic Art	ゴジラ/ɡɒdˈzɪlə/		Santa Mònica		On March 1, 1954, Daigo Fukuryū Maru (Lucky Dragon Five), a Japanese fishing boat, was contaminated by nuclear fallout as a result of the United States’ thermonuclear test, Castle Bravo, in Bikini Atoll. The first ゴジラ movie was released in November 1954, as a direct response to this incident as well as the bombings of Hiroshima and Nagasaki. The kaiju (monsters) are a metaphor for nuclear weapons, the American militarization of the Pacific, and environmental disaster. In total, 29 Japanese films were made by Toho Co., Ltd. ゴジラ/ɡɒdˈzɪlə/ (2020) is a 96-minute single-channel video with sound that layers all 29 films simultaneously, but with all scenes involving monsters and humans removed. This erasure mirrors the United States’ policies and actions as a settler and colonial nation, leaving a wake of destruction in its path. The transparencies reflecting the half-life of radioactive isotopes as well as the trauma of America’s nuclear legacy. We are the monsters and the monsters are us. Video: https://vimeo.com/719209357/9c1a82e4ef				video
ISEA2017: 23rd International Symposium on Electronic Art	Bed of Oblivion	2017 Overview: Art Exhibitions		Alejandro Jimenez Londoño and Liliana Maria Vergara Zambrano	An extensive visual experimentation and new languages that relate to different technologies from basic informatics have marked XXI Century. This new media meets with multiple visual representations that generate effects and changes in the image’s symbolic construction so that education and communication models art transformed. Digital art as a new expression media, where digital image has turned, within these few decades, in the new iconographic form. It has allowed technical procedures such as Video Mapping exploration to boom and constantly evolve in diverse contexts both graphic and audiovisual, yielding relevant changes in space and image perception, technique and interactivity, therefore promoting a progressive digital culture. Our core topic is established as Video Mapping approximation applied to Three-dimensional objects and his relation with contemporary artistic creation. The purpose for this investigation is to find out how Contemporary Visual Arts apply media and digital resources to create artistic experiences, referring to public art, ephemeral art, spectacle art, as categories to be analyze, as well as reflection on the space concept and the importance of the viewer as an active figure. Simultaneously, its questions on how these artistic experiences are created from Video Mapping as a technological resource and its actual application in the artistic local scene.				INSTALLATION
ISEA2012: 18th International Symposium on Electronic Art	ISEA2012 Residencies and special projects	2012 Overview: Residencies and Special Projects			ISEA2012 includes a series of residencies and special projects hosted by partnering organizations around New Mexico and the region. These include artist-scientist residencies, site projects, artworks, performances, and presentations, with schools, arts organizations, environmental organizations, and the scientific and technological communities. Many of these projects feature a gallery component as part of the main ISEA2012 exhibition. Residencies and special projects were selected through a call for proposals by the international jury and the project host organizations.
ISEA97: Eighth International Symposium on Electronic Art	Mediated Encounters, a fish-controlled robotic installation	1997 Overview: Art F[x] (in-conjunction exhibition)	Chicago Cultural Center	Kenneth Edmund Rinaldo
ISEA2011: 17th International Symposium on Electronic Art	Travelogue		Cumhuriyet Art Gallery		Investigating the ‘enigma’ of artificial life through the creation of a generative world and documentary recorded by an artificial filmmaker. We unpack the human endeavor; life as it is and life as it can be.
ISEA2006: 13th International Symposium on Electronic Art	Untitled VJ Performance		Club Glo						VJ Performance
ISEA2006: 13th International Symposium on Electronic Art	Video		Club Glo		Cenk Ergün will be playing on a video by Kendra Juul.