Art Events Data Table

Anne Landa Award for Video and New Media Arts 2013. 

Humour is also an important aspect of Eternal situation, which was filmed on site at the Art Gallery of NSW. A stream of visitors to the gallery pass in front of Kosloff’s camera as they interact with paintings and sculptures in the 19th-century and Old Masters galleries. Set to Whitney Huston’s I have nothing (without you), the artworks become almost anthropomorphised as visitors snap photos or nearly walk into sculptures as they focus more on their mobile phones than on their immediate surrounds. The work forms an amusing, and also a little bit sad, insight into contemporary art viewing behaviours. [source: Kathleen Linn, https://www.artshub.com.au]

LaTurbo Avedon performs Myriam Bleau’s music in a multiplatform audiovisual performance.
Eternity Be Kind exposes the codified spaces of performance and hints at a different future for personal and musical representation.
Navigating between hyper pop, mythical symbolism and baroque hints, the artists propose a multilayered experience of collective mise en abyme.

Eternity Be Kind, 2019. Audiovisual Performance. 30’00.
*Organized by Art Center Nabi, sponsored by Government of Quebec Seoul, Korea
Credit
Conception Myriam Bleau, LaTurbo Avedon
Composition Myriam Bleau
Performance LaTurbo Avedon
Web application development Conan Lai
Choreography Jossua Collin
Production Myriam Bleau + Recto-Verso (Quebec City)

“Eugene” represents the interlinking of broken up pieces to form a new piece of technology, connecting previous ideas to form new creations. Also, represents the wide variety of technology available today and its many uses. We included motherboards to show all pieces of technology that have the same base.

Everydrop-Everywhen, an original soundart work combines laboratory recordings (of bubbles), Antarctic fieldwork recordings (of ice, ambient environments, Weddell Seals, Bowhead Whales) and original instrumental recordings (prepared piano, vibraphone, woodwinds, double bass) to explore human perception and manipulations of timescales, and to rework our understanding of past, present and future by inviting us into a deeper listening of an underwater world.

It exposes and creatively manipulates bubbles. The timeframe in which bubbles ‘pinch off’ and create their sound is very small, a micro-second/s. Scientists manipulate audio-visual recordings (amplifying sounds and dramatically slowing down recorded visual events to capture these tiny events in order to perceive them within human scales (within sonic and visual perception).

Everydrop-Everywhen aims to offer an enhanced, creative approach to identifying and listening for bubbles; for recognising how these tiny, short events (bubbles) are incredibly powerful, beautiful and offer a vital, sonic, portal to understanding and predicting climate warming. It’s also a dedication to the unseen creatures in peril below the melting ice. In this convergent world of the laboratory and beneath ice-melting oceans – timescales are colliding, we re-contextualise the bubble event, and we’ve opportunity to comprehend it’s impact and its potential as part of global ocean warming (and restoration).

Original work of art: One Hundred Horses by Giuseppe Castiglione

Castiglione’s “One Hundred Horses” is presented on four large video screens. In front of each screen there is a plinth with a touch screen on which visitors can draw with a digital paintbrush. The horses in the Castiglione painted scroll are initially mostly all white; the visitor can choose any one from the group they are looking at, bring that horse onto their touch screen, and then use the digital paint-brush to color it in. Once finished, the personally colored horse can be sent back into the painting where it will remain for a while before turning white again. As a consequence, the one hundred horses are continuously being repainted during the exhibition by its visitors, who are given the opportunity by this installation to add their creativity to that of Giuseppe Castiglione’s.

Existential Crisis is an interactive experiential Virtual Reality artwork, that evocatively explores the relationship with the struggle of humanity to create and perceive meaning in the world that they experience, portrayed through the lens of embodiment. Viewers will wear a VR headset and participate in a time-based piece that challenges our normal perceptions of location and spatial relationships. Interactive elements consist of head-tracking and hand-tracking. In the work, multiple environments are all present in a simultaneous landscape, but the user is only ever allowed to see into these worlds via transient moments of time.

Exhibition. ISEA2023 selected artwork, Point Éphémère, Nuit Blanche 2023, June 3

Materials: soil bacteria, rainwater. Discipline: photographs of an evolving artwork. Dimensions: lightbox 110cm x 72cm x 14cm

‘Exoskeleton, topography of a second skin’ are 2 lightboxes with photographs of the Winogradski experiment. The experiment researches what bacteria can tell us about the soil they live in. Soil samples (a highly diverse micro-ecosystem of soil bacteria and algae) were cultured for several weeks. The sealed cultures were developing independently over time, and the bacterial communities were slowly changing color, thereby forming textures and patterns in response to the environmental elements such as oxygen, light and temperature. The end result -the photographs- function thus as a portrait of the region where the soil samples were taken and represent the detailed complexity of the local environment, its genetic, bacterial and geological profile.

Exhibition. Le Cube Garges, April 27 – May 18

2022
Installation, bacterial culture

The installation Exoskeleton Topography of a second skin presented by bioartist Anne Marie Maes invites us to take a fresh look at the microscopic and bacteriological world with which we sometimes unconsciously co-exist. On the central screen, the Non-human communica-tion video presents the communication modes of different bacterial communities. The photographs suspended on either side of the screen present the result of a scientific experiment called the “Winogradski column”.Soil samples were grown for several weeks. Over time, the present bacterial communities have evolved in responses to different environmental elements such as oxygen, light and temperature. The photographs presented constitute a kind of abstract portraits of the region where the soil samples were taken and represent the detailed complexity of the local environment, its genetic, bacterial and geological profile.In the central aquarium, a Sensory Skin is growing. It is a membrane developed by a symbiotic organism composed of bacteria and yeast cells during the fermentation process of black tea and sugar.Interface between the interior and the exterior, between humans and plants, these second skins invite us to rethink the way in which we collaborate with the bacteriological world.

Experimental Body Extension Manufacturing Unit (EBEMU) is an ongoing project where ideas about physical body extensions are explored and prototypes of Wearable Hybrid Body Augmentations partly made from discarded material sources are constructed by a team of leading artists working in close contact with voluntary workers recruited from the local community.

The artists provide a fully functional temporary manufacturing unit and a selection of ready-assembled prototypes. The workers contribute ideas for new products and take part in their construction and presentation.

The Experimental Body Extensions Manufacturing Unit presented a new range of extensions on June 16th as part of ISEA2013 in the College of Fine Art, Paddington, University of Sydney, Australia.

In this selection of experimental films, filmmakers stretch the limits of form, subject and technology. From various camera techniques and post production experiments, to appropriating footage from Google Street View, these works live in the edge of contemporary filmmaking.

This new exhibition describes our reality under the current transformations of technology and society through their artistic vision.

Nowadays, humans are living in two realities. What is the base for the future considering that Artificial intelligence will rule our processes? Recently working on the project about an imagined open-code algorithm, Sapient artists transferred to it the rights to combine the will of the living and the infinite to offer a transparent democracy and explore how technology could improve political fault lines.

Expired reality project delivers a vision of the current world that is in the process of transition to a new round of evolution, when matter dissolves and passes into a new stage of existence. This project includes works that were created by artists using Ai to represent the vision of the future coexistence and asks a question of the imminent possibility of machine replacing man.

Starting with the forest of expired links where all the plants from recycled plastic with a relief of the expired internet links are transforming from virtual existence to real. Artists are bringing the visitor into the landscape of the Null island where the physical existence from the machine point of view starts. Bodyless mesh sculptures are referring to the absence of physical body of the reality inside. Plastic film structure shows the shapes of the humans like blisters from the product without the product itself. Lightboxes generated with Ai transforming the way of creation changing it to a new condition.

Original work of art: From the works of Giuseppe Castiglione collected by National Palace Museum

In this installation, the viewer moves an LCD screen in either direction along rails mounted on the exhibition wall. In so doing they travel across two virtual painted panoramas that are populated with many of the plants, birds and animals that can be found in Castiglione’s paintings. Whenever the viewer stops moving the screen, the painting that is being referenced at that particular position in the panoramic landscape will then appear in its entirety on the screen, together with the work’s title.

Ancestral time in Mangaian cosmology is a multifaceted interwoven continuum where time is space. The fabric of this universe extends from energetic substrates to material manifestations. Within this universe multiple realms co-exist and interconnect through a generative process. Mangaian lineage descends from as we connect to our tupuna through gene-archeological matter, where the past is made present in our genetic material. This video work explores this understanding through the generation of digital artwork.

This is a thermo-kinetic light installation. An exposed crowd of unidentified people protesting under the sun is projected on a thin metallic rod, which is heated to a very high temperature. When anonymous water from the top drops on people on the rod, it transmutes into a luminous mist, dissolving them into vapour and air, without an end.

The work particularly draws upon Cheuk’s distress about the 2015 occupy movement in Hong Kong, where the still recurring pattern is separation, union, and confrontation. Cheuk translates this pattern into a mechanistic and multi-sensory language, autoethnographically augmenting a seemingly innocuous object – a bar handle that caught her attention at the site, exposing and releasing helpless feelings of constant repression. Cheuk’s concern is the fundamental meaning of an object – its mutability and its implications for individuals and society, and with her tools for investigation—electronic devices, video recording, etc.—she extracts, abstracts, and makes palpable the recurring patterns of our day-to-day existence.

Extending Heritage is a virtual reality art piece focusing on the digital preservation of cultural heritage sites with currently available low-cost tools. A practice based exploration of these tools and a reflection of a student and foreigners experience in Hanoi, Vietnam. Centred around a study tour led by local architectural research team Hanoi Adhoc.

Adapted into a multi-modal VR journey utilising audio, video, Gaussian splats, photogrammetry and collaged attempts at low poly optimised 3d Models.

This video artwork confronts the fading soundscape of Australia’s music scene. We witness the stoic facades of once-vibrant music venues, their voices narrating their own closure. Their words echo the harsh realities of economic hardship, rising living costs, and a dwindling appreciation for the arts.

The piece serves as a lament for the silenced stages and the communities they fostered. The absence of music within these formerly energetic spaces becomes a tangible metaphor for the disappearing opportunities for artistic expression. By amplifying the voices of these fallen venues, the artwork seeks to ignite a dialogue about the value we place on our cultural lifeblood.

This is a call to action. It urges us to acknowledge the precarious situation of Australia’s music scene and the wider artistic landscape of Australia. The artwork implores us to consider the cost, not just financially, but also to the soul of the city, when artistic spaces are allowed to fade away.

Immersive audio-visual animation, Dimensions variable, Video, fulldome projection environment, loudspeaker

facades is an audio-visual animation, conceived for performance in a fulldome. Fulldomes are immersive, dome-based projection environments, which – as an interface – allow full and multimodal integration of the viewers in a multi-sensory, potentially interactive, experiential space. The piece challenges traditional concepts of space, reality and perception, and the presented immersive experience is also an experience of instability.
Constructed from arrangements of point clouds, a virtual urban scene is developed in facades. The viewers seem like flaneurs, following streets that are flanked by classical facades. The movement of the viewers is virtual and is generated by the movement of the projected image space. facades is an audiovisual animation, conceived for performance in a Fulldome. Fulldomes are immersive, dome-based projection environments which – as an interface – allow the full and multimodal integration of the viewers in a multi-sensory, potentially interactive experiential space. Ruth Schnell makes use of the properties of this medium. which is comparatively young in the domain of the arts, to explore and challenge traditional concepts of space, reality and percep-tion – a central theme of her art. Ruth Schnell has designed a dramaturgy of disintegration and recon-struction. The seemingly ‘organic” facades and streetscapes appear elastic; diaphanous rows of houses overlay each other, panoramas may unfold. The viewer can move virtually in a horizontal fashion or into the depth of the configuration. The individual motion of the projected content simulates both spatial dynamics as well as a first-person perspective. Sound accompanies this moving image. It is based on the recording of the text No Such Agency, published in 1986 by media theorist Friedrich Kittler about the NSA. Whispered fragments of the text are acoustically placed in the projection, seeming to drift past, and coming together in the virtual space.
For the exhibition in Hong Kong (ISEA2016) facades was reconceived as an animation running on an Oculus Rift.

Media content and animation: Nikola Tasic
Media setup: Martin Kusch, Johannes Hucek
Sound: Alexandre St-Onge, Marie-Claude Poulin

Exhibition. Digitale Zone, Marseille, Aug 1 – Sep 15

The principle of our ecosystem was born from the nuclear fusion energy of the sun. At the beginning of the earth’s birth, atmosphere contained a lot of carbon dioxide and nitrogen and was high Temperature.After that, over hundreds of millions of years, earth’s surface cooled, and the water vapor turned into rain and fell on the earth’s surface, forming the sea. About 4 billion years ago, plants were born in the sea.Long after that, our human civilization formed urban. There are several papers, through NASA’s observation that plants on Earth are increasing as plants that require carbon dioxide absorb carbon dioxide emitted by humans. Here we can find principles and tips for how Urban city and ecosystems can coexist.

The wild flowers that coexist in the Urban are part of the history of the ecosystem born from the nuclear fusion energy of the sun, and may be the ‘face of the universe’.

In a world driven by technology and the world-wide web, Facial Codes tackles the idea of finding familiarity in the unfamiliar. This series of photographs deals with the artist’s memory of past and present. By superimposing circular discs with QR codes onto faces, the artist creates a sense of representational impenetrability in 2D art and design. Using technology to disrupt the recognition of faces, the ironic loss of familiarity and identity is summoned, despite living in an age of modern technology often thought to bridge distances.

A man goes ride to ride at a fair following a woman with a red balloon.

Richard Wright’s early work as a painter was concerned with identifying different approaches to creating visual art and exploring relationships between them in order to escape the notion of an egocentric ‘style· and expose a deeper content level. At first Richard dealt with this mainly as an aesthetic issue. As he went on to experiment with conscious and unconsciously controlled creative processes he began to feel dissatisfied with conventional methods of producing art, and started to use mathematically based systems to provide independent sources of imagery and external constraints on artistic decisions.

Due to the large number of calculations and the precision required for this kind of work Richard turned to computers as the most appropriate medium to work with. His first opportunity to use computer equipment was at Denver Unviversity and he began to exhibit at local galleries the intricate patterns that resulted. After returning to England for the final year of his degree Richard continued his work at the IBM Scientific Centre in Winchester. At this time Richard believed that mathematics could be used artistically as a means of perception, specifically of natural phenomena, by simulating processes and visualising their outcome, and he felt that computer graphics could provide a way to directly experience and appreciate new mathematical ideas about the world.

In order to more fully explore the world of forms he was creating, Richard expanded his systems to allow for three dimensional interpretations and also for the use of computer animation to show patterns of growth and change. This developed into an interest in representation, and through the composition of soundtracks for videos to ideas of synthesising light and sound. Much of 1987 was spent as Artist in Residence at Middlesex Polytechnic writing software to study more and more complex lighting effects and surface properties, becoming intrigued by the realistic yet artificial quality of 3-D rendered imagery, and its power to intimidate perception.

Richard’s work had by now diversified and shifted away from the more formal character of systems art and towards wider issues of their cultural and epistemological status. The aesthetic and perceptual properties of mathematical objects and computer generated graphics are still important, as well as the relationship of visual knowledge with other forms of knowledge. He is now also concerned with ideas arising from the value we assign to mathematics and logic, its role as a description of the world and as an expression of certainty about it, and the conflict between the rational and irrational aspects of the self.

Mapping has been a significant feature of the work since the early Indexes of Art & Language, when the indexing of discourses functioned as a device for the conception of a representational practice, in a context layered with misrepresentations, and void of adequate critical theory. The work, produced then, was centred upon the text and its transformations. Now similar issues are being addressed but the focus of attention has shifted to concentrate on the image in its relationships witb texts.

Maps can be understood as complex devices that allow for the representation of multiplicities, shot through with fissures, fractures and bybridisations. They are not linear traces through the world, although such traces may be threaded through them, but configurational dynamic figures, whose elements fade and iridesce, migrate and translate. The individual, conceived as structuring a meteoric trace within such maps, is used as a figure throughout the work.
The individual’s immediate chthonic context is related to the shimmering intersections of immanent worlds to suggest the extreme tendentiousness of such picturing.

Indexing from one element to another, and across different worlds is a feature of how we all live, but any representation of this, is problematic and inadequate. We are left with snapshots of moments, incorporating fictions and facts, ironies and distances, creation and erasure, alienation and desire. Readers will continue the process and elaborate the palimpsests for themselves.

Family Index: Videogram I and Family Index: Videogram II are two captured moments, elements of which are re-indexed in Family Index: Electronic Iteration VI. All of these and much else inhabits the hypermedia form of the work, Hererotopic Index I; this is a dynamic multidimensional confluence of maps.

Focus Québec Exhibition. Forum des Images, May 16 – 21

Video installation

The video work has the Seven Sisters National Park (England) still life series as a starting point. The series was created following my visit in 2013. The works attempt to translate the uncanniness of the place; mountains and shores made of chalk that the sea erodes with its come and go. My video works are always slow to impose slowing down, to mimic the rhythm of plants and to reward the gaze that looks with attention.

My practice is interested in process, nontraditional tools and materials and the use of camera less photography to reveal aspects of the natural. Through cycles of transformation between the virtual and the physical, I create “new seeds” that I plant in different materials to discover what emerges. The starting point is often natural specimens from a specific location scanogramed.

Fear of Small Numbers invites reflection on minorities in a globalized world. It is intended to pose the question of why minorities – which by definition are small in number and by extension weak, if not powerless – have been, and continue to be, the object of fear, exclusion, and even rage.

My representative of Small Numbers is vaguely human. His/her shape is like a human fantasy of a non-human alien and has a large single eye, which suggests that it sees all. On close inspection, viewers will discover their own eye reflected back to them.

For this video piece artist Bronwyn Lace requested permission from the Naturhistorisches Museum Wien (Vienna) to document through time-lapse photography the process of Dermestesmaculatus (carrion beetle) removing the flesh of a Tyto alba (barn owl). The carrion beetle is typically used by universities and museums to remove the flesh from bones in skeleton preparation. Whilst at first the focus of this video piece may be on the dead and skinned body of an owl after some time it shifts to the movement of the beetles. The video makes visible all the stages of the life cycle of this beetle. While the subject may initially be death and decay it quickly becomes apparent that it’s equally about life. Museums and universities use the beetles to prepare skeletons because they preserve the DNA of the specimen. A sound component has been collaboratively created by South African composers and vocalists Nhlanhla Mahlangu and Xolisile Bongwana. The sound is a meditation on mourning.

FEED is an interactive installation that explores the notion of the self and the fragmented existence of bodies and sensorium. Combining video game elements, spatial soundscape, and transmedia storytelling, FEED takes the audience on an immersive audiovisual journey in a panopticon-like complex. While a tracking apparatus constantly scans and monitors everything in the space as if an autonomous being with many eyes, the audience plays the role of a computer mouse, a curious listener and user walking on a long scrolling feed, passing by various characters in their internet cubicles, and potentially getting lost in this internet labyrinth full of joyful colors and sound events.

Powered by movement, Feedbike reveals the ungrasped between void and short-circuit. Amplyfing silence to its extinction, whom activates it craft audiovisual signals through electrical brownout. Working on the distinctiveness of sound signals, Feedbike produces an audio-driven synesthesia of hypnotic lines drawn from the stereophonic disparity and feedback.

A/V performance for augmented bike wheel generator.

ISEA2019 Closing Performance and handover event

Fiat Lux is an interdisciplinary performance creating a narrative of another start of a light at the closing ceremony of ISEA2019 which sheds light upon the theme Lux Aeterna (Eternal Light). The paradoxical relation between light and darkness is shown through the corollary generation of shadow from the creation of light. After the solar eclipse with which the light is temporarily concealed, the resurrection of light begins.
Credits: Director/Video Jayoung Chung, Stage Management Geun Tae Park, Stage Lighting Junkwon Kim, Music Sangmin Park, Performers Banya lee, Seokyung Kook, Miso Lee, Daegeum (flute) Hwangchul Lim, Percussion Jiyoung Lim, Production Assistant Junyeop Kim, Video Mapping Assistants Hyejin Park, Sujin Lee.

The event, and ISEA2019, will end with the handing over to the organisers of ISEA2020 from Montreal, Canada.

The interactive installation filter *.com seeks to intensly immerse both participant and spectator with digital content that connects with the concept of the filter in digital media.

“Firecircle ver.2” is an interactive installation work with sound and lights. It is an open air media art “alternative moment” piece.

ISEA 2018

The Fireflies Memorial is a long-term-project which aims to build a hybrid habitat in memory of the murdered ecologists and environmentalists; a collaborative work that pays tribute to all the people and organizations that are committed to the protection of nature. It is also a stance to remember people in Latin America and South Africa who had been murdered during their struggle, such as Honduran environment and human-rights activist Berta Cáceres; Brazilian environmental activist Chico Mendes; and, South Africa’s Wild Coast anti-mining activist Sikhosiphi “Bazooka” Rhadebe. This participative version was installed at The Green Camp Gallery, a rehabilitated space converted into an organic and sustainable lifestyle hub on urban farming and creativity based in Durban founded by Xolani Hlongwa.

The installation is a work-in-progress that combines light-emitting diodes (LEDs) –simulating fireflies sparks– and organic farming –in teamwork with Nkazimulo Gabuza–; sounds of the Amazonian Huirapuru bird and the South African cicada insect; a visual projection by Crosby Luhlongwane; and, written and spoken texts by Mzwandile Mlangeni which were nurtured and inspired throughout the happenstances.

Both artists have a performance based and robotics background. They came together to create machines that is both obsolete and abstract. One machine will throw chips at seagulls, another bangs rocks together under water, and thus attracts fish.

It is “a humorous wink towards Eadweard Muybridge: ‘Chips’ is a study of seagulls in flight”. It is also “a modified and automated version of a Lenonardo Da Vinci designed catapult”. Its main drive is a pre purposed windscreen wiper motor sourced from various car wrecking yards.

Flat to Fliction is a short (5 minutes) animation in 3D (with glasses) that will be viewed in Knowledge Village in the CYVIZ company screening room.

Fleshed Networks is a non-linear narrative environment that explores intersections between the real, virtual, human, technical and ecological forms. On entering the space, the user finds a visceral network surrounding them; the networks are cyborg bodies created by merging human and non-human elements. Purple flesh is embedded with technical and organic parts that appear to look down on the user. In Fleshed Networks, the idea of ‘now’ is changed from the historical notion of being present. The user experiences a sense of concurrent existence in multiple locations, creating a feeling of being in different places simultaneously. These dual presences, challenges the linear progression of time and space which allows for a more fluid temporal experience. The user exists in their real environment, and their avatar inhabits the VR space.

A short looping film of animated technical aeroplane drawings describing flying either horizontally or vertically. I can adjust colours and axis according to the project surface. The aeroplanes appear to be moving their wings in enabling them to fly. This could be challenging but also provoke thoughts about the global and unstable times in which we live.

Floating Satellites is an audiovisual interactive installation that uses the real time position’s data of artificial satellites around planet earth to generate sound and visuals.

Conceived and programmed by Michael Girard & Susan Amkraut

Special thanks to Charles Csuri, Thomas Linehan, Susan Van Baerle, Julian Gomez, Kathy Simpson and the rest of the Computer Graphics Research Group of Ohio State University.
Electronic Still Store courtesy of Cranston-Csuri Productions

By the Electronic Disturbance Theatre:

FloodNet is the first global online political protest software that successfully implemented electronic civil disobedience, launching a new era of hacktivism. FloodNet disrupted traffic to a specific web server and wrote messages to its error log, successfully bringing attention to Chiapas, Mexico. This first FloodNet strike had over 8000 global participants, and made history on June 10, 1998, when the Mexican government implemented a countermeasure that caused any browser running FloodNet to crash. The Mexican countermeasure shows that through popular electronic civil disobedience, FloodNet participants forced the Mexican government to acknowledge global Zapatista solidarity, making the work a historically significant example of hacking for a political cause.

Flow (2) was created from an intention to produce a video art work by fusing computer-processed images and actually recorded footage. Through the video system, I created the work, which presents the world over there (riverbank scene), the world over here (human consciousness), and the world of the medium itself from a viewpoint of “flow”.

Georgie Pinn is an interactive creative technologist who makes large-scale multi-sensory art experiences in public space using projection mapping and interactive generative animation. Her creative process is driven by a long term research into how immersive tech and intimate storytelling can be used to connect people, dissolving prejudice, bias and fear through empathy. She has over two decades of experience working as an audiovisual content creator, developing ideas for festivals, cultural institutions, AR and VR experiences, music videos and sets for theater and fashion.

She explores new creative forms of expression by triggering electronic sound and real-time animation with motion capture gestural devices, allowing the public to manipulate the audiovisual layers of her work. As they embed themselves into her artwork, they gain creative agency, blurring the line between artist and audience. These projects creatively explore the physical installation space but also the augmented dimension and the virtual worlds, offering multiple outcomes for her ideas to reach diverse audiences.

Georgie’s work is intimate, she personalizes and personifies technology, giving it a story, harnessing emotional intelligence and giving agency to the audience to express and connect.

Inspired by the swirls, vortices and lemniscate-like patterns created by moving fluids, Flowforms uses the movement of coloured dyes in a semi-viscous liquid to generate an electroacoustic soundscape in realtime. Video tracking coloured droplets of ink dripping into a clear viscous liquid, mapping to image processing and individual grains of sound combines process with signification, determined by the natural indeterminate dynamics of fluid motion.

Animation, 2015, 3’15”, ISEA2016 Hong Kong Open Sky Project

A new work developed for the Human Vibrations festival and ISEA2016. Generated flies will crawl up the biggest media facade in the world and write different words.

Our times are characterized by transience, impermanence and change. For the largest screen in the world, we propose a short sequence composed of a swarm of artificial flies. They slowly appear, propagate and gradually invade the whole ICC Tower, before flying away again. A short text “Fly High – Time Flies” reminds us of the beauty of the current moment.

Blurred under a cloud of uncertainty, world is a phenomenon with undergoing changes surrounded by manipulators of various benefiters. Fog represents dominance as a weapon of choice.

The existence of bees and humans are very interdependent. According to Albert Einstein: “If the bees disappear, the human being has only four more years to live; no more bees, no plants, no animals, no more humans.” As pollinators they have a huge value, insustituible for people and nature. From a monetary standpoint, the work of these small insects reaches (only in Europe) 14 billions euros per year! All the huge diversity of bee species has one thing in common: the passion for flowers.

Soundtrack: Peachonfuse – ”I’m free, I’m not free”

Combing minimal animation with the unique shape of the ICC building, ‘Food Chain’ is a series of whimsical incidents about predator and prey. Jay hopes to bring a moment of humor to this highly dense concrete jungle by using the power of imagination.

Is there ever a ‘right’ time to discuss contentious issues from our past? What benefit can be gained by remembering a wrong? Can a wrong be righted in the remembering? Can film making be used to aid understanding and healing? My contention is, that the use of recording devices in post conflict societies, can aid individual self-reflective remembering in the re-telling of past events. Combined with openness of officialdom, with regard to access to historical documents and records, a history can be re-storied and told in a way that aids and facilitates closure on past events. This can be of value not only to individuals who feel their story has not been heard or understood, but to a post conflict society as a whole were large public inquires are not possible or economically viable.

The case study
In December 1956 at the age of 23, my father, P.J. McClean, was arrested and taken to Crumlin Road Prison Belfast. He was accused of ‘having acted or being about to act, in a manner prejudicial to the Peace and Order of Northern Ireland’. Because he would not sign a paper admitting to this, he was held indefinitely by the then Minister of Home Affairs, W.W.B Topping. This turned out to be for almost four years of his life. He was never taken to court or given a reason why he was selected for internment but when he was released it was an ‘un-conditional’ release. He left there never having a prison record, having never been a sentenced prisoner. At that time, Dad was only one of several hundred men interned from across Northern Ireland. This period in our history has been largely forgotten due to the more ‘explosive’ news stories in the late 60’s and early 70’s and the increase in communication/media technologies and the use of public campaigns. Can his story be remembered and discussed now in a way that does not alienate or inflame an old wound?

The film
The focus in the film FOR THE RECORD is my father’s prison diary, secretly written on the inside of envelopes during the first 30 days in his cell. It brings the viewer into the intimate space of personal testimony and record. This intimacy is also reflected in the interviews between my father and myself, by the use of close up camera shots and the nature of the discussions themselves. The space between asking questions, as an interviewer might, and having a daughter/father conversation, is blurred, bringing into question the nature of conventional documentary filmmaking technique used in recording testimony.
Throughout the film, the prison diaries are illustrated with experimental Super8 and 16mm footage of home life in County Tyrone, shot by me over a period of 10 years. The intention of the work is to record and remember that which has been left unrecorded and unseen through media representations of the conflict to date. Personal remembering combined with the airing of closed public records has led to a necessary and timely catharsis:

“Remembrance and commemoration are difficult peace-making strategies and memories of the conflict can be obstacles to successful post violence adjustments, nonetheless memory must become an object of public policy after communal violence.”
_Memory, truth and victimhood in post-trauma societies, John D Brewer

Force Fields is a twenty-minute video and sound composition that has been edited to 5 minutes for ISEA, using custom developed video manipulation hardware. The unique device developed in 2008 called the AV5-Error enables sound to be forced into an active video signal. Sound then becomes visible through this process. The structure of Force Fields consists of eleven short compositions recorded live in a studio context. Each composition consists of short arrangements of a various pure tone frequencies, metronomic pulse wave clicks, white noise and microphone feedback being forced into monochromes of broadcast test tone colour bands.

Formal Movement is concerned with the changing relationships between three dimensional forms. A recording of realtime generative animation the forms movements are choreographed by a randomised algorithm.

FORMations reflects the natural ecology of food and flora in the regions between the traditional lands of the Kanien’keháka and Muh-he-con-neok people (Upstate New York) and the territory of the Anishnaabeg people of the Three Fires Confederacy (Southwestern Ontario)—two areas the artist frequents. Sampling the earth, indigenous and collected plant species, and leftover foods,
FORMations examines the constant evolution within the timescale temporalities of an ever-shifting cultural and geographical landscape. The petri-dish environment makes visible the invisible by providing a medium of growth for the microbial and bacterial communities that naturally exist within food and our overall surroundings. This enclosed environment gives metaphorical and visual connections to the often ignored or erased narratives and the layered complexities of hybrid existences that many newcomers (human and nonhuman species) experience in their respective, evolving habitats.

The work gives a visual nod to the artist’s cultural heritage in referencing geometric forms found in South West Asia and North African architecture and Islamic art, while acknowledging the larger
landscapes, foods, resources, and diverse ecosystems that make-up Southwest Ontario & region.

Santi Vilanova, artist of the Playmodes collective, presents a new performance mutation of FORMS. This new iteration of the project -whose “Screen Ensemble” version is part of the Beep collection of Electronic Art and of the exhibition that can be seen at the Recinte Modernista de Sant Pau- explores the compositional possibilities of visual music through generative graphic algorithms and image sonification.

On this occasion, the artist has developed a live controllable audiovisual system, which generates infinite variations of sonicated spectrograms, and which operates halfway between the sound machine and the live musical instrument.

A series of generative graphic algorithms produce spectrally coherent images, based on a set of randomness and probabilistic parameters controlled in real time by the artist. These sonograms are sonificated to generate soundscapes that may or may not incorporate elements of “classical” harmony and rhythmic periodicity.

The real-time sonification process analyzes a column of the image -the header- and links the brightness of each pixel to the amplitude of a sine wave bank. This is the reverse process of sound spectrums representation: instead of visualizing existing sound recordings, a visual representation is created first and then transformed into sound by additive synthesis.

In short, the engine becomes a digital instrument for sound and visual creation that can refer both to the more conservative schemes of music inherited from Romanticism and to the atonality / microtonality of the twentieth and twenty-first centuries, as well as opening a new audiovisual creation field that unifies sound and image in a single common code.

This work consists of six audio-visual automata in the form of artificial ecologies which possibly contain a social message.

Forms -Screen Ensemble- is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski.

Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture.

Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats.

Forms – Screen Ensemble was presented at 2020’s edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and Hangar.org.

Forms is thought to be a flexible instrument in terms of formats and aspects. Because its fundamental nature is rooted in visual music algorithms rather than in a matter-specific phisicality, it can take many different forms. Although the Screen Ensemble takes the form of an automata inside boxes containing screens and speakers, we’re working on multiple derivatives that transcend this format: a live performance where a string quartet interprets the realtime generated scores; an immersive installation based on video-projection and multichannel audio; a software for live computer music or an internet streaming bot.

Fox & Drum’s electro-acoustic performance, enhanced by quadraphonic audio and visual synthesis, is an immersive journey into the convergence of sound and technology. Hailing from Newcastle, Australia, we blend modular synthesisers, acoustic instruments, and cutting-edge digital tools to craft a multidimensional sonic experience.

Our collaboration bridges the gap between art and science, weaving Jon Drummond’s expertise in sonification and data visualization with Huw Jones’s dynamic music production as Fox Control. Through quadraphonic sound, the spatial dynamics envelop audiences, creating an environment where music transcends traditional boundaries.

Visually, our performance integrates real-time visual synthesis, transforming sound frequencies into captivating imagery that evolves with the music. This synthesis not only enhances the auditory experience but also enriches the narrative of each composition.

Our exploration extends beyond mere performance; it’s an exploration of how technology can deepen emotional resonance and expand artistic expression. By pushing the boundaries of sonic and visual possibilities, we invite our audience to join us on a transformative sonic odyssey that challenges perceptions and inspires new connections between sound, art, and innovation.

There is in nature, a mysterious and complex mathematical system that repeats itself over and over again, an underlying geometric pattern in forms as disparate as clouds, mountains, trees or our own circulatory system. Its distinctive feature is self-similarity, the same configuration that is repeated at different scales, branching out infinitely. There are those who believe that it is “God’s fingerprint”, “the absolute truth of the universe”.

In Fractal Listening, any attempt at stylistic corseting is diluted in the hybridization of artistic languages. Thus, the fractal images dialogue with acoustic and electronic sounds in an interweaving of infinite kinesthetic notes. In this way, abstract figures in strident colors outline mandalas and enigmatic portals, piercing the virtual canvas with three-dimensional shapes that evoke sacred geometry. This incessant algorithmic repetition generated by pre-established codes, sometimes follows a visual choreography and other times -altered by the frequencies of live sound- it improvises an organic dance, introducing variations to the original pattern. Simultaneously, the sound dimension is embodied in layers and loops, intertwining the electronic bases of IDM, ambient and experimental with the live chords of a guitar. Intervening the work, a trumpet interprets vibrant and moving jazz melodies with harmonics that generate sensations of body and spirit, closing the virtuous circle with a sensory, immersive and enveloping atmosphere.

In 2019, Microfeel & Santiago Bartolomé began their collaborative work with the aim of furthering their respective creative pursuits. This path of experimentation materialized in different artistic proposals. In 2021 they created the live show AV Fractal Listening, the work combines digital art, electronic music and the guitar of the multimedia artist Microfeel (Sebastián Seifert) with the trumpet and processes of the musician and composer Santiago Bartolomé.

Fractures and Faults is a long-form piece using sounds from a natural artesian spring within the Great Artesian Basin aquifers, Australia. This composition uses field recordings from a series of hydrophones placed within the natural spring where the groundwater seeks fractures of faults and folds in the Great Artesian Basin. Hear the underground turmoil as the pressurized water forces its way through the Fracture Zone, rises to the surface, escapes the discharge vent and flows towards the wetland.

The Great Artesian Basin is a groundwater system resource that covers four states of Australia, over 1.7 million square kilometres. This groundwater system is a vital resource. Many parts of the country have surface water of limited supply or of poor quality. Agriculture, irrigation and industry account for over half the use of this groundwater. Mining and petroleum production industries located within the arid areas of Australia rely solely on groundwater and mainly use resources that are not renewable. Natural ecosystems, including native flora and fauna, depend on this groundwater, often as their only water source. The Great Artesian Basin also has cultural significance for the Aboriginal people for their Creation stories as well as vital water sources, especially in times of drought

Fragments is an audio-visual project born from the collaboration between the digital artist Dylan Cote and electronic music producer Romain Poncet (Traumer). Assembled as a 30 minute live performance or a 15 minute film, Fragments proposes a new aesthetic that is inspired by both the physical and digital worlds. The project protagonises 3D rocks, presented as fossils or remnants from a civilisation, lost between past and future, organic and digital.

This new audiovisual project by Romain Poncet (Traumer) and Dylan Cote explores the progressive hybridization of digital rock fragments extracted from an artificial earth. Fossils of an unknown future or computational sculptures, these fictional geological elements suppose a disturbing hybridization between the entrails of the world and digital technologies. Music and images then draw an organic world marked by artificiality, unless it is, on the contrary, a digital world reproducing our tangible world.⁠

For this project, it is with Romain Poncet’s suit that he produces powerful music, accompanying the hypnotizing visuals created by Dylan Cote.⁠

Artists: Camille Bertagna, Alice Bleton, Alexis Carcuac, Florian Carro, Chloé Charrois, Clémence Delmotte, Eloi Derôme, Fanny Garnichat, Agathe Joubert, Mathilde Gentil Fauçon, Abel Llavall-Ubach, Roxane Marquant, Lucie Morel, Thomas Nguyen, Mickey Pujolar, Vivien Roussel, Ken Sakamoto, Romain Serafini, Pauline Vialatte de Pémille, Aude Villerouge, Yuri Zupancic

Fragments: The Shape of Things is an audiovisual performance in which 2 human performers act live on Artificial Intelligence and Artificial Life algorithms to generate and modulate a poetic immersive experience.

The 35 minutes performance is divided into acts that form an immersive journey from silence and darkness to an explosion of light, sound, and frenetic images. The piece uses the concept of fragments, small elements that are transformed and reconfigured, to explore technologically mediated human connections, perceptions, and memories. These fragments consist of sounds, videos, and photogrammetric objects that are scavenged from the news, created by the artists, or generated by algorithms. During the performance, those fragments are analyzed and modulated live by a set of Markov chains, Spiking Neural Networks, Machine Learning, optical flow, and other AI & A-Life techniques. In front of the audience, the artists orchestrate the action of those algorithms and guide the public into a journey that moves from darkness and absence into a growing torrent of sonic and visual stimuli.

The work explores the aesthetic experience emerging from the “human/ non-human” collaboration and how complex systems algorithms can generate new improvisational triggers for human performers. Furthermore, Fragments: The Shape of Things intends to explore how artificial intelligence technology transforms human experience by recombining and reconfiguring real-world data such as photos and videos into virtual telematic experiences.

No statement available.

Arts numériques Fest Exhibition. Théâtre-Sénart, May 2 – June 3

Dylan Cote & Pierre Lafanéchère are ISEA2023 selected artists

Framed Earth is part of a series of artistic works around the world generated by Google Earth, produced by Dylan Cote with Pierre Lafanechère.

The landscapes of Framed Earth, immersed in the ocean, linger on dwellings, places of life. Having become islands, these pieces of worlds remind us of how we inhabit digital space and navigate the ocean of data. We sail from island to island, from bubble to information bubble, more or less populated, isolated, connected to each other. Behind the tangible framework represented by the edges of our screens are drawn informational frameworks that sequence, divide and reaggregate the worlds we inhabit.

To live is however not simply to spatially occupy a place, it is also to project one’s affects there and by constructing a story there. These imaginary digital habitats unfold in several forms and inspire different stories, sometimes absurd, even scary, between autarkic desertion and a post-apocalyptic world.

Anne Landa Award for Video and New Media Arts 2013. 

An announcement comes over the gallery’s PA system asking for quiet, a obedient hush falls over the crowd. Moments later flushed joggers arrive and a soccer team follows. Cyclists carry their bikes over their shoulders through the crowd, an older couple dressed in hiking gear with maps navigate their way through the gallery. The unfolding of this diverse gathering is a performative work called Free Time by Alicia Frankovich. [source: Kathleen Linn, https://www.artshub.com.au]

In ‘Free time’, Alicia has choreographed a live series of spontaneous performances by invited participants. An expansive new work for the Anne Landa Award, Free time confronts the viewer with a landscape of bodies, recontextualising actions from a myriad of contemporary work and leisure situations in unexpected ways.

This piece is an extension of her work The Opportune Spectator, which is also being performed during the exhibition period.

From Here to Another Time features Postcommodity artists Kade Twist and Cristobal Martinez using a prototype of their purpose-built sound-engine for a forthcoming project called Cosmovisión. These recordings document Postcommodity performing unusual duets using earcons associated with sounds that reflect the places they are from (like a Kit Fox and Sonic Boom). With their sound engine the artists use granular synthesis techniques to tell a set of short stories that underscore their experiences growing up in Bakersfield, California and Alcalde, New Mexico. The recording reveals a curious, peculiar, urgent, and personal exploration of land, culture and community. Postcommodity believes that this “instrument” enables its performers the opportunity to collaboratively engage in symbolic exchange and the intersubjective negotiation of meaning.

Track 1 Sprinkler and Bullfrog
Track 2 Tule Elk and Thunder
Track 3 Gun Disassembly and Pumpjack Track 4 Kit Fox and Sonic Boom
Track 5 Bird and Door
Track 6 Lowrider and Foundry
Track 7 Dogs and Dove

From Kellie to Teddy Bear to Telephone grew out of the desire to make a series of objects that could be experienced primarily through touch and which would concentrate attention on form. A recognizable, tangible form changes step by step into another form. It is a journey
that can be felt through the hand and needs memory to connect the beginning, middle and end.

The computer was used as a tool to turn an illogical, unlikely idea into a logical metamorphosis of disparate forms, performing a task the human brain would think twice about taking on. This work formed part of an exhibition called ‘Feeling to See’ held at the Arnolfini Gallery Bristol in 1987 as part of the T.S.W.A. 3.D. project.

Mark Dunhill and John Joekes worked in collaboration with Martin Rieser to produce this piece with the assistance of Chris Hales and Rosalind Whittard and a number of students from the Art & Design Department at Bristol Polytechnic.

From Navigation to Supersonic Return tells the story of Romana da Conceição, a Brazilian who traveled from Salvador to Lagos on the ship “Aliança” in 1900. When she was 12 years old, joins that of singer Okwei Odili, who in 2015 migrated from Lagos to Salvador. In 1963, Romana had the opportunity to visit Brazil, invited by Brazilian government, interested in establishing commercial relations with the newly independent Nigeria. Her trip was documented by leading newspapers back then. The posters bring excerpts from the documentation of this visit together with an archival of the story of Okwei Odili, made after an interview with the singer, enabling a crossroad of cyclical migration histories.

From the Edge is one of a series of audiovisual installations by Teresa Connors that explores the environment of Newfoundland, Canada. The work expands on Connors’ use of environmental data-sets as an artistic device to create nonlinear artworks for public engagement. The creative system is coded to live-stream data off the SmartAlantic St. John’s Buoy, which is located 1 kilometre offshore of Cape Spear, NL. The buoy is capable of measuring and transmitting a variety of atmospheric and surface conditions, including surface temperature, wind speed and direction, wave height, period and direction, as well as ocean current speed and direction.

From the Edge is coded to stream and parse these data-sets to trigger and shift parameters of this nonlinear work, which includes a visual particle system, audio and visual field recording material captured off this coast, a live streaming hydrophone feed from the St. John’s SmartBay Buoy and improvised musical motifs. Developed in Max/MSP, the work continually evolves depending on the transmitted measurements. This work builds on the author’s notion of Ecological Performative, which considers the context and creative process and the resulting artifacts as a responsive embodiment of larger structures of phenomena.

A new technology start-up company claims to offer a certain kind of ”immortality”: users can choose between erasing the deceased’s electronic footprint or uploading it to virtual heaven, permanently secured and published on an immutable blockchain, allowing the addition of remembrance NFTs to the memorial. This website ”FuneralPlay” speculates on a near future when diverse ideologies and values are accepted within the setting of a funeral: apart from traditional religion, a series of subcultures are emerging as new elements in a funeral scenario. As a result, cat meme lovers, boyband fandoms, fengshui masters, otakus, gangsters, cypherpunks… all can find a private post-mortem comfort zone. This journey records the recent life dynamics of some residents on the platform.

The Fusion: Landscape and Beyond series explores the nexus of nature, urbanization, and artificial intelligence (AI), reimag-ing “AI Memory” as a participatory archive, where AI trans-cends from a mere tool to an integral participant in crafting synthetic memories that resonate with the collective cultural narratives. Beginning with “Synthesis of Time and Terrain (V1),” the series juxtaposes traditional Chinese landscapes against AI’s modernity, reflecting on environmental and urban shifts. Utilizing animations and augmented reality generated through advanced self-fine-tuned Stable Diffusion model, it examines the tension between natural beauty and urban expan-sion. The subsequent phase, “Calligram of Contrast (V2),” introduces an interactive installation merging AI-generated cityscapes with traditional brushworks, invoking a philosophi-cal pursuit of harmony amidst environmental concerns. Through Clip Interrogator technology and infrared tracking sensor, the 2D canvas is transformed into a 3D space that is interactive and intrusive. The finale, “Illuminating Urban Scars (V3),” critically scrutinizes China’s halted urban projects, rep-resenting the repercussions of unchecked development and human cost. This trilogy highlights AI’s ability to fuse historical artistry with contemporary issues, positioning “AI Memory” as a critical medium for cultural discourse and digital heritage.

What are the changing conditions for Archaeology in underwater ecosystems? Can challenges be predicted and solutions imagined using Machine Learning?

With the passage of time, underwater artifacts are encrusted with coral, algae or other marine organisms. How do human activities and pollutions undermine these natural environments? What will our underwater heritage be like in the future?

The project: “Future Memories of Deep Water” explores how algorithms can be used for predicting new entanglements between underwater artifacts and the changing environment where they are discovered. We reflect on current problems and dangers for marine environments, such as “plasticrust” and plastic pollution.

Built upon experimental speculation, Future Memories of Deep Water calls for the protection of threatened marine ecosystems and aims to create awareness and encourage preservation of cultural heritage.

single channel HD video, duration 5 minutes

“When you cut into the present the future leaks out” – William Burroughs
Future Plants is an elaborate manipulation of media – a neon noir, rain spattered window into the near future; a love letter to science fiction with a utopian ambition to affect the future itself. Immersive virtual installations of techno-orientalist botany pulsate in infinite darkness. [Source: Vimeo]

Gambiocycle is a Mobile Broadcast unit. It is a tricycle containing electronic gear for interactive video projection and digital graffiti in public space. The vehicle is inspired by anonymous ambulant salesmen who ride on wheels through Brazilian cities, mostly selling products or doing political advertisement. Gambiocycle subverts this logic by gathering elements of performance, happening, electronic art, graffiti and “gambiarra” (makeshift, kludge): what it advertises is only a new era of straight democratic dialogue between people who participate in the interventions and their cities.

The human fascination with the mystical power of vision and sight is a recurring theme in world mythology, resonating in legends like the petrifying gaze of the Gorgons or the ominous “evil eye” across various cultures. Despite the rich landscape of sight-based magic in myths, these concepts often fall into oversimplification, missing the broader narrative context. Our project pioneers an eye-tracking-based virtual reality experience, inviting participants to immerse themselves in global mythology from a first-person perspective. Journeying through tales from Arabian folklores to Asian spectral stories, players engage in a unique blend of storytelling and remembrance.

Our design transcends traditional textual storytelling by immersing participants in captivating visuals and interactive narratives, empowering them with supernatural vision power. We move beyond mere replication of narratives, fostering playful and open-ended interactions that ignite the audience’s imagination and invite diverse interpretations. Enabled by generative AI, each space presents players with a single-lined poem upon completing a mythic journey, offering fresh perspectives and unraveling open threads of possibilities. Players’ personalized journeys contribute to a shared mosaic of poetic expressions, co-created by explorers on unique paths. Through the integration of gaze interactions, immersive storytelling, and generative AI, our work encourages collective reimagination of myths, rekindling our connection with profound visual themes resonating across ages.

Artificial intelligence and human designers come together in this generative, participatory ‘cloud art’ work made with mathematics and Darwinian evolution by Draves’ Electric Sheep open source code. The essence of life is created in digital form in the artwork’s cyborganic mind comprised of 450,000 computers and people who vote on their favourite designs which reproduce according to a genetic algorithm.

Gendernaut is an English term that we could translate as “navigator of gender”, and that invokes Jason’s argonauts. The term appears for the first time in the documentary Gendernauts: A Journey through shifting identities (1999), directed by Monika Treut, to refer to people who travel through shifting gender identities.

This artistic research project questions, in a first phase entitled “Queering the software”, the forms of construction of the hegemonic archive through the design of a plugin that allows the collective creation of archives through an online interactive multimedia experience and, in a second phase entitled “Queering the archive”, proposes new ways of visualizing narratives based on transfeminist and queer genealogies through transmedia and performative experiences that conceive the archive as a living interactive space, free of heteropatriarchal codes, inhabited by multiple bodies and subjectivities that relate past, present and future to come. The series articulates an extensive historical investigation through a diversity of thematic threads that the feminist, queer and trans movements have been weaving during the last four decades in our political and artistic context. These genealogies link a whole series of historical, artistic, collective events, actions, campaigns, exhibitions, interviews, fanzines, performances, etc. forming a complex amalgam of relationships between art, politics, memory and activism.

Gendernaut is a trans-temporal and trans-spatial traveler that will invite us to travel through time through a genealogy of key events in the memory of the feminist movement and the LGTBI movement in our context. During this journey, he will show us the archive through a transmedia and performative experience to understand how the representation of the future in history has been imagined from a transfeminist and queer perspective. Queering the future…

Focus Québec Exhibition. Forum des Images, May 16 – 21

A Generative Adversarial Network
This work takes its name from the software framework used to create its imagery as a self-referential point in order to reveal not only how the images are created, but also how the idea of the public has shifted in a so-called free society. The parameters of what constitutes an adversary are constantly shifting depending on the context and perspective, but within machinic perception, they remain fixed within the biases of its programmers and the dataset, or society and their polity. For ‘A Generative Adversarial Network’ a machine-learning algorithm was trained with a dataset gleaned from millimeter-wave security scans. Rather than using it for security screening as intended, the algorithm creates new images of imaginary people. This methodology of AI creates new images from random noise by continually updating and re-evaluating the imagery, at times breaking down, becoming confused and starting over – not unlike our global security apparatus.

Genetic Legacy: Cell Babies [iPSC SK1 & SK2] by Svenja Kratz is a mixed media and video/audio work incorporating fixed cultures of induced pluripotent stem cell (iPSC) clones (SK1 and SK2) created by reprogramming the artist Svenja Kratz’s blood cells. Inspired by the relative immortality of cell lines and the artist’s dwindling reproductive capabilities, this work reflects on the potential of cell culture and genetic engineering technologies to acquire an alternative genetic legacy when traditional reproductive pathways are compromised. In this instance, the resulting iPSCs are envisaged as unconventional offspring for dissemination and proliferation via global biotech distribution networks. Building on precursor work The Contamination of Alice: Genetic Legacy, the revised edition includes a central sculptural element integrating fixed iPSC cell lines. This component is flanked by three interrelated sculptural panels. Incorporating laser engraved acrylic this element contrasts visuals of shared, deep-time, evolutionary and cross-species conceptions of life with current issues regarding ownership and commercial application. In this way, Genetic Legacy: Cell Babies [iPSC SK1 & SK2] reflects on more-than human entanglements and the conflicting priorities of personal/commercial gain versus shared responsibility. This iteration was researched and developed during a 2021 ANAT (Australian Network for Art and Technology) Synapse Art-Science Residency with scientific collaborators, A/Prof. Brad Sutherland and Dr Jo-Maree Courtney from the University of Tasmania’s School of Medicine.

Two Native American geoliths on the California/Arizona border and a NASA site in Arizona are scanned in 3D, rendered, and animated as flyovers as islands in deep space. An apocryphal story of an encounter between a Navaho tribal elder and the Apollo 11 astronauts is narrated by Desmond Bovey.

Screen images for “Geometries of the Sublime” transform the poetry of algorithmic pen & ink drawings into a poetry of architectural light.

(bpm production)

Man&Wah invites you to slow down and relax to the ‘Gifts of a Blue Pearl’, a stunning visual display born out from the creation cycles of the earth and the cosmos. It is a visual celebration and homage to the glorious blue pearl – earth, and the magnificent life forces at play from a cosmic perspective.

Man&Wah employs technology contrary to its current zeitgeist of instant consumption and speed. Rather they deliberately use technological tools to slow down and stretch out time, submitting to the wonders of gradual unfoldment – akin to the wonder and mystery of a blooming flower, or a metamorphosing caterpillar.

Glaciers are sentinels of climate change. They are the most visible evidence of global warming today. This series of works embodies the stunning beauty, rapid change, fragility, destructive power, and magnificence of glaciers. At the same time, they challenge the audience with the dramatic, irreversible ecological damages from climate change.

In Glacier’s Lament, we used data from glacier melting in the past 60 years to compose music and dance with local musicians who have witnessed the recession of the Mendenhall glacier over their lifetimes in Juneau, Alaska. Each note is one season in a year. In the winter, the glacier is frozen, so the pitch is low. In the summer, the melting rate rises, so the pitch is high. Towards the end, the melting overflows into spring and autumn, and the melting in the summer becomes faster. We filmed the artists performing the piece on the glacier, collaborating with the glacier’s own sounds.

There are four color cards in PANTONE for glacier blue. However, in real glaciers, this blue color is variable and dynamic. As glaciers are disappearing, this unique blue is also disappearing. We sampled and blended the blue color from glaciers in Alaska and hung them in recycled glass vials. When one glacier calving happened, one color vial fell down. At the end of the exhibition, all 60 vials fell down, forming a painting on the canvas beneath.

Through a networked camera placed overlooking Loch Faskally, Scotland for 2 years and programmed to record images a pixel a second, Glenlandia addresses the relationship between the natural and the man-made, and our perception of landscape and technology over time.

The project uses digital practices and processes to blur the lines between photography, data visualization, textile design, and computer science.

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

2023
Poly(methyl methacrylate) sculpture, LED, painting, engraving, video mapping, stereo sound.
Courtesy of l’Adagp

Executive production: Crossed Lab / Julien Taïb
Creation of the sphere: Rhizome association
Video design & production: Joan Giner
Motor development: Jean-Baptiste Guedon
Sound production: Marc Behrens.

The story is about the relationship between a father and his son and the struggle of acceptance and self-identity.
Throughout the story we follow Takeshi and his 13 year old son through their daily life as sushi makers in the city of Tokyo. Takeshi, is a very well known and respected sushiman coming from a traditional family of talented sushi-makers. His son, Uotaro, is expected to continue the legacy, but he’s met with internal struggles about his identity and his life choices.
Uotaro is a silent boy, with peculiar attitudes. We experience his inner process by seeing him in absurd situations and adopting “fishy” behaviors.
By the end after finally communicating with his father, we see how they both have come to a point of no return and we realize that it was not only Uotaro who has been going through a change, but also his father.

I convey the natural order and regularity of forms in a landscape. In my computer generated plots the non-verbal signs: balance of line, color relationships and light can conceivably serve as an enlargement of the natural rhythms, patterns and repetitions that make the very essence of our aesthetic experience, as we contemplate the landscape.

I feel the regularity of shapes and events in nature can make a strong aesthetic stimulus for a viewer, which evokes an emotional response, because the viewer has the experience of correctness of the natural order. I feel that similar correctness of order causes an aesthetic experience while creating or contemplating abstract art: where the mode of the work be abstract expressionism, geometric abstraction, or computer art graphics.

Golem was a two channel video installation where the two monitors were arranged like the pages of an open book. The imagery was derived from medieval illuminated books so the overall effect was of an electronically illuminated manuscript. The work took as its theme the ancient Jewish myth of the Golem, a human-like creature created to do the bidding of its creator, the genesis of the Frankenstein story. The work deals with the issues around contemporary technologies such as Genetics and Artificial Intelligence.

Golem included a two channel video installation, structure, 24 framed prints and a 12 channel audio environment (audio by Hans Peter kuhn, featuring the voice of Marc Camille Chaimowicz).

Computer Graphics Research Group, Ohio State University: Student Work

The algorithmic project, Google Village (2012), was originally an AutoComplete clock to present various topics around the world. It utilized the Google AutoComplete feature to break its inherent limitation. Even though the AutoComplete words can manipulate users’ perspectives and activities on the Internet, they were reversely able to help users broaden their views by visiting another country’s Google website. However, in 2017, Google started showing users the same AutoComplete words based on their location regardless of a variety of countries’ Google sites. A new version of Google Village (2018) explores Google users’ isolation by AutoComplete words in the World Wide Web.

In Gradual Slip, a peristaltic pump drips water onto thermal electric cooling plates (TEC) to form mini “glaciers”. After a time of buildup the system shuts down and the plates role rapidly reverses. The plates heat up and the ice slides off onto a tray of dirt and seed. From this point the seeds grow into grass flourishing in the melt water or drying out in its absence. Here the natural element is coping with artificial stresses that are introduced by anthropomorphic forces. The natural environment has evolved into a system in equilibrium. In ecosystems there is a threshold, a limit where the system can no longer function when pushed beyond this boundary. Gradual slip acts as a model of a natural system, exploring this boundary, opening itself up for a dialogue around climate change.

At the SISEA Art Exhibition site Cindy Vermeulen’s Amiga-2000 animations were shown that formed her graduation work for Minerva Academy, the visual art department of the Groningen Polytechnic.

Shown are:
Zeven Spreekwoorden (Seven Proverbs):

I. Tegen de lamp lopen (literally ‘hit the lamp’; english equivalent ‘blow the box’)
II. Te veel hooi op de vork nemen (literally ‘taking too much hay on the pitch fork’; english equivalent ‘too much assets on my hands’)
III. Het hoofd boven water houden (‘keep the head above water’)
IV. Tegen het hoofd stoten (literally ‘hit somebody against the head’; english equivalent ‘breaking eggheads’)
V. Een klap van de molen (literally ‘a blow from the mill’; meaning ‘gone crazy’)
VI. Schoon schip (literally ‘clean ship’; english equivalent ‘cleaning house’)
VII. Jong geleerd oud gedaan (literally ‘learned young, practiced old’; english equivalent ‘catch them young’)

Short Animations:

Men & Women
Education
Men & Women 2
No title
Jealous
Commercial: Dancing
City
Depressing Manic
Heart beating buildings

Experience the excitement, glamour, fear, violence and mayhem of a genuine Middle Eastern battle!

Better yet, get your fat shooter-playing ass off the console and onto the revolutionary Borgcycle™, a sensor equipped bike that allows / forces users to get a heart-pounding workout while hunting down some baddies.

Mount the Borgcycle™ and suddenly you are riding through a 3D recreation of a desert city. Choose between the roles of an insurgent, an invader or an onlooker. Change sides if you feel the urge! Ride through the chaos and join in on the hunt for the main targets: George Bush, Tony Blair, Steven Harper, Osama bin Laden, Saddam Hussein, Kim Jong Il (among others).

Kick some lying white boy ass or take out some fascist terrorist woman haters! Your choice. Won’t it feel good to nail those bastards; and with the endorphins pumping hard on the Borgcycle™ you’ll experience the physical thrill of really being there.

Grand Theft Bicycle is coming to a venue near you. Prepare to ride your way to victory!

In Grass, Scrub, Woodland, still life is created with organic specimens gathered at the Seven Sisters National Park in Brighton, England; in Fauna, a still life that expands and contracts indefinitely. The works from the Seven Sisters Series National Park Series act as animated scanograms.

In this work, the subconscious problems of a daughter who rejects going school is observed by the function of C.G. Jung’s psychological concept, the Great Mother. The subconsciousness of the daughter is shown on the screen of the monitor in the scenes. When the daughter becomes violent, how does a personified great mother function?

This work focuses on the seabed of the Timor Sea and Indian Ocean, specifically Greater Sunrise, a gas field discovered in 1974 and stalled for decades due to disagreements and maritime disputes between the joint venture partners, and the Timor-Leste and Australian Governments.

‘Greater Sunrise’ comprises a 20-minute kaleidoscopic video montage of mostly news footage related to the gas field found in the public domain and a score featuring a sound healing instrument. The work is projected in large scale inside a space screened by a curtain made from shade cloth. On the floor are triangular cushions made from the same material.

The work presents a case for the intersections of geopolitics, extractive industries and climate change; however, it is an abstract view that encourages viewers to contemplate and awaken to the complications of energy sustainability, politics, and human impact on our environment.

I have several memorable images from early childhood. On the day of my 8^th birthday, I received a polaroid camera as a gift. I was overjoyed to be able to capture a permanent collection of memories and visual images. However, by the time I turned eight, I had already developed a clear sense of communication and language. The prospect of recording a pre-language form of vision had already dissolved.

In Metaphors on Vision, filmmaker Stan Brakhage states, “How many colors are there in a field of grass to the crawling baby unaware of “Green”? How many rainbows can light create for the untutored eye?”. Looking back on my childhood, it seems impossible to access a comprehensive realization of “the untutored eye”.

In contrast, my son, Atticus, was born in 2018. At the age of one, he developed a recognizable curiosity for the mobile phone. His linguistic skills had not yet developed, yet he had a noticeable capacity for capturing photos and videos. Over the course of several months, he composed a large collection of still and motion images. Upon reviewing the visuals, the notion of an “untutored eye” began to emerge. Within these photographs, it became evident that Atticus had not yet conformed to the accepted laws of perspective or logic. In short, he was immersed in an adventure of perception.

Green before “Green” considers the relationship between technology and memory. It is an inquiry into the existence of childhood vision. Namely, to what extent does technology allow for the reconstruction of childhood memory? Furthermore, does photography provide insight into the evolution of pre-language vision?

Green Corn Dance is a real-time responsive animation in live performance. Six microphones, one for each musician, are connected to a computer rendering the visuals in real time. The sound of the performers trigger the rapid transitions between line drawings and appearance of film sequences, all of which are procedurally generated. Music composition by John Luther Adams (1974), performed by students in the OSU Percussion Ensemble. Riffe Center Capital Theater, April 3 & 4, 2015.  The documentation of the performance was included in the 360 Gallery at ISEA2016.

This is an 18-line poem that will be projected onto a sand dune (if outdoors), or on a wall (if indoors), with accompanying short video(s) adjacent (or nearby).

Live-link video-installation environment and 20′ performance

Parramatta Riverside and Alun Alun Kidul, Yogjakarta – 14th & 15th June 2013, College of Fine Arts and Alun Alun Kidul, Yogjakarta – 16th June 2013

Feeling peckish – and chatty? This intimate exchange between cultures and cities dishes up a live fusion of food, film and dance between Australia and Indonesia. A fleet of ‘gerobaks’ – traditional Indonesian food carts – is linked between Sydney and Yogyakarta (Central Java) through multi-channel video streaming, alongside in-cart video art and a multimedia dance environment. Exploring qualities of openness and connection, Grobak Padi centres upon a mode of relating that is open to life, to things both being themselves and belonging together. The gerobaks are the life-blood of Jogja’s streets, while images of the padi, or rice field, come to evoke a sense of gratitude, for appreciating the abundance we already have. Don’t miss this chance to share a meal, and more, with our closest neighbours!

Created by Michael Hornblow, Tony Yap and Agung Gunawan. Hornblow, Gunawan and Yap have been working together since 2008.

Choreographed and performed by Tony Yap and Agung Gunawan
Creative Director, Producer and Video Installation Artist: Michael Hornblow
Video Streaming Producer: Martin Renaud
Production Manager: Michelle O’Brien
Technical Director: Ian Andrews
Community Liaison and Online Media: Rully Zakariah
Indonesian Production Managers: Bimo Suryojati and Altiyanto Henryawan
Cooks: the Indonesian communities of Sydney and Yogyakarta
Produced and presented by 5 Foot Way, ISEA2013, Parramatta City Council, Metro Screen and Multicultural Arts Victoria

It’s 2750: a mutant tyrant rules Aotearoa New Zealand and civilians are being ravaged by the deadly Grey Death toxin he helped to create. In this action-adventure game, you will help a humble forest guardian through the unforgiving lands of New Zealand’s South Island in search of Ngā Kete Wānanga (the three baskets) which hold the key to saving your people and saving the world. Guardian Maia is a hybrid historical/science-fiction story that draws on the mythology of the Māori culture in Aotearoa, New Zealand. It is a global story and taps into the universal human need to belong and understand the mysteries of the world. Indigenous storytelling as culture-based games are hugely influential and are a powerful outlet for engagement and learning. Although a fictional story, Guardian Maia offers an authentic representation of the Māori culture and allows the player to explore while enjoying the gameplay experience

Exhibition. Centre Culturel Canadien, May 16 – 20

Gui, the Ghost is a graphic novel style text adventure survival game – combining various retro aesthetics such as vector graphics, ASCII art and pixel art – in which we play the role of the protagonist, Gui: a dead young woman, stuck in this world and who must overcome a series of challenges to cross over to the afterlife. As players investigate what happened to her, and collect memories of her “past life”, Gui unlocks new abilities by becoming more and more transparent until she can finally disappear forever.

Inspired by Korean folklore “Cheo-Nyeo Gui Shin (처녀귀 신)” – which literally translates to “virgin woman ghost” – the game’s narrative features this specter caught in purgatory and unable to enter heaven or hell, because of this burden related to her tragic death. Some Korean scholars argue that this figure has remained famous because of its roots in a misogynistic culture. It can also be seen as a parallel to witches in the folklore of Western cultures. Gui, the Ghost allows us to revisit this story with a feminist perspective in order to help rewrite the future.

Created as part of a perte de signal residency.

‘Gyre’ is a site-responsive installation comprising six kinetic sculptures that repurpose and re-contextualise weather-related objects including Venetian blinds and windscreen wiper motors.

These sculptures resemble weather monitoring instruments such as anemometers (wind gauges) in that they spin and are placed at various heights and locations as if they are responding to the gallery’s atmosphere. However, the movement is driven by the sculpture’s various components that sometimes work against each other in a struggle of torque and gravity.

Weather affects our mood and the way we navigate our environments, yet we often overlook the everyday objects that help us manage this. ‘Gyre’ encourages us to reconsider this relationship and how we perceive the passing of time.

An interactive story box, Hafth Al’a-Almswadih Da’iman (always keep the negative clean) is a video object designed by the artist to share a collection of repurposed family negatives. Where the viewer’s get the chance to animate chapters of her past and bring them to life through a hands on experience directed by them.

Hagoromo XR is a groundbreaking exploration of cultural fusion and inclusivity in the realm of extended reality (XR) arts performance. Drawing inspiration from traditional Japanese Noh theatre, our performance breathes new life into the ancient tale of Hagoromo, a story involving a fisherman discovering a magical feathered cloak and engaging with a celestial spirit to learn her dance. By bringing together a diverse ensemble of artists, including the neurodiverse sound art ensemble The Amplified Elephants and the acclaimed Noh singer Ryoko Aoki, we create a space where tradition meets innovation.

At the heart of our collaboration lies a commitment to fostering creativity and community among artists of all backgrounds. Through augmented reality (AR) projection and volumetric video capture, the artists transcend physical limitations, ensuring that every voice is heard, and every perspective valued. The result is a hybrid performance that invites audiences to immerse themselves in the mythology of Hagoromo’s narrative, experiencing it in ways both intimate and expansive.

The Hagoromo XR performance serves as a testament to the transformative power of art as a celebration of cultural exchange, a testament to the resilience of the human spirit, and a reminder that, in the realm of creativity, almost anything is possible.

Despite the fact everyone inevitably faces the death of their loved ones, we are never given the opportunity to prepare to deal with such loss or even think about it properly. When the passing of loved ones occurs unprepared, many feel lost and deal with the pain alone. This film shows how love, death, the pain of loss, and mental anguish are intertwined just like the hairs. When we realize such sadness is not ours alone but they ‘connect’ us all, we regain the strength to live.

This work is about changing channels; creating new contexts for moving images. To impose an order upon the chaos of visual information we are subject to through the media and everyday living. The result being imagery that conveys a personal point of view from selective input. The images were initially taken from random videotape recordings of broadcast television and the intentional use of camcorder. The computer was used to “grab” individual frames of video which were then manipulated, photographed, and re-assembled. The complete images were incorporated into two distinct installations, “Changing Channels” and “Adam and Eve”.
I am currently working on an interactive installation incorporating electronic sculpture, text and images, a personal computer and office furniture. This piece shall complete my Masters of Fine Arts Degree at San Jose State University’s CADRE Institute.

The interactive installation Happy Go Lucky demonstrates how specific, immediate and intimate medial manipulation can be, by influencing how people _feel_.

Hard Disk Paper Series is an initiative to safeguard against magnetic attacks of all kinds, a reflection on the fragility of our digital civilization.

This piece of work was commissioned by Creative Review Magazine to illustrate an article on Film Director John MacKenzie. He had directed many television and feature films including ‘Long Good Friday’, ‘The Honorary Consul’. and ‘The Fourth Protocol’, but was having difficulty in Hollvwood with his new film ‘Hard Knock’.

The film was typical MacKenzie – a thriller with a murky plot about two fathers of murdered sons who wanted to find out why the deaths happened. After 8 months of work on the film Columbia cancelled the contract (oddly coinciding with the departure of David Puttnam from the same company) and MacKenzie was now being forced to look for backers and in the meanwhile make his living working in the more lucrative advertising market.

The image it elf is framed by the feature film format which is decaying and weak at the edges, symbolising the insecurity of film making as the accountants, politicians and big businesses begin to dictate to the industry from the outside. Inside the frame all is turmoil, MacKenzie is overlooking the scene and feels he is just another commodity in the financial media market. Safe in the distance is Hollywood, distanced from reality. On the right hand side of the frame lies MacKenzie’s shattered dream. The stark setting and the two bullets on a pile of diamonds are all part of the ultimate ·hard knock’ for the director.

Puttnam and MacKenzie have now bizarrely become the fathers with the murdered sons in their own twisted plot.

Private Lives, Quante! Video Paintbox and Sharp CX 5000 Colour Copier

This image was produced as part of my own investigation into the surreal use of contrasting scales and textures within my work. The face is a widely differing yet very uniform image, however, variations which exceed individual mental limits become classed as deformaties. This image displays physically impossible features and is somehow acceptable to the viewer because of that very impossibility. Feelings of pity or sympathy for the owner of this face are non-existent, it becomes viewed purely as a piece of art.
[Catalogue text editted after communication with Adrian Wilson in 2024]

Excerpt from the immersive and musical film of the piece “Harmonielehre” by American composer John Adams, performed by the Montreal Symphony Orchestra conducted by Kent Nagano.

Harton Moor is an animated guided tour of a 1970s council estate in South Shields, presented as an idealised architectural model set against the personal narrative of a child resident, Jessica. The 1:1 representation of the streets and houses of Harton Moor is rendered in uncanny detail within a colourless, translucent world without the marks of human interaction. A pristine virtual flyover of the site is interrupted by the messy realities described by Jessica, revealing the complex relationships on her street.

This reverse-engineered portrait is simultaneously specific and universal. Whereas the architectural view is a macro, pristine, sterile, idealised, god’s view, the child’s is micro, messy, complex, chaotic, disjointed and human. Both depict a singular place and time and yet could describe any estate in Britain. Offering elements of truth and fiction, Harton Moor exposes the friction between the perspectives of the imagined architect and actual resident, where reality sits somewhere in between.

Commissioned as part of FACT Together 2021, presented in collaboration with Hervisions, with support from The Granada Foundation and The Nora Smith Charitable Settlement.

Exhibition at 36 degrés and Galerie Charlot, June 6 – 18

Generative & Interactive Sound Installation
400 x 160 x 180 centimeters

Connected to sensors making it possible to broaden the threshold of human perception, the receiver of a needle telegraph reacts to variations drawn from its immediate environment. This approach consists of training artificial intelligence to analyze imperceptible phenomena – the evolution of electromagnetic waves present in space in different forms – in order to detect meaning: words, words, sentences, etc.

Sitting in front of this device, the spectator is first invited to listen to the sound produced by this strange machine, which transposes the flow studied by the neural network into audible frequencies: a sort of fluctuating white noise, whose modulations sometimes resemble to the formants of the voice. When occurrences are found by the voice recognition program, the telegraph activates to transmit these messages from the invisible – whether they are understandable or not. All machine activity is recorded in a logbook which traces the history of the information deciphered by the neural network.

Thanks to a capture system which filters the audio signal to isolate the dominant frequencies, the visitor can interact with the work and contribute their presence in this quest for something beyond – a way of paying attention on what normally escapes.

If we seem prisoners of the illusion of a single world, this installation attempts to reveal the imagination of other possible worlds, parallel or underlying this one, by relying on the technological promises of the future to propose a new reading of the present.

Design and Production: Véronique Béland
Computer Programming – Sound Processing & Interactivity: Alexandre Burton
Computer Programming – Deep Learning: Léo Dubus
Design Sensors & Telegraph Mechanization: FabLab Les Usines
Drawing Scenography Plans: Sophie Laroche
Scenography Coordination: FabLab Factories
Ironwork: Strukenfer

Heart Band is an interactive sound installation in which twelve painted hand drums are activated by the motion of visitors. Each drum has a heart beat sound that increases in intensity and volume the closer the participant gets. Ideally, the drums would be played as an instrument by dancers.

xhibition. Galerie Charlot ,Paris, April 6 – June 17

It is in search of a treasure that my gaze wanders along the lines, spinning along the walls, sliding on the ridges, on the summits, crossing the woods hanging from the cliffs, sliding on the peaks studded with rocks collapsed. My eyes and my camera make a fortune out trifles that accumulate in my heart. Slowly, without thinking, without desiring, they forget and discover a wonderful adventure in life.

The harmony of a celestial land, vibrant and alive, where the waters of the oceans shine noiselessly with millions of blues, where the forests are free of their colors, where the mountains are coated in white, where the opalescent glaciers descend into the valleys and where the plumes of birds have the sky on their side, nourishes the dream of a world that we are exhausting.

If my images sing however, it is because the romanticism of our prospects of bankruptcy enchants the vertigo of our steps. But it is not this imbalance that I want to point out.

If the mountains rise so high in our memories, it is because since the dawn of our times they have been a luminous world, the world of a magical world above, a little closer to the stars, which points towards the infinity of the universe.

These images lead us to see fully from the depths of the heart, in the freedom of an unconditional gaze where each blink of the eye seems to reveal to us the essence of our existence, the source of all life.

The Hekateris Dance is a playful interactive Augmented Reality Artwork to prompt audiences to imagine how humans may evolve in the distant future as we are impacted by climate change. Artist Charlotte Gould uses speculative fictioning in her artwork to develop 3D animated future beings using Augmented Reality. Having downloaded the Adobe Aero Applicationand scanning a QR codedancing avatars can be viewed through a mobile phone and participants can join in to see each other dancing with the characters. While the avatars dance in a contemporary stylethe artwork references the Hekateris danceborrowed from Greek mythology as a celebration of nature. The project draws on the past and presentthrough mythology and natureto imagine what we may be in the process of becoming for survival on a planet impacted by climate crisis. The artwork aims to celebrate the natural world beyond the human and to foster hope through discussion on tangible actions that can contribute to a solution to reduce global warming.

“Hex on Data” is a study of DIY handmade electronic music and live audiovisual practice using a networked system in a duo context. We improvise and explore performance gestures using tactile interfaces and curated technological behaviours that we have designed and crafted ourselves. Following the thematic prompt of “Everywhen” and situating the work within the scope of shifting temporalities, “Hex on Data” considers how each element–hardware and software, tangible and virtual–of the system can both enact and respond to generative processes through gestural control and data manipulation. We explore the role and affordances of each element and how these elements contribute towards the temporal sonic and visual space. “Hex on Data” is an ever-evolving modular system for audiovisual interplay. Whether programming a microcontroller, soldering electronics, laser cutting wood, or software patching in Max or TouchDesigner, all of our work revolves around bespoke making. As each element is designed, tested, and integrated, new control functions and performance affordances inspire the next developments. The fluid and iterative nature of this process is mirrored in the performance practice; thus, it becomes evident that the “work” is not simply the performance or the physical instrument or code but the open-ended and ever-transient system.

This film imagines the concept of personal computer quite literally as possessing life-like qualities of human companions, by embedding a human being inside one.

Discover glitch and lack of data on Google Maps, between digital error and social rules of representation.

In the United States “precision farming” is the term used to describe the processes of using technologies and sensors to gather data to target resources to crop production. These technologies are tools understand, monitor, and control organic systems. Johnny DiBlasi’s work is an ongoing inquiry into these invisible data structures within the landscape. He creates public interfaces where all these various inputs—specifically data signals, the public, and the broader ecology—are connected, and a tension with and awareness of the invisible digital architecture is explored through the public’s experience.

hidden layer is a site-specific and interactive installation that utilizes sensors to gather data from various spaces both in the natural environment and the constructed urban spaces around the site of the artwork. Various biosensors are setup within the space that capture organic and environmental information and transcode this data into physical form and light. This data will drive the representation of a large physical grid or mesh comprised of strands of light emitting diodes while live sound waves create a sonic representation at the site. Codec explores how can this bio-data can be captured and its potential to generate a new interactive aesthetic experience of the local ecosystems.

A (magnified) photograph of cherries, video images projected on semi-transparent screen, noises of ice, and the smell of oranges are all in the same room. The atmosphere of the room stimulates our five senses and reminds us of the senses of ambiguity and frustration in our daily life,

Created via fusing aspects of spatial sound, sculptural form, and interactive methods, HIVE is an interactive art installation that explores the notion of sentience and agency in the sonic medium. It is argued that species evolve to establish and maintain their own vocal bandwidth, so that their voices are not masked by other sounds. In other words, sonic spectrum is partitioned in a given biome and each bandwidth is claimed by a certain species as their vocal territory. Many species rely on these territories for mating or survival. Today, human generated noise dominates the sonic spectrum of many ecosystems, even those we consider untouched by our activities. And yet, there is very little research or policy efforts on this, especially compared to other (non-acoustic) types of destruction of the environment.

In reaction to this, our inquiry started with the question, can we conceive of an organism that exists in a purely acoustic umwelt? An organism whose only way of sensing, observing, reacting, and communicating with the world is through sound. An organism with a body whose morphology is based on picking up and sending sound signals. A pseudo ‘being’ who can learn from its environment and evolve in its response.

Hongshan Experiment II: Celestial, is a multi-channel interactive video installation. Its creative process aimed to draw a visceral artery between deep time mining of archeology and surfaced evidence on climate change using meteorological data, 3D reconstruction of Hongshan excavation site and planetary database.

Hongshan Experiment focuses on the coupling of scientific data visualization and artistic world-building to experiment with the equilibrium between human and non-human; culture and nature; past and future. Curiosity and concern around archeology, environmental science and astrophysics were raised by audiovisual abstraction, translation and generation. As the second iteration of Hongshan Experiment I: a Possible Outcome, HE II: Celestial takes a space voyage in search of the “outcome” through computer vision.

The animation adopted the rich affinity with carbon allotropes. Radiocarbon gives a time tag to archeological diggings. Carbon footprint helps people understand the impact of personal behaviour on global warming. As an essential building block of living beings on Earth, carbon represents human’s signature in communication with possible extraterrestrial intelligence. Energy transformation was also articulated by a customized shader simulating the ice melting and freezing.

HOP ON played with the ideas for a participative design of future public transport and cultural place making in Durban. During a public intervention at the „wreck“ of “uShaka Marine World Durban” by the PS2-Team, the HOP ON Team: Sibonelo Hlanganani Gumede, Researcher at “Urban Futures Centre DUT” and Paul Jones, Director at consulting agency “Lumec”, and “Elektro Moon Vision”, visitors could get an insight into the people´s need of a new bus system and HOP ON’s research for a participatory re-design of the Durban public transport system that is thwarted by corrupt taxi businesses. For HOP ON participative urban development means also to create culturally public spaces out of non-spaces and to link the different parts by public transport – the HOP ON bus shuttle system – mobility for all people in Durban.

Hope to See was conceived form a desire to engage creatively with graffiti produced by the Tanzanian stowaway community in Durban. Finding their way to Durban is but a leg of their journey, in large their intended destinations vary and boil down to chance and experience. The basic premise of a stowaway − in these cases− is to leave Africa via a perilous journey of stowing away on commercial shipping vessels in the security lax ports of South Africa. The stowaway graffiti stands as a public showing of their stories, records, an indelible mix of; desperation, adventure, aspirational drive and existential change. The lives of the stowaways can easily be amassed within the simplistic brackets of illegality, promoting a negation of a shared human identity. This defining tar brush of othering runs the risk of perpetuating positions of domination and subordination. A reality already pervasively entrenched within a city rapidly reconfiguring itself to the momentous influx of African migrants and its gradual shift toward a decolonized space. In an attempt to counter these inherent pitfalls whilst not discarding the need to actively tell snippets of the stowaway stories, the artistic project Hope to see envisages utilizing the creolized nature of Warwick Junctions markets by amalgamating naturalized crafted products and elements of stowaway graffiti already present in the market spaces.

This AR Styly platform leads to my interactive version of ‘How to Knit a Human’ online.‘How to Knit a Human – the Interactive Version’ was created with choice-based digital storytelling, through the Twine platform. The creative process for the interactive version began with my adaptation of my memoir manuscript. As I developed this piece of electronic literature, I incorporated the visual along with the text, creating my own animations, drawings, and scans for an immersive experience. The reader can engage in these parts of my story and actively participate in the losing and regaining of agency through my narrative perspective, to gain a better understanding of my experience. As a result, this work could also benefit mental health professionals as an important resource, to empathise with one example of a patient’s journey through the psychiatric hospital system. Through the digital form, I allowed my experience to travel beyond what a traditional text can do by utilising multiple choices that link to different alternatives and possibilities that exist in my memory. By taking power in my own valuable lived experience, I aim to reduce the stigma in wider society, and institutions. My memoir ‘How to Knit a Human’ was published with NewSouth Publishing in 2024.

Each bottle contains Kasia’s tears and North-Sea algae accompanied by a date, a reason for crying and the name of hosted algae. There is a log of her diet from the period of the research, accompanied by a log of presence of chemical elements (N, P, K) important for healthy growth of algae. These elements can be regulated by diet. The artist wanted to know how she could use her bodily waste to care for the environment, which we have destroyed? The main question she posed here was: “Can I look after my physical and mental health in order to be of “use” to other life forms? Or can environmental health be an indicator of our own health?”

From Winter of 2019 until recently Kasia has been collecting her tears – first when she cried after losing 3 loved ones in the Autumn 2019. Then, with the start of COVID-19 she “trained herself” to cry in order to relieve her anxiety. This led to her exploring the chemical composition of human tears to see how they could make a healthy tiny marine ecosystem. To use her own tears to host a sea life became a form of catharsis and a constructive way to deal with personal and also then environmental loss

As Yeats asked his readers to tread softly on his dreams, Walton perhaps prompts participants in her interactive projections to consider the weight of their footfalls upon the earth. In this work the contours of an urban laneway are repurposed as a canvas for a series of vibrantly animated interactive projections, creating a paradise of verdant growth. Flowering vines twine up pipes and moss and ferns spread across walls, while vividly coloured butterflies alight on window ledges. Echoing ages before human habitation, this scene entices viewers to move closer – only to see the new life wither and slowly die, destroyed by the human presence. The habitat is renewed once more in a riot of foliage and motion as viewers move away. Tread softly …
In collaboration with animator Tobias Edwards and software developer Jayson Haebich.

‘Human Effect‘ presented by Vivid Sydney as part of Experimenta Speak to Me and ISEA2013.
Sydney will once again be transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 24th May – 10th June 2013. Vivid Sydney will colour the city with creativity and inspiration, featuring the breathtaking immersive lighting of the iconic Sydney Opera House sails, performances from local and international musicians at Live LIVE, and a free large scale multimedia outdoor exhibition of interactive light sculptures and building projections around the harbour precinct.

Humming Mississippi is an interactive sculpture, sonification, and visualization of the Mississippi River.