Art Events Data Table

63471 is the number of the copyright Yves Klein received for his IKB formula, a vivid blue color that keeps its intensity in powder form. In Blue/63471, Dogruel uses IKB as a starting point to question the concept of intellectual property and ownership of ideas. Copyright laws, patents and trademarks are there to protect the rights of creators and their ideas and processes. However, the same laws that protect these ideas simultaneously interrupt their integration back into dialogue and communal culture, interfering with the cycle of remix and re-appropriation. More and more abstract ideas, forms and colors are treated as immutable products, rather than building blocks and components.

Poetic Ai is the world’s biggest AI exhibition which will last for 6 months. It uses 50K pixels and in total 136 projectors. Since its opening, Poetic Ai has experienced 1 million visitors in 7 months. In essence, by using ML and AI algorithms, we created a scientific Poetic Refraction of AI which was meant to learn from millions of lines of theory, articles and books about light, physics, space-time that is written by scientists who change the destiny of the world and write history.
Audio/Direction/Design/Animation: Ouchhh (ouchhh.tv)
Sound Design: AudioFil

General Event statement

Book Launch

Academic Editors: Alejandro Duque and Andrés Burbano.
Translator: Mauricio González R.
Publishing House: Universidad de Caldas.
Participants: Felipe César Londoño, Liliana Villescas, Jens Hauser and Andrés Burbano.

Friedrich Kittler is, in the opinion of many scholars, the founder of media studies and one of the most influential thinkers of the philosophy of technology and literary criticism. Schools of thought such as Archeology of the Media and the Digital Humanities have expressed a debt with the thought of this author, who has gone unnoticed in the academic circles of Spanish speakers. This volume offers what is probably Kittler’s first translation into Spanish, filling a significant gap in our humanities and media sciences.
The reader will find in this book a selection of texts that show the intellectual development of a
thinker, as well as the diversity of topics and ways of addressing the technological issues of the present in their historical dimension, revealing paths and horizons for research that surprise us by Its validity and current affairs.

Liminoid Bloom*s is a system of synergetic and interactive relationships among the environment, users of the gallery space, and programmed performances. Artificial ecology mechanisms mediate the space between the gallery and the environment of Albuquerque. These plant like machines allow users of the gallery to experience the registering of atmospheric conditions present while simultaneously being able to affect the pieces themselves.

Rhizome Prism #2 is an interactive sculpture that uses sound, colour, animation, the moving image, interactivity and light to explore themes of multiplicity. The freestanding hybrid “electrosculptural” assemblage resembles a series of stacked prisms.

Baby Come Home prompts a reflection on the multiple meanings of research in the digital age—whether informative, identity-based or memorial—and the phenomena of disappearance and blurring that accompany it. An eight-minute video piece, the artwork depicts a mother’s search for her radicalized son through discontinuous text-based conversations superimposed onto online search results. This quest is scripted and displayed on a computer desktop and is complemented by a minimalist soundtrack dominated by the flickering of computer keys and the sound of incoming and outgoing messages.

Foundland Collective created this video for an exhibition in homage to Russian artist Olia Lialina’s pioneering work My Boyfriend Came Back from the War (MBCBFTW). This work, created in 1996, recounts the troubled thoughts and feelings of a woman whose soldier boyfriend has returned from the front. The form shows the erosion of dialogue and mutual understanding through the atomization of the interface. The adaptation that is Baby Come Home updates its purpose and form while remaining faithful to its approach.

Austin-based artist Francesca Samsel will work in tandem with UTEP scientist Craig Tweedie and College of Engineering’s Cyber-ShARE Center technical staff to interpret into digital, visual form the data collected and analyzed from Dr. Tweedie’s environmental science research, which examines the cascading effects of regional climate change in extreme environments through the interconnected physical, biological, and human subsystems. Samsel’s artwork is created specilically for the 45-monitor visualization wall at the Cyber-ShARE Center, unveiled at Shifting Sands, UTEP’s preconference symposium.

Croix is a new audio and visual performance by french sound explorer Franck Vigroux. Vigroux’s multifaceted and challenging body of work sits at the crossroads of electroacoustics, noise, and industrial music. With is analog and digital instruments, Vigroux’s music is made of pure and distorted drones, polyphonic noises and harsh industrial rhythms.

Croix’s generative video has been created by artist Antoine Schmitt. The visuals of Croix are centered around the figure of the Kasimir Malevitch’s cross, symbol of the artistic consciousness.

The figure itself is constituted of thousands of individual pixels, which explode in space according to the levels of energy of the audio. In silence, they reform the cross. The generative system is connected to the live music during the performance. It provides a quasi-literal visualization of the dynamics of the music all the while being the fixed point around which it revolves.

The Manœuvres video series is part of a body of works that François Quevillon has been developing since 2016 based on observing the development of autonomous cars and dash cam compilations. On one hand, several technical, economical, moral and ethical issues are raised by vehicles that maneuver without human intervention. On the other, dash cam videos display accidents or spectacular events that portray roads as places where the unexpected occurs. The works play with the tension that arises when confronting mobile robotics systems with the unpredictable nature of the world.
The Manœuvres series consists of six short videos. Perception is blurred as the camera and its microphone are gradually obstructed by snow in Peripheral Vision. The Iterative Roundabout shows a deep neural network training to decode its surroundings while driving around. The environment slowly reveals itself during this repetitive learning process as the computer vision system tries to identify correctly the road covered with snow. An object detection algorithm identifies and tracks insects while the vehicle is immobilized in Bug Tracker. Lost in the Forest revisits a 4 and a half hours journey in maze of muddy forest roads. In The Crossing, registration points and displacement vectors calculate the future position of objects while a vehicle crosses a bridge. The same optical flow technique gives the impression that the car is contemplating the waves breaking on the shore in Flow.

(dis)integration plays with stability and instability, density and scattering, unification and fragmentation, tranquility and disruption, anticipation and surprise, integration and disintegration. The work is based on recordings of percussion instruments, and is manipulated using a variety of granular, transpositional, time stretching and time compression techniques in order to disintegrate the source material into fragments and to re-integrate the fragments into new textures. The structural elements are shaped in ways that both set up and challenge a sense of anticipation and order through disruption and surprise.

Future in Progress is a performance that emerges from a new spatial perspective in which the artists seek to transport audiences into a real time imaginarium. This imaginarium operates on inputs from the physical world and aims to explore the relation between the real world and the imaginative realm.

MÆ-Motion Aftereffect is a sixty-minute performance work that addresses the impact of emerging consumer technologies associated with AR, VR, and 360° video. In the final scene, a live video feed is manipulated through the game development software ‘Unity’ which generates an accidental effect that freezes video frames and continuously prints new frames atop the previous. As a result, movement onstage creates live painted trails. This visual effect references Brody Condon’s 1999 modified video game work ‘Adam Killer’ as well as a common Windows XP system error that generates the same painting effect using the computer’s search windows and cursors as a paintbrush. This scene features a sound score created by Emma Hendrix.

In a time of mediated distance, what is lost alongside our kinesthetic sensibility? Can we retrieve the knowledge borne by our bodies and made manifest in movement? If all knowledge is rooted in animate forms, then the relevance of these questions has renewed salience in a world of limited physical human contact. This work re-presents the movement of a diverse range of dance artists inside a navigable virtual environment. Through exploration and interaction, visitors are invited to reflect on the vitality of this archive of embodied knowledge and perhaps rediscover a way back to their flesh-bound homes.

Humans are always interacting with the environment in the direct and not- direct ways. We have affected many organisms by engineering ecosystems to suit human comfort. Invisible microorganisms play significant roles in the recycling organic and non-organic materials particularly in the decomposition of natural wastes. Microbiota is the community of microbes inhabiting our body and helps us in improving health and preventing diseases. The piece “Generative Membrane” materialize this abstract concept of human interacting with microbes. The structure created by digital bacteria generated from bio-inspired algorithm to cover the sculpture is realized by implementing sensors in the textile object, which reacts to touch, moisture, heat and triggers by means of its shape mapped projections and amalgamated sounds.

In 1996, when former South African President Thabo Mbeki stated “Half of humanity has not yet made a phone call,” mobile technologies were not the ubiquitous devices they are today. In his investigation of the origin of this often-stated truism, media writer Clay Shirky found the penetration of wireless technologies into the locations Mbeki was likely referring to had increased exponentially over the last two decades. “Between 1995 and 2000, the world’s population rose by about 8%. Meanwhile, the number of land lines rose by 50%, and the number of cellular subscribers by over 1000%.” Shirky’s argument was a means to argue for the erosion of the digital divide. Paradoxically, a fresh divide has evolved, one where humans are increasingly separated from each other’s real selves. Phone Safe 2 is a project by Garnet Hertz that is a custom-built safety deposit box for individuals to voluntarily deposit mobile phones for a short period of time in public space. Once deposited, phones cannot be retrieved until the predetermined time. This project opposes the concept that pervasive computing and mobile communication is good in all circumstances, disrupts the standard flow and use of communication technologies, and strives to help people create an environment for face-to-face interaction.

Locus is a news archive visualisation that maps Guardian News articles to places over time – a spatial & temporal mapping of events and media attention in the last decade. Locus is one of the most recent visualisations to come out of DataArt –a collaboration between BBC Learning and the Centre for Research in Education, Art and Media, at the University of Westminster. Tom Corby is the project Research Fellow and the deputy Director of CREAM. DataArt is funded by the UK Arts and Humanities Research Council (AHRC).

Southern Ocean Studies is a collaborative project with the British Antarctic Survey to explore how climate data and models can be used to develop different ways of representing environmental change. Baily, Corby and Mackenzie have been working together for over 10 years, through an art practice that explores environmental and social issues. Their fine art research practices has been supported by the British Council, Arts Council England, the Arts and Humanities Research Council and the Wellcome Trust.

The piece fuses together both the technological world and the natural world in order to try and feed all the human senses. The work is an installation which consists of a single bed placed in the freight container surrounded and covered by natural substances such as leaves, petals and strips of the earths surface. Within this bed there is a ‘rabbit hole’.

The crickets in Suzumushi have abandoned audible communications, instead their radio frequency calls spread like memes through the swarm, appearing as text displayed on LED screen within each cricket. Kuuki is an art, design, and media production collective directed by Gavin Sade and Priscilla Bracks. Priscilla and Gavin have been working collaboratively
since 2005. Their interactive media works have been exhibited in Australia and internationallyWork produced by Kuuki explores contemporary life, interpersonal relationships, and humanity’s relationship with the environment and other non-human species.  This work arises from ‘post-environmental’ politics in that it considers the cultural and anthropocentric construction of nature that inhibits our ability to develop deeper relationships with ‘nature’ and take meaningful steps towards protecting it.

A picture of a future in subdued chaos and explosive color; weaving 3D and videogame graphics, photography, film, sound, sculpture – abusing contemporary culture’s literacy of highly hybridised media communication.

GeoObs is a mixed media installation which observe the relations of three layers, Device, Image and Data, to build a dialogue to define the blurred definition of the privacy in the actual system of the visual representation in the global net. The installation explore the joints, cracks and displacements the contemporary context of the global net, confronting models and complex systems to build alliterations and iterations through visuals strategies like site specific action, social and geopolitical relations, as also territorial gestures to relieve the concepts of invisibility, transparency, tracking and trace.

Theta Lab will host a special 4-hour workshop for ISEA2013 delegates. Methods and strategies used in the project will be discussed, together with an opportunity for participants to get some hands-on experience with the tools and mapping processes at the heart of the work. Theta Lab is an experimental art research project combining neurofeedback with participatory art, electronic music and ‘slow design’ to explore and document qualities of attention and subjectivity facilitated by Alpha/Theta brainwave biofeedback. Electronic soundscapes modulated by changes in Theta and Alpha brainwave amplitude will assist participants to voluntarily shift their mental activity to a state of deep, hypnogogic stillness, a state of consciousness between wakefulness and dreaming. The aim of the project is to explore new contexts for aesthetic interactions, and to document the range of experiences afforded by this unusual form of human-computer interaction.

Theta Lab will host four four-hour participatory evening ‘performances’ for both ISEA2013 delegates and the general public (aged 18+). Volunteers are invited to participate in this research by interacting with Theta brainwave controlled soundscapes. During these ‘performances’, audiences will be able to observe up to 3 participants at a time. Each participant is expected to commit a total of 80 minutes to the project: a 10 minute EEG sensor fitting and tuning; a 10 minute how-to EEG induction session; a 30 minute neurofeedback interaction; and a 30 minute debriefing interview, in which they will share some details of their experience and impressions. For volunteer EOI and details of the recruitment process go to georgekhut.com from late April.

Topographic Table is an uneasy piece of furniture, which disrupts notions of art and its behavior in the gallery. The CNC-routered plies of the thick
plywood tabletop recreate the contours of the massive mountains north of Vancouver — an area due for a catastrophic seismic event. This uncomfortable surface is also emotionally on edge: Internet-connected electronics embedded in the frame shake the table in response to local vibration sensor input and Twitter news about earthquakes in the Vancouver and Pacific Northwest area. Equating physical events and online chatter,
the piece suggests some interpenetration of the two sensing systems. The represented region is an earthquake-rich zone due to its proximity to the Juan de Fuca subduction fault off of Vancouver Island. Germaine Koh’s Topographic Table physically replicates the emotional state of the province as it nervously awaits a megathrust quake. Koh’s miniature landscape, with its equally-diminished quavering condition, collapses geologic and dialogic events to enchanting effect. Like children, we are mesmerized by the miniature world we are able to contemplate from the safety of the gallery. Like many a prophetic newscast, Topographic Table disrupts our sense of comfort with the majestic mountainous Vancouver skyline, although it succeeds in doing so through aesthetic seduction rather than fear.

CNC machining: Emily Carr University of Art + Design, metal fabrication:Alan Waldron / Infi nite FX, 3D modelling: Hamza Vora, programming: Gordon Hicks

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Disruption Symphony describes human relationships with technology, in which there is anxiety and apprehension.

I am exhibiting one of my acid machines at the IMOCA in Dublin for reFunct 2009, I will also do a small talk and concert.

Rupture and continuities of rhythm and tone are the two root principles of Cadences. Sound objects interrupt the development of rhythmic sequences that start again a little further on. These interruptions leave residue in the form of sound objects whose behavior is determined algorithmically. These residues are then used in the musical structure of the piece. The objects, sometimes tonal, form themselves when the melodic motifs attract our attention and which are then, in turn, interrupted by rhythmic sequences. These disruptions emerge from a certain auditory comfort and require us to refocus our attention on emergent sequences.

It is September 2017. Henri Laborde, President of the French Republic, arrives at the Hôtel Carlton. Personalities from the worlds of sport and politics are meeting there to decide which city will host the next Summer Olympics. In the hotel’s plush corridors, delegates and officials confer, make promises and secretly speculate. The choice of Olympic city will greatly affect the futures of Paris and Mumbai, the only two contenders left in the running, but it will also impact on other issues that are seemingly unrelated to the Games. Surrounded by his advisors, Henri Laborde enters the spacious lift. Who should he see? What arguments can he use to convince the people whose opinion will make a difference? The countdown has begun… Then his telephone vibrates. His daughter is calling. So should he answer or not? The choice is yours: You are France’s head of state! And what if this first, apparently trivial decision could literally change history? For once in the world of politics, it is you who decides! You are the President of the French Republic. In this ‘story where you are the hero’, you will have to negotiate expertly to make sure that the next Olympic Games are awarded to Paris. You must deal with attempts at corruption and machinations of every kind: the future of France is in your hands.

Dimensions was created and performed using Plogue Bidule software and various VST plugins. The plugins were assigned and controlled by midi keyboard and midi controllers. All the elements are played live and engage with improvisation, granules, noise and the computer as instrument. Relationships are formed between composed, live playing, improv, and generative software. Similarly, connections are made between vintage electroacoustic, digital noise and a soft touch.

In a world increasingly threatened by erosion of civil rights, environmental destruction and economic disparity, PIXELDUST presents a visual/aural display of hope, faith and resoluteness through short autobiographical texts and visual portraits from inspirational figures in world history. Participants approach a shrine/altar that triggers a visual dust storm of pixels that rise from the bottom of the screen. While the ‘pixeldust’ swirls, an autobiographical statement is heard/displayed from an unknown person, taken from a position of hopelessness, despair or fear expressed in that person’s life. As the voice/text ends, the pixels assemble and reveal the person’s identity, easily recognizable figures who clearly overcame their weaknesses and made substantial contributions to our world. PIXELDUST is designed to be an “engine” built to accept public contributions of inspirational figures from all points of the world. It is designed to be a public display resource to console and give hope to people around the world who fight for peace and social justice.

Data leaks… The undead data haunts us and our need to forget. Servers are wiped, books burned, stories re-told. Time and politics are effectively effaced through systematic re-writing of history. The site of execution is politicised. Between grammatisation in corporate servers, systematic surveillance and data persistence, the archive fever is growing strong. The materiality of data traps us by eluding us. We forget that erasure is an important part of archiving. Memory is a dynamic process of constant execution and erasure, happening in transmission. Goodnight Sweetheart is a gesture to the site of execution. Through the visceral procedure of data embalming, the ‘undead media’ is symbolically exorcised by its mummification. In light of the prospering business in the field of digital undertakers in Korea, reflecting a growing concern with the “right to be forgotten”, this project addresses the politics of erasure through a series of ‘digital data funerals’.

The Googled Sculpture Series explores this concept of crowdsourced object presence by examining the three most popularly searched sculptures in western art history. Using only tourist photos culled from Google image search results for “Venus de Milo”, “Michelangelo David” and “Rodin Thinker”, flawed and incomplete likenesses are stitched together in photogrammetry software, rendered and 3D printed. The resulting jagged and mottled figure is a physical manifestation of web presence. Areas of high and low resolution speak to the focal points and perspectives frequently captured by visitors to icons of western sculpture.

For this piece, the artist turns the Downtown Eastside of Vancouver into his own private basketball court. Appropriating the discourse of sports, Winiemko examines the cultural ethos of “winner takes all” that fuels gentrifi cation and income inequality. Absorbed in his own private game and in disregard of the social contract, Winiemko frames gentrification as a disruption of the neighborhood. Invoking the division of the social sphere, the artist applies oppositional lines of our team/their team, oppressor/oppressed, hero/douchebag.

Ring Buffer explores databending by modelling sound in three dimensions. Sounds are sculpted in 3D modelling software using procedural algorithms and then converted to sound using image to audio mapping, which are then displayed using a spectrograph. By using gestural rhythmic structures with a heavy emphasis on textures and dynamics, the performance takes the audience through an imagined geography, exploring multiple perspectives of alien shapes and soundscapes. By creating the sounds first as visual objects and then manipulating them as sounds in order to display them as visuals again, the project aims to bring the audience into the fabric of the data, to explore it from an inside perspective. Ring Buffer was presented as a world première at MUTEK.ES in Barcelona in March 2015 and was also featured at the Digital Québec showcase in London the same month, as well as at MUTEK 2015 in Montréal.

This selection of new animations highlights both manual and digital modes of production as well as hybrid forms. The films cover a variety of themes and subjects, from examining contemporary issues of international deforestation to fantastical visions of our futures on other planets.

Domestic Plant is an augmented living plant that moves and reacts to human contact by sonorous expressions. It has the capacity to interact with its environment, to sense physical dimensions, and to feel touch by living beings. Domestic Plant is a kind of cyborg possessing a robotic system. It artificially reacts like a wild animal in captivity.

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Escapism I, II & III (Version) is a fixed audio reduction of the audiovisual installation triptych Escapism. The piece explores the concept of escapism through a palimpsest of memory across three variations of a small collection of field recordings and instrumental performances.

Since 2005, Silicon Valley’s largest corporations have operated private commuter shuttles between their corporate campuses and San Francisco. In recent years, these so-called “Google buses” have become prominent symbols in the debates surrounding housing displacement, privatization of city services, and the economics of the tech sector. Staged in the spring of 2014, Harris David Harris’s d0ntb33vil is a tactical media intervention that mimics the network names and passwords of the buses in order to temporarily disrupt the daily activities of riders. The work attempts to highlight the particularity of each city space and to gesture toward the consequences of replacing public, embodied environments with privatized virtual worlds.

Harrod Blank had a dream in which he covered his car with cameras and then drove around and took pictures of people on the streets. This dream inspired him to build such a vehicle in reality. The van features digital monitors in the back windows showing images taken by the van around the world (Germany, Canada, US and the UK). Bank’s unique combination of engineering, technology and art exemplify how STEM + Art creations can inspire youth and the young at heart, showing us that by combining technical skills with wild imagination, anything is possible.

Hasard pendulaire # (pendulum random) is a series of sound and sculptural installations, made in harmony with the exhibition space. They are composed of a pendulum that oscillates above a spatial partition. Performative, these installations/ instruments are activated by a launcher, the interpreter who define the course of things with a simple unconscious gesture. Indeed, when thrown, the pendulum strikes, throughout its race, the sculpture thus producing specific rhythmics of acoustic sound corresponding to used materials. In addition, these percussive sounds are captured and processed directly by a computer which generates, in the same listening space, an artificial second sound content. Tuning and detuning sounds with swings of the clock, these installations question the elasticity of the spacetime through a generative writing. They also interrogate the links between spatial and musical; between matter and sound. On an arbitrary and anecdotal action results in a unique visual and sound composition, with indefinite durations, that will play of the expectations of the viewer.

This project explores the rapid rise and development in the world. I constructed multiple sandcastles at the beach. In the act of making one sandcastle after the other, I engaged with the environment as well as the manmade world. The dream is to make one’s own castle, although, once achieved, it may not result in what one hopes for.

Finding Prana is a bio-art work that employs the yogic concept of prana (breath or life-force) and the practice of pranayama (regulation of breath) to bring awareness to our co-existence in air and breathing as our technology of being. Yoga practitioners make extraordinary claims concerning the value of the conscious observation and control of breath. Breathing here, is not just a gross bodily function segregated away from the mind and soul; breathing is our material of time and the producer of consciousness. In collaboration with Dr Philippa Jackson at Northumbria University’s Brain, Performance, and Nutrition Research Centre (BPNRC) this interdisciplinary bio-art work employs the neuroimaging technology fNIRS (Near Infrared Spectroscopy) to take real-time brain-state data during a live pranayama performance. fNIRS is recording the changing levels of oxygenated and deoxygenated hemoglobin levels in each hemisphere of the brain. The data is sonified, turned to vibrations in air, in real-time, creating a re-appropriated system for sound creation controlled by the practitioners moving and suspended breath. This bio-art performance acts to elicit an Irigarian remembering of our most essential element in the search for consciousness, unity and peace that is thought to be found in the practices and imaginaire of prana.

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

How do we trust each other online? Do you need to see my eyes? Or do we need to touch? How do we trust as networking bodies? Artists research social systems in a mediated society. They design hybrid ‘meeting places’; social sculptures in city public spaces, functioning as artistic ‘social labs.’ The audience in ‘meeting place’ is invited to experiment and play with social technologies; reflecting on their perception of the smart city, and their experience of body, presence, identity and community.
Tele_Trust networked performance-installation takes place in dynamic city semi-public spaces, researching new parameters for online presence, trust and privacy. Interactive and wearable DataVeil is a tangible body interface for scanning online trust. In an ongoing process, user generated content is continuously added to the Tele_Trust database. Stories from different cities weave together into an exchanging narrative.

The work of Berrada, who starts from his studies in art and science, unites both intuition and knowledge, science and poetry. In his work he explores scientific protocols that imitate, very closely, different natural processes and / or climatic conditions. “I try to master the phenomena that I use in my works, just as a painter dominates their colors and brushes. As brushes and colors I use heat, cold, magnetism and light.”

Imagine a city with flying light: as night fell and darkness creeps in, all of a sudden there’s a bright sparkle, and another – one by one lighting up the city street. Soon the sullen city comes alive, orchestrated with a natural rhythm of Twinkle.
Lighting, as one major part of urban infrastructure providing areas with an abundance of potential witnesses, contributes significantly to feelings of safety. However, the current city lighting system that leaves many areas uncovered induces unsafe perceptions and instigates crimes. The addition of ubiquitous surveillance is an intrusion on privacy and does not take real-time actions. The cold, lifeless light shines in the darkness, trapping people in the solitude of silence. These absences motivated us to create Twinkle – a luminous transformative creature inhabits on light posts. They are curious aerial animals attracted by human activities. During the daytime, they rest on urban light posts for charging. At night, they interact with individuals walking on the street in their own way based on their distinct personalities. Twinkles’ behavior and habit help people have a better observation of the surroundings. Meanwhile, this indifferent act exposes the individuals attempting to conduct misbehaviors to dazzling light to prevent crime ahead of time. In this way, there is no more blindspot in dark streets. When one twinkle is out of battery, it flies back to the light post, and send another Twinkle to continue following to guide people all the way back to home.
Twinkles are indirect lighting solutions for improving urban safety without surveillance. For everyone’s daily life, urban lighting is no longer a cold, immutable infrastructure but a new form of companionship with personalities and responses. We envision a future that appliance goes beyond machine and becomes a companion with us.

A camera slowly rotates, recording images of Belfast. The film projected from the freight container’s interior onto a screen, transforms it into a giant light-box. As the natural light diminishes, the projected work will emerge emitting an image of the city as if seen through a magnifying glass, focusing attention on architectural detail, juxtaposing the historic against the new.

Invisible Stream uses a computational system to evoke understanding and spark a discussion of current racial stereotype issues. It explores the political implications of how freely racial discrimination is expressed on online platforms, where such discrimination can be easily hidden. It not only represents discrimination, but also voices the feelings of the victims and reveals the lack of conversation about this issue.

Invisible Stream receives data from the Twitter online platform, filters by keywords, and prints sentences that include derogatory racial terms on paper from a thermal printer. As sentences are printed, robotic hands with silicon fingers cut the thermal paper, leaving a pile of printouts on ground. As the fallen papers pile higher and higher, the audience can pick up the papers to read, take, or throw away. Amongst the pile of ignorant messages, one may find examples that seek to educate the speakers about the injured feelings and sensitivities of the victims.
Invisible Stream the most important purpose of Invisible Stream is to raise awareness and start discussions, not for the audience to remain in frustration. By confronting the audience with a live stream of racism, the installation poses controversial questions about the origins, function, transmission, and lineage of prejudice. Since these robots resemble parts of the human body, yet are controlled by computational and mechanical systems, Invisible Stream reveals the different meaningful and reflective layers between human and machine.

How engaging is your smile? Come and find out! Hye Yeon Nam sets out to “foster positive audience behaviors” with this interactive work – how do you think you will relate to her robots?!

Developer: Hye Yeon Nam. Computer Vision Consultant: Changhyun Choi.

Inspired by the theory of Hermeneutics, Hypergradient analyzes the different interpretations of an impartial consistent statement. The installation repeatedly changes between two states: the “statement” state and the “interpretation” state. The statement state displays a sequence of characters of a distinct semiotic system, which can be described as a deputy for all known semiotic systems. These abstract propositions don’t follow human dwelled principles, they posess inherent logic. In this state, the space containing the installation and the installation itself is lit up with fixed light sources. When the installation reaches the interpretation state, the whole space changes into darkness and the surface is illuminated by four light sources, which are arranged around the installation. Through the constant change of light, the physical deformation of the surface and the consequent modification of perception, the original statement now has to be interpreted by the observer.

The installation explores the symbiotic relationship between the human body and the non-human mechanism in contemporary techno-society. Mobile robots, sculptures with projected body images and immersive sounds construct a new body form, the dynamic hybrid of the organic and the inorganic throughout the gallery. Viewers are invited to be a part of this synthesized body form by walking through sculptures and interacting with robots with different personality and behavior while controlling the audiovisuals.
The Robot Symbiosis series starts with thinking about the state of the human body that is expanded and dispersed by media and technology. The work consists of 6-8 pieces of plaster sculpture on which the images of the body are projected and the robots roam between them. The audience contemplates the image of the body that is expanded and dispersed or moves among the robots and the imagery of the body to finally complete the image of the technically sympathetic body.
The work shows that the human body and the machines are interconnected to form an actor-network. A human body projected on to plaster forms gets the quality of thingness, while robots become more active agents. The artist intended to give viewers a moment to think over the issue of thinness and the non-human in relation to human and body in the time of non-human turn.

Where are we come from? How do we define ourselves who are evolved from a chance occurrence of microbes’ random movement?

ISEA2013 presents Sanity Clause, a collaborative performance project between Ian Andrews and Garry Bradbury. The project utilises a variety of redundant technologies and home constructed equipment to make music from vinyl records. The equipment used includes modified turntables, record players constructed from other equipment and appliances, and home-built cartridges and styluses. These are used to play a variety of objects ranging from cut up and re-assembled collage records to metal discs, sandpaper discs and other things. This project adheres to a rather strict constraint that all sounds must be produced by vinyl disc reproduction technology.

The bus garden is the idea of merging two apparently divergent realities to make one we can inhabit. The artists call this a ‘complex duality’ because it is not as simple as a dichotomy. Once, Ian Clothier was in a bus in Japan and had a vision of being in a forest at the same time as being in the bus. This vision can function as a focus for new futures. We somehow have to leap over where we are, to be where we want to be.

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

Hip Hop playwright, poet, essayist and performer Idris Goodwin is engaging Albuquerque teens in National Hispanic Cultural Center’s Voces program and Tricklock Company’s Manoa Project to create Instant Messages, a performance piece developed from evocative, inspiring and humorous conversations found on Twitter and social networking sites. He theatrically transforms and performs some of these “digital dialogues” together with student participants and members of Tricklock Company.

Infinite Livez performs a rare one-man show. Expect a mixture of experimental noise,  stream of consciousness rapping and live beat-making from the London-born emcee.

Mother is a series of generative sculptures that explore synesthetic connections between language and form by analyzing hand gestures that represent the participants’ interpretations of unfamiliar spoken words. The gestures of the participants were captured in 3D using a Kinect, interpreted with openFrameworks, and printed with a rapid prototyping machine. In contrast to the unrecorded spoken language, which is ephemeral, the language that is printed three-dimensionally becomes embodied in a physical form. In this work, the human translator is replaced by a computer. The concept of translation is thus stretched, expanded, and re-contextualized, providing a flexible way to see and experience language through a work of art.

Imagine a world of the nearly distant future in which humans are dismantling language in favour of speaking in the pitches and rhythms of pure sound. In this future vision, humans communicate telepathically using hieroglyphs that collide with sonic shapes in order to create new vibrations and therefore new meanings.

How far can you go with a simple search engine query?

The Redirectory questions the logic of referencing information on the internet by playing fully with the aesthetics of the hyperlink, the basis for online research. The work is composed of two exploration spaces: an assembly of web windows and a lexicon of 50 terms, including several neologisms, operating modes and dissonant organizations of web content. Through the gestures of scrolling, clicking and moving, one can browse the lexicon, either through an intuitive analysis of the windows, or in the organized mode of a list of definitions.

The Redirectory instills doubt in the reliability of information delivered through search engine queries and examines the relevance of this research method. The artwork’s critical significance comes from a collage that seems chaotic at first glance. Through use, however, it becomes clear that the artwork functions as a mirror, revealing the warped logic of web information referencing logic subject to the capitalist system and to various ideological and commercial pressures. As a collaborative piece, the artwork also encourages the online community to convey neologisms, which reveal the opportunistic strategies at the heart of the online research economy.

Conceived as a peaceful and playful exploration of the interstellar space, the augmented reality soundscape installation – “Interstellar: Cross-Scale Space-Scapes” invites the audience to access the experiential dimension of space technologies and how the huge amount of data derived from space exploration can be accessed, processed and visualized. Walking through a softly illuminated room where a few transparent cables come from the ceiling having small augmented reality markers in its extremities, holding an ipad mini one will find him/herself immersed in a soundscape populated with 3D animated models derived from actual nanoscale stardust particles’ images. The soundscape, or the soundtrack for navigating this Augmented Reality interstellar space, is made up of a combination of sounds derived from images of stardust particles in nano scale available in online databases taken (its pixels) as rawdata for sonification projects. Both the exercise of designing the 3D representations for the Augmented Reality application from original nano scale image samples of stardust particles and the sonification projects, are part of an interventionist creative practice where different strategies for editing and data visualization were explored, producing data-environments as informational sensorial experiences – somehow touching the untouchable space between the stars.

Using the metaphor of geology, PRÖSPECT is a generative work of art that reinterprets images from photographic archives extracted from royalty-free databases every four hours. The inexhaustible heritage of archives available on the web becomes the field of exploration of this work, which displays characteristics of the “aesthetics of flow.” The bot generates photographic collages from matches found by the Google search engine.

The work of collage and remixing between historical and contemporary images renders the reading of the photographic document opaque, thus echoing certain experiments of the artistic avant-gardes at the beginning of the 20th century. The images are associated with original texts of two verses written by Stéphane Archambault. The associations between texts and images are randomly made within large semantic fields, thus opening up new interpretations.

The work can be consulted in two modes: cycle (panorama) and deposit (close reading).

SEFT-I is a vehicle equipped with a Hi-Rail system that enables it to move on rails. Mexico’s trains once formed a network of connections between big cities and tiny pueblos throughout the country.This exploratory probe travels abandoned railways using photography, video, audio, and text to record contemporary people, landscape, and infrastructure in largely remote areas of the country, creating a futuristic exploration of Mexico’s past.

The energy of the morning is fluid. It grows stronger and warmer over time. A small machine manages to catch up and translate this orbit and its daily differences. Polak and Bekkum are interested in how technology determines (visual) perception. In their practice they focus on landscape and mobility. They use GPS and other technologies to approach and depict landscape and (the use of) space in a new way. Their visualizations are digital as well as physical.

Street-Scape is a contextual visualisation of an urban environment revealing the demographics, speed, density and the overall atmosphere of a place.

A site responsive, performative work that utilizes tourist transportation, the geographies of Dubai, sites of consumer consumption and virtual worlds, to highlight/elide difference, glocal economies and locality.

Compass for mountains and water is a working compass housed within a suitcase that points to the closest inland body of water and closest mountain. It uses GPS, two stepper motors, a digital compass, and a microcontroller to direct two laser-etched pointers. A list of coordinates of the bodies of water and mountains are hardcoded into the microcontroller. The GPS cross-references your current location with the stored ones and turns each motor to point in the appropriate direction
of the closest mountain and body of water.

In this piece the artist layers multiple versions of a photograph from a night market in X’ian, China. Merged with the sampled sound of a flickering light bulb, the work attempts to create a sustained sense of experiential disruption.

Live screen-printing demos with ISEA2012 designs among others. Bring your own T-shirt to screenprint!

Between Us is an Augmented Reality audio/visual artwork about desire, solar physics and the impossibility of touch. Between Us is made for Magic Leap and Sennheiser AMBEO 3D audio.
Drawing on quantum physicist Karen Barad’s work on touch, the narrative in
Between Us is at once seductive and unsettling.
Participants inhabit an audio/visual world where they are addressed directly through the narrative. Immersed in the 3D soundscape and visuals, the participant is both audience and artwork, guided by a disembodied voice that speaks of solar physics and the haunting nature of desire, the anticipative action of touch.
Between Us allows us to sonically and visually inhabit the temporary intimate fusing of the outer edge of our atmosphere as it meets the sun’s radiative action – the ionosphere where the sun and the earth first touch. Our skin is constantly filtering air, reacting to temperature changes, signaling hormonal drives, fears and desires. In likening the ionosphere to the skin of our bodies we may by able to imagine the invisible interactions taking place between things and selves, things and things, and selves and selves. In sonifying this interaction we inhabit where the sun and the earth meet, where the ionosphere draws towards the sun like the pilomotor reflexes of the tiny hairs on our skin. The desirous nature of Between Us evokes the dynamic interplay between two bodies or systems, where we inhabit the in-between, the invisible interactions that take place where attraction and repulsion reside.
Between us is funded by SWCTN and University of Plymouth.
Jane Grant: Artist, Director, Scriptwriter.
Jay Auborn: Sound design, audio production. Coral Manton: Visual Design, Unity Developer
Giorgio Cortiana, Sound Design and Audio Programming. Phil Liford, Sound Design and Audio Programming.
Illustration: Skye Liu Tianzi

Ghost is a neuronally embedded distributed instrument merging ‘memory’ or noise in the cortex and live ambient sound to form a dynamically rich and haunting sonic artwork.

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

No Country is a part of the Pangea series. In the Pangea series, Vadera examines the relationships between mapping, power, and violence. Other works in the series reimagine Pangea as a speculative space. A borderless dimension populated by mythical emperors, chronomads, and sleepwalkers.

Cree Métis artist Jason Baerg utilizes significant symbolic indigenous numeric values to inform narrative, color and repetition. The piece There Was No End is a unique interactive work that investigates global social metaphors with interest to activate collective observation and response. The 360o spherical display of abstracted symbols of the Sun, the Moon, and the Earth appear in sequences of 13 to reference many indigenous communities’ 13-moon calendar. There Was No End utilizes groundbreaking researcn and development on the integration sensors and interactivity in the world’s first fully articulated digital dome.

Soundwalks are approximately 60 to 90 minutes in length. This exploration weaves through diverse soundscapes, both man-made and natural, inviting the listener to become immersed in the totality of the sonic environment, and to sensually imagine, respond to, and hear often overlooked social environments, communities and other urban places. The soundwalks take place rain or shine, please wear appropriate footwear and clothes for the weather. This is a partner event with Vancouver New Music who are dedicated to exploring and contextualizing new music and sonic art, through concert presentations, festival, community, and workshop events. Curated by Philippe Pasquier and Giorgio Magnanesi.

After performing their first work together, the microrhythmic, minimalist A/V experiment Durations at MUTEK in 2014, Maotik & Metametric continue their creative association with Omnis. The duo’s latest immersive and multi-sensorial performance is inspired by the concept and technological reality of ubiquity. The ability to transfer information instantaneously all over the world dramatically alters the human perception of space, time and relationships, reducing experience to a “here and now” unit of being. Omnis explores the conditions of this contemporary temporality using a live generative audiovisual system, multiple degrees of optical illusion and distortion of the performance space to destabilize the environment and explode the idea of being everywhere (and nowhere) at the same time. Following impressive recent displays at Barcelona’s Mira, London’s BFI Digital Québec, Lima’s Visiones, MUTEK Mexico and several other festivals around the world, Omnis made its Canadian premiere at MUTEK 2015.

Through annotations this Instagrammable work of j.p. mot’s personal archive pokes light jabs on the subject of Asians being seen as a foil to privilege and a scapegoat for identity politics: somewhat of a buffer to gatekeep class/race disparity and an “acceptable” output for triggered anger toward the perfect subaltern. As we are humble and nice we nod and smile…

There’s always the component of the lived experience vs the myth of meritocracy. In which there’s constant validation of this idea of the subaltern in the rhizome of society. Who, if they (the subaltern) work hard enough and are being an outstanding productive member of their society, can rise above their station. Without discounting anyone’s lived experience or qualitative information at hand… the problem is that it (the notion of meritocracy) is still deeply embedded in the notion of shame in line with normalizing instances of micro-aggressions toward minorities. How great do you have to become in this equation of inequity to have the same worth as the privilege to receive basic reciprocity? The myth of meritocracy extends and maintains itself through niceness and humbleness which both participate in conserving a sense of stagnation and status quo in racial disparities due to systemic and institutionalized bias.

Cucolorus domesticus is a video installation. In a darkened room, a potted philodendron sits upon the window sill. Beyond the plant, a bright sky blue background appears to cast rays upon the floor of the gallery space, creating a shadow-silhouette of the philodendron. The shadow seems to be static at first, but as the viewer spends time in the space, they become aware of minute movements in the plant’s shadow. Tendrils curl, and uncurl, as though growing before our eyes. Like the minute-hand of a clock, the movements are subtle. Viewers often look between the shadow and the plant upon the window sill, to catch the movement in both dimensions. The shadow eventually grows leaves and stems that briefly form an A-frame house, before furling up to a shadow that matches the physical plant.

These are selections from an ongoing series of drawings and text that document Jenny Lin’s experience and observations during the current coronavirus pandemic. Lin began the series as a way to record some of the strangeness of the circumstances, and as a way to create some structure to her day, something that she could share with friends online. Lin would make a drawing or series of drawings based on something she had seen, read or heard about, and post it on Instagram with a text description. This selection focuses on anti-Asian racism related to the pandemic.

Ear to Mouth II is a kinetic, generative sound installation using a moving speaker, four modified microphones, and processed speaker feedback. The amplitude of feedback influences the subsequent movement of the speaker, which creates further changes in the patterns of feedback. The piece is part of a series initiated with an interest in remote signals, such as mobile networks, and how they affect the movement of human bodies in physical space. The pervasive multitude of distant signals appears to be an invisible process, but has a tangible influence on the domain of the flesh.

Immersive plays with the Op art concept and minimalism content to produce illusions and illimited perspective. Projection plays with delay and echo in a rhythmic progression of abstract patterns.
It wants to surprise the viewer to get out of his custom point-of-view and question the perceptions of our daily reality and his relation with the environment, leaving the person free to look at the environment around them in altered space.
Through the computing of the sound and music patterns, and with the decomposition of 3D shapes projected in the four walls, the viewer has the sensation and the illusion of being inside them as mixed reality. The 360° format gives the opportunity to share this experience with other people in real space and not virtual. Video contents push physical walls in an illimited perspective. The ascending movement and the use of stroboscopic images give a new feeling of time and the sensation to be fully immersed.
A surrounded sound system accentuates the sensations of infinite space and the soundtrack is inspired by electronic melody derived from pure sinus and digital noises recreating a real electro-acoustic noise orchestra. Video and sound are written in parallel to have a synesthetic coherence and global work.

Distorted memories are created from an imaginative zone known as Oneiria. In our high-tech world, unpredictable behaviour from technology is often perceived as negative. These glitches, however, can be a starting point to expand the possibilities of image production in the digital age. Oneiria uses datamoshing, a technique in which digital video images are deliberately made unstable. Found footage in different formats (digital HD, VHS, Super 8, …) is used in a painterly way, smearing images to create abstract, dreamlike landscapes.

Performance artist, sculptor, and backyard engineer Jessica Segall screens footage she took from her recent venture to the Arctic, where she sailed up the coast of Spitzbergen, testing custom survival suits and solar-cell projectors on glacial surfaces. Her work is presented as a drive-in theater, projected from an off-grid projector onto a wall of ice installed in Moriarty, NM, USA

Jessica Thompson’s Triangulation Device is a participatory sound piece that generates improvised soundscapes between two users. Using a simple, intuitive mobile application, the piece transcodes the distance between users into atmospheric soundscapes that unfold and change in response to movement, creating improvised choreographies in shared public spaces. The movement through space, especially the exploratory, uneven patterns of wandering, engages the body through a series of shifting spatial and social parameters. Unencumbered by the confines of location, participants are able to drift through cities in an almost tactile fashion, articulating social interactions through proxemic interaction, performative improvisation and play. By broadcasting sound into space through collaborative noisemaking, the project facilitates new and novel forms of sonic interaction that investigate how mobile technologies affect our understanding of place, home and territory.

Human perception has long been influenced by technological breakthroughs. An intimate mediation of technology lies in between our direct perceptions and the environment we perceive. Through three extreme ideal types of perceptual machines, this project defamiliarizes and questions the habitual ways in which we interpret, operate, and understand the visual world intervened by digital media.
1. Hyper-allergenic Vision Syndrome
The modern society has observed an increase in allergies and intolerances. Hypersensitivities are emerging not only medically but also mentally. Technology has this mutual reinforcement effect that people tend to become less tolerant because they interact even less with people who have different backgrounds and opinions. Digital media as mediator reinforce people’s tendency of overreacting through the viral spread of information and amplification of opinions, making us hypersensitive to our social-political environment. Similar to patterns of intolerance to signals that we see with our immune system, we also see with our mental responses to our environment. By creating an artificial allergy to redness, this machine manifests the nonsensical hypersensitivity devised by digital media.
2. Tactile Vision
Vision works well when we have an overview of the total system, but the way we search in digital media is through little steps, from link to link — a tactile experience as we feel the landscape. We can never see it as a whole because it’s not a continuous space. Instead, we look through a pinhole and build up everything without an overview. This wearable is the extreme version of us possessing only one sense for one thing. Depriving all other sensory experiences and leaving only one signal channel, this hyper-narrow, focused, and filtered vision is an analog version of the searching behavior on the Internet.
3. Commoditized Vision
The commodification of the visual field requires observers that can rapidly consume visual information. The downside is the extreme overloading of information that has to be packed into the visual field in order to make the most out of every second. The meditative relationship to what we are staring at is no longer possible because everything has an overlay of commercial information trying to extract value from us. The visual field becomes a commodity that has real estate value. By creating the tension between meditative state and consumptive state, this machine contemplates on how augmenting the visual field with new technologies affects our relationship to the world in this particular social-economic context.

Message in the Sky is an on-line crowd-sourced public participatory project that pools together the hopes and dreams of our time. The goal of the project is to map the landscape of collective human aspiration from people in different geographic locations living with different circumstances. The scale and time span of the project significantly expands research in emergent fields of design thatintegrates big data to engage social change. In the presence of increasing global challenges in conflict resolution, this project represents

Revolights is a system that creates bicycle lights activated by human pedaling. It consists of two thin-profile LED rings that mount to bicycle wheel rims. When the bicycle is in motion, the LEDs illuminate the front edge of the front and rear tires, lighting the pathway before the cyclist. When the bicycle is stopped, the LEDs blink around the front and rear tire rims, making the cyclist easily visible to motorists.

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

QT, mp4, html, javascript, pop Up internet, sound, videos projection

People unconsciously long to be immersed in nature that provides shelter and comfort. Through activities like camping, hiking, and swimming, people can relax and be immersed in nature. However, nature has two sides: virtue and vice, life and death. While seeking comfort in the forest or beach, a person may feel fearful about the possibility that a wild animal may appear and attack. Even though the ocean is very pretty but a person may have fears of drowning in the ocean. All of these fears may prevent people from fully enjoying and experiencing the beauty of the natural world.
Upwell is an immersive virtual reality environment that provokes the feeling of being underwater but allows embodied interaction within the environment. Undulating characteristics, including tenderness, flux, softness, and buoyancy, all add to the feeling of being underwater. Upwell is a refuge from nature that provides playful immersion without vulnerability. A participant with a conventional VR head-mounted display and custom-designed wearable controllers can navigate around a room scale setup and interacts with dynamic visual and sound elements. Upwell was originally designed as a dance performance with two dancers. The exhibited version of Upwell at ISEA invites a participant to a performance and evokes performative gestures in the virtual reality space. Upwell becomes a dance theatre for a single person performance.

A rock is shaped by water that flows from the mountain across the land and out to sea. It has many stories and carries the energy of the land from which it comes…

The Texas Border is an audiovisual installation in which the recorded broadcasts of surveillance cameras placed along the US Mexican border in Texas are shown. In a private Internet platform, 25 surveillance cameras are opened to anyone willing to control Mexican individuals attempting to enter the US in an illegal way and report those actions through the website. The installation also includes sixty four videos, part of the Internet platform archive, that show failed incursions into the US territory as a direct consequence of those reports carried out by anonymous users.

The nature and behavior of matter and energy on the atomic or subatomic level, quantum physics, lends to its ethereal nature, gossamer wings, those substances that are immutable however untouchable. To touch the untouchable, to understand and know what is real but cannot be seen and to experience it; to truly experience immateriality as substance, form, and shape that is dynamic, transformative and truly alive, constantly changing but continually unchanged, the vibration of waveforms intermingling as one form, one shape one spirit, into a myriad of forms.
Etherial will bring the quantum form into the material, through virtual reality, spatial augmented reality and material form. The work will consist of both virtual reality and spatial augmented, a completely immersive VR space that will allow viewers to interact with the virtual world of quantum mechanics in real time through a physically rendered sculpture that will be tracked with gestural sensors. Etherial can also be interactively viewed un-embodied through VR headsets. Two controllers into a completely immersive VR space that will allow performers to sculpt quantum mechanics in real time in total synchrony with one another and the virtual environment that they control.
In keeping with the theme of “LUX”, the quantum, revealed, the hydrogen- like atom combinations feature light-emitting wave function combinations that move toward the science of the phenomenon, while the quantum, suggests the ethereal nature of spirit in the form of light, ETHERIAL/IMMUTABLE – to touch the untouchable.

In this media artwork, Artificial Intelligence (AI) is used against AI to discover How Computers Imagine Humans, using a selected computer visual noise (one computer) and an AI face detector system (another computer). Both systems are running in real-time against each other, using just built-in cameras to communicate. In recent years, face detection technologies have been widely used by artists to create digital art. Face detection provides new forms of interaction and allows digital artifacts to detect the presence of human beings, through video capture and facial detection, in real-time. In this work, an algorithm proposed by Paul Viola and Michael Jones, is explored to generate imagined faces from visual randomness. Unusual use of the facial detection algorithms intended to do the opposite of what it is supposed to achieve: instead of trying to locate and capture faces, it generates facial images ‘imagined’ by a computer through the exploration of hypothetical possibilities. This work focuses on a particular point: we humans have created methods and instructions so that computers can easily detect ourselves, and, in this case, this knowledge is used to generate abstract pictorial face results. More than what if offers in terms of visualization of what is behind algorithms, this work, as it is presented, with two machines interacting with each other without a wired or wireless connection, demonstrates the ‘knowledge’ we, humans, try to implement into machines to detect ourselves — awareness about these technologies and their effects (positive or negative) on our society. The result is a ghost-human face, made by mathematics and probabilities, appearing very slowly as the algorithms work over time.

Âphâr is an Hebrew word that means “dust”. This video is inspired on two passages of the Old Testament: In the beginning, God created the heavens and the earth. The earth was without form and void. (Genesis 1). Jacob had a dream: He saw a stairway erected on the earth with its top reaching to the heavens. The angels of God were going up and coming down it and the Lord stood at its top. […] He said: Your descendants will be like the dust of the earth. (Genesis 28).

Spine Sonnet is an automatic poem generator in the tradition of found poetry that randomly composes 14 line sonnets derived from an archive of over 2500 art and architectural theory and criticism book titles. Each tap of the screen reveals a new poem.

The piece explores the theme of mobile interference and its influence on musical elements over an extended period of time. The work reflects on the indeterminate outcomes that result from constant interference created by being super-connected in the contemporary world. In this work sounds and signals from mobile technology grow to become musical frameworks in their own right.

Weather Inflections is an interactive audio installation that collects weather readings from Perth, Australia and converts temperature, humidity, air quality, CO2, CO and ambient light data into a visceral soundscape. Supported by Curtin University of Technology (Perth, Austra lia) & College of Fine Art, University of New South Wales (Sydney, Australia)

“Terra Et Venti” (“between the ground and the wind”) is a speculative research project that explores the role that synthetic biology may play in planetary-scale geoengineering and weather modification practices in the future. This artwork builds on the tradition of treating the genetic sequences as a medium for artistic expression through a multi-modal installation. In Terra Et Venti, the ice-nucleation activity of the aerial bacterium Pseudomonas Syringae is simulated with parametric speakers tracing lines across the space as a digital version of a cloud is created in real time. The computational system presented in the gallery generates text for insertion into the genome of a specific bacteria. In addition the project features artistic renderings of the biological processes of the P. syringae.

Since a couple of month the colombian state has taken a little more consciousness about the need to protect one of the most vital resources for every living creature: the water, the element that most value should have for the human being, which is only 0,4% (potable water) in the entire planet, which is, nowadays, a big part contains contamination traces, result of unconscious human actions; one of the protection measures that are being realized in Colombia I am interest in stick out one of them, located in Villamaría, in Gallinazo county, place where mining activities were intended and would directly affect the river and all the nearby water sources; these tasks were recently suspended for legal actions implemented by people of town. I want to highlight all this fights that have the objective to looking for the wellness of everybody and I want to make a call of attention with the proposal to continue supporting this goals that make this world a better one, we want to join more people to fight with us, and partner this world with the nature enjoying all that it does for us.

Encyclopedia is an ecological installation featuring digital and sculptural content. The core of the work is a text generator that creates encyclopedic entries for extinct fictive animal species. These unique entries are given away as printed index cards to visitors of the exhibition. The work aims to put a gentle focus on the state of the planet, meanwhile exploring the possibilities of digital art. The text presentations of each species shift between matter-of-fact descriptions of habitat and feeding habits and more poetic sentences of the characteristics of the species and its surroundings.

A high-lighter poem emerges from the words and images of the late queer avant-garde film artist Barbara Hammer.

A Really Great Idea is a humorous performance inspired by early Conceptual Art. In it, the artist uses a hacked brainwave sensor to turn a light bulb positioned over his head on and off. Revisiting the highly influential performance and video works of the 1960s and 1970s, the performance is an absurdist proposal that looks at simple actions and the concept of an idea.

Jon Flax’s GIZA QUASAR is an animation series. It consists of four episodes, each four minutes in length, and the series has been taped on four video cassettes – one distinct video cassette system for each episode. The series is named after a fictional star in outer space. The crudely animated episodes tell adventure tales around GIZA QUASAR, its capital, Fuga City, and its inhabitants. With all related original files deleted permanently, the once-digital sequences are left only in physical form. As their readability fades, questions emerge about dependencies between art and technology, and the relation between accessibility and perceived value.

Somestic Media defines a trio of connected objects, retrofitting complex social media interactions within the domestic appliances from the last century. An alarm clock, a radio, and a TV distill and encompass our mundane digisocial dilemmas, from stalking to swipe-right and FOMO.
Each device pulls, processes and displays specific data from a major social network. However, the output of each device simply reports its information, depriving the user of any two-way interactions we are accustomed to in the digital age. This enforced isolation amplifies and exposes the presumably frictionless communication processes orchestrated by complex social media algorithms. The Somestic Media suite includes:
‘LastSeen’ — an alarm clock that goes off when a person of interest comes back online on Facebook, keeping track of how long ago the target individual was last active on the platform.
‘SoulMate’ — a radio that uses text synthesis to read the profiles of potential romantic partners on Tinder out loud and includes a special “Follow Mode” that can be accessed via a key switch, giving an accurate distance to each of your existing matches.
‘BreakingViews’ — a television that displays Instagram stories from your feed and keeps track of how many times you have replayed a specific story.
The saturated display of the collected data conveys the impact social media has on our perception of time, distance, and priority. Whose online presence do you follow, and why? What information on dating profiles is important, apart from the profile picture? What type of content — news or views — do we prefer and why?
The aim of Somestic Media is to critically render social media processes, make them more tangible. Such exposure is vital for understanding how the new technologies change the way we live and socialise, and the information we take for granted.

Vytautas Jankauskas and Jon Flint, or VJF, bring experiences around complex technologies and their impact on our domestic mundane. Vytautas and Jon met in London working at the critically-acclaimed futures design practice Superflux. After joining the Hive social innovation residency at ‘thecamp’ in the south of France, the duo decided to pursue critical and futures design endeavours as a collaborative practice. Since 2018, Vytautas and Jon are residents at the Pervasive Media Studio at Watershed in Bristol, UK.

Using mobile phones, ISEA to the Globe–The World to San Jose will produce and distribute syndicated SMS and MMS messages to link participants and visitors to ISEA 2006 and to world events. Daily reports produced on site will link events in San Jose to subscribers worldwide.

Network Effect embodies the best and the worst of the internet, a vast and inexhaustible reservoir of knowledge, but also of trivia that sparks curiosity and anxiety.

The work takes the form of a database of various content drawn from the internet: 10,000 videos, 10,000 voice recordings, and as many news items, tweets, tables, graphs and lists are used to enrich a repertoire of 100 human behaviours. In order to access the project, the user is faced with an unusual temporal constraint. A system identifies the country linked to the computer’s IP address and assigns a number of minutes of browsing, reminding us that our online presence is constantly monitored and interpreted. A thorough exploration of the database is therefore impossible, prompting quick scanning or indifferent browsing.

Network Effect asks us to ponder the internet’s claim of exhaustiveness and the effects of its experience. By confronting us with an overflow of information, the work reflects the internet’s excessive becoming, as well as our insatiable quest for novelty and stimulation. Network Effect points to both the wearing out of information and the subject.

For ISEA2015 jonCates creates a site specific installation featuring recent and historical works of glitch art, including green.qt_slippage.mov (1999), 505.VIRI (2005) and GIFs like Broken Phone Gradient and Small Horn.

Interactive art is often viewed based on surrogates such as video and text. However, unlike static pieces such as painting, it is difficult to define and record the meaning and product of interactive art as a single spatiotemporal state. In this work, we created a virtual viewer that appreciate the surrogate of interactive art. The viewer, which is implemented using ACT-R architecture, simulates the basic sensory-cognitive processes of humans to watch and interprets the given surrogate in its own way.
This viewer model defines three basic cognitive states and processes the algorithm as listed below :
1) Initial appreciation (Camouflage), 2) Artist Solution (Getting the meaning) and
3) Insight (Matching meaning with its own experience).
At the same time, the response of the actual audience is analyzed and marked on each surrogate through an electroencephalogram (EEG) device and Pupil Eye Tracker. Once the actual viewer data is gained, the real viewer’s appreciation is projected onto the screen followed by the result of the virtual viewer. Thus, the difference between the actual viewer and the virtual viewer on surrogated images can be seen in detail. The virtual viewer was represented by 23 data sets (23 artworks in <ACC Creators_In_Lab> Exhibition, Gwangju, 2018).
The result of the viewer model has shown that audience appreciation is predictable based on its surrogates, indicating that there is not much difference between the appreciation results of the actual viewer. Especially, when the abstract or personal meaning is included, the understanding degree of agent decreased rapidly, and the speed of appreciation became short. On the other hand, work with more narrative (documentary), resulted in longer appreciation time regardless of the content. Through the installation, the viewer model criticizes how passive and predictable the appreciation of interactive art today is.

Transpotage – a Moveable and Translucent Garden is the second phase of an ongoing laboratory project which borrows new technologies from other disciplines and transfers them into the sphere of architecture. The first phase, at the Venice Architecture Biennale (2012), explored the lightness of the substrate and movement; here the focus is again on these two issues. The lightness of the substrate is taken to an extreme by making it translucent; meanwhile movement, although simplified to one direction, is also made more perceptible, as the translucency of the substrate reveals the trace of its effect on growing roots.
Selgascano are working on this project with the Spanish National Centre for Biotechnology (CNB)  and the Plant Genetic Engineering Laboratory (PGEL), the University of Queensland, and biologists Antonio Leyva, Carlos Alonso and Jimmy Botella.

The Cowardly Drones is a series of interventions that attempt to subvert online images searches for weaponized drones. DeLappe downloads top search results of various UAV’s (Unmanned Aerial Vehicles) in use by the United States Military, including General Atomics MQ1-Predator Drone, MQ9 Reaper Drones and Global Hawk Drones. Each image is carefully manipulated to digitally include the marking COWARDLY upon its fuselage using typical military fonts. The saved images are then uploaded to the internet with basic titling information Predator Drone, Reaper Drone, Global Hawk Drone. The objective is to force the revised images into image searches by the general public, causing a subtle intervention into the media stream of US military power.

Guerrilla Dancer remixes the boundaries of what is culturally permissible in public spaces. As dancer Micaela Gardner moves through supermarkets, churches, graveyards, electronics stores, shopping malls, playgrounds, demolition sites and construction zones, a rhythmic soundtrack highlights a music that is present in every environment. Against a backdrop of paranoia and fear caused by global terrorism, Guerilla Dancer risks expulsion and arrest by dancing in unexpected places.

Dancing with Drones is a two channel video installation that explores the normalization of drone warfare and surveillance. In this work Starrs and Cmielewski use drones to capture still and moving images of a dancer performing within landscapes that are in crisis due to climate change. The figure exhibits a range of emotions, including curiousity, agitation, and resignation, in response to the persistently intrusive drone.

That personal assistant you carry in your pocket is obsessed with understanding you. What role will the unconscious play in the way machines learn about and understand the human world?
Machine learning technologies presuppose that machines are able, through innumerable trials, to recognize patterns beyond human perception or comprehension. As these technologies are being deployed by commercial and political interests for the unprecedented targeting of the human psyche, it seems to be a good time to be raising questions about the technologies that we have come to take for granted. How does the machine parse human language every time you speak to it, for example, or type a search query in the form of a question? As we have conceded the term ‘learning’ to the computer, it also seems to be a good time to dig into technology’s epistemological project. What if these technologies, for unknown or undisclosed reasons, began mining the dark reaches of the human unconscious?

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

In this project certain connexions with algebraic geometry are explored. The visual part is based on recent research in algebraic geometry, relating the theory of aperiodic tilings with singularity theory in algebraic hypersurfaces.

Phantom House eerily hovers in space. A glowing, ghostly testament to Judith Doyle’s late parents, it is a memory architecture constructed in SecondLife virtual world. After the sudden death of the artists’ mother and father in 2003, Doyle built models of her family home in game engines and virtual environments. Needless to say, this work embodies a response analogous to the experience of phantasmagoria, magic-lantern performances emerging in the 1790s and early 1800s wherein the technological origins of animated spectral images were concealed from an audience kept in total darkness for extended periods of time prior to any performance. With its phantasmagoric quality, Phantom House sits between many worlds; 19th century spectral theatre versus 21st century online interaction; first life versus SecondLife; present versus absent bodies. Embedded within a 1950s tableau at the Museum of Vancouver this virtual representation captures the temporal distances inferred by a suburban home floating in in the nocturnal upper atmosphere of SecondLife. Doyle has referred to this work as an architecture of forgetting but the luminous lines of the dwelling, and its glowing scaffold, suggest anything but. As the building slowly revolves it becomes a monument of light, a heartrending memento mori to Doyle’s loss.

Ice Core Modulations is an inter-disciplinary collaboration involving electronic generative art and simultaneous live performance (approx. 13mins). In each unique enactment, a visual artist, a poet, a computer scientist, and a composer engage with collectively developed processes for exploring and creatively interpreting the climate data on the Earth’s atmosphere from ancient through contemporary times, collected from Antarctic ice core samples. The visual-graphic elements of Ice Core Modulations have been developed in Processing visualization language. Data on changing CO2 levels through geological time are used as a driver to shift the behavior and appearance of representations both of CO2 bubbles trapped in the ice and of ice cracking due to global warming. Ice Core Modulations poetry component includes both visual and composed sonic elements, using language culled from scientific research on ice as atmospheric archive. As the poet performs, textual fragments appear and visually interact within the landscape of evolving and dissolving gaseous and crystalline forms. This on-screen generation of phrases and live voice is processed in real-time and utilizes effects such as reverb and distortion. With the ice’s CO2 content increasing over time, the processing of the poet’s reading becomes more extreme

New media offer enormous possibilities for documenting cultural experiences and interpretations. The use of technology in service of cultural heritage can be challenging, especially when the artefact involves a physical site such as Chinatown, with intangible sensory features of spatial interactions and emotional experiences. The use of new media applications can focus and engagingly convey the immense richness and diversity of the emerging historical record within an intimately coherent and viscerally arresting narrative. In capturing the plurality of transitory moments that constitute the life and times of Chinatown, rather than re-construct/reproduce/ re-present the cultural heritage in linear fashion, the work-in-progress project, ComposingYou_Chinatown, adopts an experimental approach that integrates art practice and interactive media. Utilizing locative media and public projection, the all encompassing experiential interaction generates perceptual insights into -and reflections of- past memories, while offering opportunities to experience the present, and to envision the future. An artist talk will discuss the strategies and theoretic concerns in exploring cultural heritage through the use of interactive media, an attempt to advocate the value of aesthetic art experience through which visual/sound qualities allow our sensory processing systems to adapt and emerge with new vision that could generate harmony and peace with the current states of Chinatown.

The most transformative language today –shaping the way we move, make, communicate and think– is Engineering. As a Critical Engineer, I study, expose and exploit this influence.

The Sun is the Earth’s information service provider. The Earth is an open system that creates forests of life, culture and technology and exports entropy into the galactic gloaming.

Atropos evokes images of a dystopian environment. Electronic sounds are generated by a stochastic process that takes its cue from genetics, for example using frameshift mutation, base substitution, and sequence inversion. The implementation is semi-improvised, as it is driven by random generated variables such as sequence, pitch, duration, and dynamics. The formal structure is made of molecules designed as containers, part of an out-of-time category.

In Vertical Teleporter and Vertical Teleporter II (Glitch), Julianne Aguilar constructs two standalone levels for the 1996 video game Quake that teleport the player endlessly through a single contained space. The architecture and physics of each level work to distort or glitch the game’s native Teleport sound and visual effect. The teleport loop in each level repeats for as long as the game is running, potentially forever.

Contemporary artists introduce various works which express the city into music using personal inspiration. However, music made by improvisational inspiration
is only a personal impression of the city. It cannot share the unique structure of the city by that. I experimented with music composition method based on objective city structure. And developed a method. I call it “musical sonification”. “musical sonification” is not just a city analysis, but a work that can share and enjoy the city. Walking alone on a Clear Night is a representative work using “musical sonification”. I look forward to enjoying the diverse structure and fashion of Seoul through my works.

Justin Carter will be gifting produce cooked in his flat packed, solar powered oven. The work demonstrates design alternatives that integrate appropriate technology and energy use. Carter’s functional sculptures encourage social interaction and exchange. Previous contraptions made by the artist include a solar-powered ice cream stall, and a pedal-powered municipal lighting system.

In 1973 Nam June Paik asked “How soon will artists have their own TV channels?”. In 2015 Kubrick or Korine respond with a channel conceived for cultural producer, icon and visual artist James Franco. 24 Hour Franco pays homage to the screen visions of Paik and the presence of Franco. It encases Hollywood image-flow within avant-garde form and speaks to the commingling of art and celebrity in the global image economy. Part project and part product: 24 Hour Franco can be retro-fitted to discarded CRT’s to deliver a TV sculpture for airports, hotels or shopping malls in the spirit of Paik’s “global groove”.

SATURN RETURN is an infinite loop of shaped layers of digital video feedback created using an iPhone, television monitor and Wi-Fi network. The accompanying audio contains low frequency harmonics combining the three competing frequencies comprising the source video feedback loop – 60, 200 & 240 hertz.
In 1855, German chemist August Kekule had visions of the Ouroboros – symbol of the cyclical nature of time – awaking to understand the symmetrical structure of benzene, depicted as a circle enclosed by a hexagon. Benzene is a carcinogenic industrial solvent banned by Apple Inc. from use in the production of the iPhone in 2014, though it is still used in the construction of camera and screen components by subcontractors. In 1981, NASA’s Voyager missions discovered a hexagonal cloud formation on Saturn’s north pole, more recently monitored by the Cassini-Huygens mission in 2017. The color of the hexagon has changed over time and the cause of this phenomenon is still not understood.
SATURN RETURN is a meditation on the micro and macro forces that shape our lives, from the microsecond delays of wireless video transmission to the orbits of astronomical bodies that were the timekeepers of antiquity. The hexagon enclosing a circle references the smallest building blocks of DNA, the chemical composition of benzene, the second largest planet in our solar system and the basic structure of every snowflake that falls. The title refers to Saturn’s return to the same point in the sky it occupied when each of us was born. Astrologers maintain its occurrence signals major transitions in each person’s life as Saturn completes its 29-year orbit. The first return is said to mark the transition to adulthood, the second to maturity and the third into wise old age.

In Justin Lincoln’s The Stroboscope (for Paul Sharits) a violent, lo-fi audio-visual abstraction showcases bands and fields of rapidly shifting color with an incessant noise soundtrack. Colors were generated from a feed of images from Tumblr and manipulated in Processing. The soundtrack was produced with Little Bits/Korg Synth Kit. (Warning. Strong stroboscopic effect. May cause seizures.)

The Affect Machine Historical Archive investigates new forms of contracts and widened definitions of employment that might better address today’s work realities. By merging the functionality of a social network with online trading, an institution is proposed that mirrors the practices of the new networked economy.

ThalassoGlitch is a selection of glitch images of the sea. While mostly underwater photographs, they represent a mixture of nature, water and noise interference. Brunet uses the metaphor of sound, applying different effects such as echo, repeat, phaser, pitch, invert, speed, profile, noise removal, amplify, reverse, equalizer, leveller, click removal, BassBoost and normalize. The 20 photographs in the series portray a decaying and adulterated sea, a slideshow of corrupted files.

R L X:tech is a contemporary relaxation studio specialising in meditation strategies to manage the demands of your connected life. Our perennial waiting room features augmented, artist-designed wall hangings that are accessible through a free app available for smart devices. Once activated, it streams a range of guided meditation videos designed to alleviate common psychosocial ailments, such as nerve pain from endless scrolls. Or overwhelming dichotomies of engage/ignore, private/public. A new language of interaction is evolving, and the emerging codes can be confusing (read but not replied), unpredictable (Gangnam Style) and tiresome (#yolo). R L X:tech provides space for you to manage these stressors through the very devices that trigger them. Transcend the anxieties constant connectivity generates. Allow the wash of activity to reinvigorate screen eyes; let hunched bodies stretch out in the soft space. Disrupt the timestamps and binaries of interaction with quiet contemplation and reconnection to mind and body. And if you don’t have a smart device, you probably don’t need to R L X.

Monarch is a recent lab project intended to function as body augmentation as a means to externalize the user’s emotional state. Monarch was created as part of the Prosthetic Technologies of Being project, conducted in collaboration with Intel Research. The primary aim was to explore and prototype wearable technologies that feel like a visceral extension of self. Wing-like structures positioned on the wearer’s shoulders expand and contract in response to the tensing and relaxing of the wearer’s bicep. It serves as an extension or augmentation of body language emulating the instinctual signals of animals. Hartman emphasizes human-human interaction with her responsive apparatuses, but there is another relational possibility here, one where humans become sensitized to the externalized signals of animals living in the wild. In the final paragraph of Donna Haraway’s When Species Meet the primatologist states “Animals are everywhere full partners in worlding, in becoming with”. Hartman provides the mechanism for insight into animal being, and thus into worlding. By allowing her user to move beyond predictable reactive technologies to perform animal potentialities Hartman has implicated her user into the lively object, and in doing so has created the possibility for empathy between species cohabiting technoculture.

Go-Go Gloves situates itself within Lively Objects as an interactive diversion for the MoV public, affording a chance to retreat to a period when inhibitions were abandoned and governments were on alert. Go-Go Gloves are wearable, electronic gloves that interface with a program created in Processing. An electronic puppet show of sorts, the user is able to control the movement of the dancers onscreen by touching thumb to fingertip. A control panel allows the user to select characters, backgrounds, and music. With images drawn from 1960s McCall Needlework & Crafts magazine, Hartman pays homage to the history of women’s “hobbies” acknowledging the domestic antecedents to the craftivism that has reinvigorated the “domestic arts.” Blending textiles and physical computing, Go-Go Gloves typifies Hartman’s approach to technology and it’s potential. Being an early interactive work for the artist the work exhibits a sincerity characteristic of DIY culture. Deeply concerned with the user experience, the work is meant for two – with the slightest movement, two strangers can have a virtual dance party on screen. While not a wearable as such, Go-Go Gloves predicted Hartman’s current investigations in the Social Body Lab where she conducts research into wearables that explore body-centric technologies in the social context.

Reynolds Cottage (AU) in The Rocks is processed and possessed in this premiere of a new work from the Life After Wartime suite, an ongoing body of electronic art that poetically engages with Sydney’s criminal past through archival police photographs (1945-60). With ‘Unhomely’ the artists set loose an historical reverie, reanimating a site soaked in centuries of humanity. As winter’s dusk encroaches on The Rocks, a dream of past occupants and events unfolds through the windows of Reynold’s Cottage. The spectacle is uncanny, luminous and touching. This old home gets transformed into an uncanny magic lantern disclosing a dark city’s yearning. ‘Unhomely’ can be viewed from two perspectives – 28 Harrington Street and the rear, accessible from the public square off Suez Canal. The images come from several local crimes, from murders to petty theft, abortion and illegal gambling. Images used with the kind permission of the NSW Police Forensic Photography Archive, Justice and Police Museum, Historic Houses Trust of NSW.

Ports have an isomorphic relationship to each other – connected by geopolitical flows of people, goods, stories and songs. Every port attains the universal feel of an inter-zone, yet still retains its own character. In ‘wake’ the shipping container is a teleport to the world’s famous ports.

The louder bridge was recorded on the center streets in Manizales town, it shows a reflection about the view of the city. It has been seen behind the particular places and spaces that work and establish feelings in her people. They confirm the existence and the roads make places for the people that every day walk on there… In a constant and louder place while the time goes on impregnated for the daily routine.

The mystery of the Nazca lines and the lines called “Ceques” at the Bolivian Plateua, lead us to explore different conceptual and aesthetical speculations of this technology lost in time. The Quechua concept of “Pacha” (Time and Space) was one of the worldviews that shaped this majestic artwork and it was created by lost civilizations before the indigenous communities that inhabit currently these areas. We had the opportunity to walk throughout several of these lines at the Sajama national park in Bolivia; collecting audiovisual material meanwhile commuting with the indigenous inhabitants of the area, who told us several fantastic stories hidden in these pilgrimage routes which connect several worlds. According to the inhabitants the civilization who built the lines, disappeared the day when the sun raised. These perfectly straight pathways can only be seen from satellites. Later on the lines were readapted by the Inca Empire to connect the entire South America. They were also related to their calendar; the movement of the stars; geomagnetisum and spiritual paths. They connected the mountains, springs and other sacred places where the gods lived and controlled the destiny of the inhabitants.

The Depository is a soundscape portal that creates a tangible representation of people through personal audio messages. Through this sonic window, participants can anonymously vocalize their concerns, recording messages for others to listen to, or listening to messages posted by others. The work gives form to digital information and challenges notions about communities that are brought together through media. By facilitating communication between strangers through the buffer of asynchronicity and delay, it creates a social and liminal space.

The 360° Skyline Song Project is an audio-visual installation that makes sound waves from the visual boundaries between the surrounding scenery and sky. The visual data, made by recording the scenery with a video camera rotating on an angle of 360 degrees, is transformed into sound waves in real time by analyzing each camera frame. This installation implies the instability of the surroundings, by interactively producing sound from changing surroundings and showing the captured movie.

Kevin Day’s resuscitated algorithms is a series of photographic readymades resulting from the reformatting and retrieval of files in a digital camera. The process of resuscitation leaves a body of noise on the presumed seamlessness of data. While data functions by virtue of being the underlying invisible form, executed through the operations of algorithms, resuscitated algorithms seeks to emphasize the presence of the medium, insisting on a refusal of machinic representation and quantification.

I believe that there is a reality of systems, which is the counterpart to the reality of usefulness in an anthropocentric sense. The systematic reality is vital and self-referential. For several years now, Kilian Ochs has been dealing with the development of his own theory of systems, and with the challenges that derive from shaping systematic procedures into material. With Sphere 12/16, one of his latest projects, he built his first object which both theoretically and aesthetically achieves the goal of melting logical thoughts and resistant material together. Sphere 12/16 was built during a stay in Tallinn (Estonia) from 2009 to 2010. The artist wants to express his gratitude to all his friends there who supported and helped him on this project, above all to Leho Reiska and Erik Alalooga.

After Words is an interactive sound installation in which the viewer’s participation causes basic units of speech to puncture the space, interrupting and overlapping yet remaining untied to any specific language. Inspired by early failed speech synthesizers from the 1700s that could emit syllables, consonants, and vowels, these structures house small circuit boards which trigger audio files at random to play with language’s most basic building blocks. Each sound gestures towards a desire for the language but forecloses the possibility of meaning – questioning logic, embracing nonsense, and untethering the voice from language.
Each structure is subtly different in shape and size to preclude a singular, authoritative tone. As multiple participants activate the sculptures simultaneously, the dimensions of the objects and their arrangement in space choreograph the movement of bodies. The act of blowing into the stands trigger sounds to be emitted by the connected structures and encourages the viewer to feel the continuum between breath, sound, and language. By engaging the viewer physically, language becomes tied to the body. Sculpturally, the components of the structures remain deliberately exposed to the viewer, revealing its hybrid materiality and dissolving the boundary between human and machine. Each box holds a finite number of speech sounds, inevitably resulting in fragmented and failed attempts at communicating a clear message. This brings attention to the limits within linguistic structures while asking what might be communicated solely through tone and intonation.
By using these structures to rearrange sounds of language, I’m exposing its capacity for failure and questioning the logic behind systems of knowledge that are often invisible yet deeply integrated into our everyday lives. It is my hope that by reducing language to its most fundamental parts, their sounds start to make sense by themselves – another kind of sense than words do.

“My art practice is based on time. The selected images are from the time period of the start of the covid-19 pandemic. As a full-time independent artist, the new situation didn’t really change for me in terms of social connection since I connected mostly with people through social media. Being from the Asian diaspora and having been living in 3 different main places, managing time-zones keeps me busy if I want to keep in touch with my friends and networking artists.

As an artist, I joined a few art projects mainly initiated by Caucasian Canadians. I was definitely a minority and spent my energy encouraging POC artists to join. But they were too exhausted with anti-Asian racism (for Asians) and systemic racism and police brutality for afro-descendants in Montreal, Quebec, and Canada.

I also lost my ex-wife at the beginning of the pandemic which put me in a more fragile state of ‘heart & mind’. As an overseas and inter-racial adoptee, paradoxically, I was lucky to connect through Facebook with the Montreal Asian group that provided support and self-care. It was helping me a lot that many others out there were sharing their stories. Then, I also joined a few Zoom talks and connected even more with P.O.C adoptees web group discussions. It is very therapeutic (more than expected).

All of this to say that the five selected photos represent this strange time. The last photo and artwork is a work that I made to celebrate my 100 days of confinement (3 months and 10 days -March 13 to June 21). The art piece is made from 100 petals selected from a gift received for my real birthday from a fellow Belgian Korean (also living in Montreal).” – kimura byol-nathalie lemoine