ISEA2022 Barcelona Catalogue

ARTWORKS

ISEA2022 BARCELONA

Organizedby:

@isea2022bcn

#ISEA2022Barcelona

ImageCover:AnnaCarreras

ISEA2022Barcelona,InternationalSymposiumonElectronicArt https://doi.org/10.7238/ISEA2022.Catalog

ISBN978-84-09-47787-6

ISEA2022BarcelonaProceedings&CatalogueEditors: PauAlsina,IrmaVilà,SusannaTesconi,JoanSoler-Adillon, EnricMor.

Copyright©2022Allrightsreservedbytheindividualauthors, UniversitatObertadeCatalunya,andISEAInternational.

Nopartofthispublicationmaybereproduced,storedina retrievalsystem,ortransmittedinanyformorbyanymeans, withoutpriorwrittenpermissionoftheindividualauthorsand ISEAInternational.

Individualauthorsofpapersandpresentationsaresolely responsibleforallmaterialssubmittedforthepublication.The publisherandtheeditorsdonotwarrantorassumeanylegal responsibilitiesforthepublication’scontent.Allopinions expressedinthebookareoftheauthorsanddonotreflect thoseofthepublisherandtheeditors.

WiththesupportoftheBarcelonaCity Council,theGeneralitatdeCatalunyaandthe InstitutRamonLlullamongmanyothers (seethecreditsattheend).

ThispublicationispartoftheR+D+i projectPID2021-128875NA-I00,fundedby MCIN/AEI/10.13039/501100011033/"ERDFA wayofmakingEurope"

UniversitatObertadeCatalunya AvingudaTibidabo,39-4308035

Barcelona-Spain

ISEA2022 BARCELONA

ISEA2022BarcelonaOpening Ceremony

ISEA2022BarcelonaPossibles

ISEA,InternationalSymposium onElectronicArt

ISEA2022BarcelonaConference

ISEA2022BarcelonaExtended Program

ISEA2022BarcelonaExhibition

EoETriptych#1

AndyGracie

UnrealWindow ChanheeChoi

GardenintheMachine/Vibrant Landscapes

ColinIves

SpectralLandscapes–Palkiskuru ErichBerger

FutureFunction|CreativeUsesfor ObsoleteTech

ErikContreras

CantheMindExistWithoutaBody?

IrmaMarco

Infodemic

JenniferGradecki,DerekCurry

#SeeYouatHome– TheDomesticSpaces

asPublicEncounter

JoanSoler-Adillon,BettinaKatjaLangeand UweBrunner

TallySavestheInternet

JoelleDietrickandOwenMundy

HowtoMakeanOcean

KasiaMolga

SyndemicSublime

LauraSplan

Muted

LaurenLeeMcCarthy

ConcertoparaPianoePandemia

NikolasGomes

Waitingforother

NooroaTapuni

AquA(l)formings–Interweavingthe Subaqueous

RobertinaŠebjanič,SofiaCrespo,Feileacan McCormick

ItwillHappenHere,inBarcelona(Tindrà llocaquí,aBarcelona)

RoderickLuisCoover,AdamVidiksis,Nick Montfort

QuadraMinerale–RareEarths

RosellMeseguer

privacy-GrDN.info

S4RA/SandraAraùjo

ToolsforaWarmingPlanet

SaraDean,BethFergusonandMarina Monsonís

Repository

WeidiZhang

ImaginarySunset

XuanyangHuang

ISEA2022 BARCELONA

Exhibition

POSSIBLES

ArtworksfromISEA2022

Barcelona’sOpenCall

LiquidViews–Themirrorofthemedia

narcissus

MonikaFleischmannandWolfgang

Strauss

LastBreaths

LindaDement,PaulBrownandCarmine

Gentile

Sightseeing

ThierryFournier

QuantumChaosSet

PaulThomas

CommonThread

KeithArmstrong

Artworksfrom NEWART{collection;}

TheParticle AlexPosada

BorderCrosser ChicoMacMurtrie-ARW

MMM#1[DualMarkovBeat]

OscarMartina.k.anoish

Echo

LúaCoderch,JuliaMúgica,LluísNacentaand IvánPaz

NewHomeofMind

MónicaRikić

Forms–ScreenEnsemble SantiVilanova(Playmodes)

M3X3

AnaliviaCordeiro

TheEndlessSandwhich

PeterWeibel

EclipseII

Felicied’Estienned’Orves

Laformedel’eau

Veyrat&delosRíos

TheWallofGazes

Sardon&Sigman

Niveldeconfianza

RafaelLozano-Hemmer

PortraitontheFly

Sommerer&Mignonneau

RAY

WeidiZhang

NonDimensionalCities

MarnixdeNijs

Artworkspresented byNiio.art

GenerativeQuantumBallet21

VideoExcerpt

AntoineSchmitt

Lemondeenlui-même

VideobyJeppeLange

Music&sounddesignbySimon Brinck

IgnisII

DianeDrubay

OhDeer!

FrederikdeWilde

Floralia

SabrinaRatté

Imagesandsoundtrack

composition:SabrinaRatté

Sounddesignandmixby: Andrea-JaneCornell

Karst

SnowYunxueFu

ISEA2022 BARCELONA

ExhibitionWHATISPOSSIBLE ANDWHATISNOT

D’EcoaSiringa

JosepManuelBerenguer

Arrels AnnaCarreras

EspeciesI,IIyII

MónicaRikić

WaterDropViewer(indoorversion, 2022)

RocParés

ChemicalEcosystem

YolandaUriz

WithworksfromBarcelonaProducció:

Epiphany

AriadnaParreu

ZENZ(A)I

AnnaPascó

Pwned MarioSantamaría

Imatgeshostes.Parasitologiadela visióialtressimbiosis/Auspicis

Estampa

ExhibitionBEEPCOLLECTION: ORIGINS

Ego–Spanglish

AntoniAbad

TryNotToThinkSoMuch

EugenioAmpudia

Alfabeto

Marcel·líAntúnez

Vestibular_1

AlbertBarqué-DuranandMarcMarzenit

RainBeats

JosecarlosFlores

Prosopagnosia

JoanFontcubertaandPilarRosado

Neuronnection

AnaisaFranco

Tycho:TestOne

PaulFriedlander

IndependentRoboticCommunity

RicardoIglesiasandGeraldKogler

TimeCapsule

EduardoKac

RedundantAssembly

RafaelLozano-Hemmer

StillLifeTornadoes&StillLifeSwell

MarinaNúñez

Aurelia1+Hz/protovivagenerator

RobertinaŠebjanič

TH50PH10EKWALL

StefanTiefengraber

DeNotreNature

EricVernhes

DasTangibleBild

PeterWeibel

OtherExhibitionVenues

DïaloG

RefikAnadolandMauriceBenayoun

RNEProject

PatrickTresset

BirdingtheFuture

KristaCaballeroandFrankEkeberg

VastWaste

ÖzgeSamancı

L'artesanianumèricadeCasaNavàs AlbaG.Corral

ISEA2022 BARCELONA

Performances

TortuousDrift–LiveCinema Performance

KarlaBrunet

AnatomiesofIntelligence

JoanaChicau,JonathanReus

Women´sLabor

JocelynHo,MargaretSchedel,Robert Cosgrove,OmkarBhatt,Matthew Blessing

WeMoveTogetherorNotatAll

SashaKleinplatz,NavidNavab

Tawa_(LiveSoundPerformance)

PatriciaCadavid

Liveware

CollaborationasCreation–“Zone#1, installation/performancefora percussionplayer,electronicsand video”

JoãoDias,IgorC.Silva

Fragments

AlexandreSaunier,Marc-AndréCossette

VentriloquistOntology

AfroditiPsarra,TingyiJiang

FractalListening(audiovisualperformance)

SebastianSeifert,SantiagoBartolomé

WeasWaves

ErinGee

IceisWaterisIceis

KenSteen,GeneGort,MegumiMasaki

Screenings

DeepReckonings

StephanieLepp

SwarmRaid:aninterspeciesdanceand musicfilm

AnnaLindemann

Unforgotten,apoetic3Danimationabout theviolationofwomen’shumanrightsina timeofwar

SujinKim

Glacier’sLament

JiabaoLi

ExperimentalMicroscopicMediaArt:Inner

Essence

EmilyKim

Code_red

LianLoke

LavoroMacchinine

AlexisGreyHildreth,OraCogan

DanceCubesII,human-non-humanCoCreationartwork

JosephAyerle

WalkingonSol

NimaBahrehmand

13Eyes

Jean-PhilippeCôté

FutureMemoriesofDeepWater

IndiaraDiBenedetto

Untitled(ANewLandscape)

MichelleL.Herman

ANewDawn

MaxSchleser

TheErectionofPhygitalGraveyard InmiLee,YunmiHer

Microplot:genomictechnologiesasa potentialtoolofrevelationfordeliberate terraforming

AllaSemenovskaya

Ener-geyser

TaraKarpinski

Cybersyn1973/2023

GrupoSynco

TheBlueDot JuanPabloPachecoBejarano

Greenbefore“Green”

PaulEcheverria

ModelsforEnvironmentalLiteracy

TivonRice

TheUnreal

GloriaLópezCleries

ISEA2022 BARCELONA

2ndSummitonNewMediaArt Archivingexhibition

VisualizingtheIllkun(Anger) MarcelaAntipanOlate

i:M:mobile

LawrenceBird

ArchivingNewMediaArtArchives ByeongwonHa

'DataWhiskers'and'Ecophagy' MartijnHage

Gendernaut.QueeringtheFuture DiegoMarchante

AnatomyofaFatberg

AndreaPalašti,SanjaAnđelković,Stefana Janićijević,JovanaPešić

SpiralofWords

PredragS.Šiđanin,LukaZ.Tilinger,MajaS Budžarov,NinaBZvezdin

VisuallyReadingthePandemic:Translating anOpenAccessArchiveintoanImmersive InteractiveArtwork DarioRodrighiero,ElianCarsenat,Eveline Wandl-Vogt,JulesDöring,MichaelaFragner, StephaFarkahaszy,OliverElias

10June2022

ISEA2022 BARCELONA

AftertenyearsawayfromEurope, Barcelonaisnowhostingthe27th InternationalSymposiumonElectronic Arts,ISEA2022.

Noneofusheretodaywillfailtosee theimportance,therecognitionand theresponsibilitythiscarries.

Foronething,it's atributetothe reputationofbothBarcelonaandits creative,artistic,scientific, technologicalandinstitutionalnexus. It'sanecosystemwhosefertility comesfromitsvariety,fullness,

multidisciplinarityandcompatibility;an ecosystemthathasaccumulatedexperiences andsuccessesandhasnowreachedastateof maturity.

Nolongerisitanemergingpower,it'spartofa drivingforcefortheeconomy,industryandthe arts.

BehindthisBarcelona-basedISEAthereare professionals,organizationsandnetworks keenlycommittedtocreativityandinnovation. Theiruniqueanddistinctivecharacterandtheir talent,diversityandstrengthcanbeseenin theirrespectivehistoriesandprojects.

Andforanotherthing,inBarcelonathereis determinedambitiontojoinandplayanactive partinourfutureworld–designedhereand now.

Thisiswhy,aspointedoutbyCristinade Middel,winnerofSpain'sNationalPhotography Prizein2017andguestspeakerfortheUOC's inaugurallecturethefollowingyear, "it'shugely importantnowtoencouragepeopletoquestion things,morethanitistoofferanswers". 1 Weknowthefutureisn'taprogrammed destination,ratherit'saplacethatweallmust co-create.

Inthissense,thedozensofactivities, exhibitionsandtalkspopulatingthe ISEA2022Barcelonaprogrammeofferusa mapofthisfuturethatwearealready startingtobuild.

Withourhybrid,all-encompassingformat, wehavesoughttodecentralizeourlocations inandoutsidethecity,aboveallaimingto involveeveryareaofknowledge,to encouragecontactbetweenartists, scientists,engineersandtheoreticians,and todiscuss,presentandshareprototypes, devices,artandideas.

ISEA2022 BARCELONA

Thisiswhy,fortheUOC,itisan honourandaprivilegetobean organizerofthisevent.

First:becausewewanttoremainatthe cuttingedgeofresearchinthe knowledgesocietyandindigital transformation;thismeans interconnectingacademiawithpublic andprivateentities,enhancing teaching,researchandinnovation.

Because,ifwewantouruniversityto beusefultocitizens,ifwewantto makeimpactsthatarerelevantfor society,ifwewanttocountandbe counted wemustbepartofthe change,wemustdeliverdigital literacyforourcitizens,wemust commitourselvestoopenandshared knowledge,wemustcontributetothe designingofourfuture.

Second:because–likeISEA–wetreasureour legacy:anacademiccommunitymadeupofa criticalmassofteachingstaffandresearchers whoworkattheintersectionsofthearts, scienceandtechnology;aninterdisciplinarity that–tobeusefulbothinternallyand externally,totheuniversityandtosociety–mustbesteeredtosupportteaching,to strengthenresearchandinnovation,to encourageknowledgetransferandtoincrease thesocialimpact.

Andthird:becauseourinvolvementheregives continuitytogreaterworks.

Everythingwewilllearn,discussanddiscover overthecomingdayscanonlymakesenseas partofacontinuum.Withouttheintense preparations,therewouldbenosymposium. Withouthavinganythingtoshowforit afterwards,ourworkwouldbeinvain.Inshort, ISEAisand mustbealinkinthechainholding

togetherourstrategicandtransformative outlook.Eachtimethisinternational symposiumhasbeenheldanew,ithas enricheduswithnetworks,knowledge, infrastructureandpolicies.Itwillalsodoso thistime.Wealsowanttodothis.

ThisiswhywehaveinitiativessuchasHacTe, theart,scienceandtechnologyhubcreatedby numerouspeoplehereamongus,whichaims toprovideastrongrootforthisecosystem, uponwhichitcandevelopstructureand stability.

ThisholdingofISEA2022Barcelonaisa materializationoftheworkofHacTeand demonstratesitspotential.Itwilldosoover thecomingdays,offeringmanydifferent activitiesinthissymposium.

AnditwilldosointheaftermathofISEA2022 Barcelona,takingovertolettheconversation continue.

Wedothisandwillcontinuedothis maintainingthebearingthatCarmePinós, recentwinnerofSpain'sNational ArchitectureAward,summedupinfour points: "Respecteachother.Encourage debateandparticipate.Listenandask questions.Believethatwehave responsibilitiesandwecancontribute."

2 Rightnow,technologyandinnovationare inseparablefromourcultureandcreative industries.AndISEA2022Barcelona presentsuswithaspur,awindowof opportunityforexchanges,collaborations andlearning.

1.https://www.uoc.edu/portal/_resources/EN/documents/la_ universitat/inaugural-lecture/inaugural-lecture-cristina-demiddel-2018.pdf

2.https://www.barcelona.cat/metropolis/en/contents/mostarchitects-are-not-the-elite-or-complicit-property-speculation

ISEA2022Barcelona

Possibles

Itwasinthesummerof2017,asthe lastdetailswerebeingaddedto ISEA2017inManizales(Colombia),when webegantoreceiveemailsencouraging ustopresentacandidacytoorganizean editionofthesymposiuminBarcelona. Ourcityhadbeentakenintoaccountfor yearsduetothequantityandqualityof theprofessionalsthatworkinitsdigital artsscene:theyincludecollectivesand artists(someofwhomhavewonmajor awards)aswellasinternationally renownedfestivals,centresofartistic

production,universitieswiththeirresearch groupsandresearchers,andtheoutstanding artisticandculturalcentresinabroad-based relationshipbetweenart,science,technology andsociety.

Weinitiallybelievedthatanundertakingofthis naturewouldinvolvetoomanyresourcesand thatalthoughitwasanextremelyinteresting idea,weneededtofindbetterreasonswith greaterpotentialifweweretocarryitout successfully.Sowebegantothinkaboutthe ideathatperhapsISEAitselfcouldbethe perfectexcusetohelpbringaboutsome

PauAlsina,IrmaVilà,SusannaTesconi, JoanSoler-Adillon,EnricMor

UniversitatObertadeCatalunya

changesandtransformationsinthecity.In fact,boththeresourcesandtheparties involvedinthenetworkwerealready receptivetoaninitiativelikethisone,aimed atchannellingandcreatingthestructural qualitativetransitionthatmanyprominent membersofthecommunityinBarcelona hadbeendemandingforalongtime.We thenbegantothinkonalargerscale,aware ofthepotentialandvitalityofacitythatis particularlycreativeandopentotheworld, andwerealizedthetremendouswealthof theart,science,technologyandsociety ecosysteminourimmediatesurroundings,

whichdespiteitsbroadbaseand heterogeneousnature,anditslocationand distributioninmultipleplacesandvenues, continuedtoenjoyremarkablelevelsof energyandmotivation.

Anymultidisciplinaryandheterogeneous spacetendstobedifficulttoadministerand digest,especiallyinaworldofisolated factions,sectorsandimmovableidentities. Thatiswhatitmeanstoplaceoneself outsidethemainstream,beyonddisciplines, beyondboundariesandbeyondtherealms ofwhatispossible.Thepossibleandthe

ISEA2022 BARCELONA

impossible-daringtoimagineother possibilitiesasahorizonofchangethat unfoldsandorganizestheworld.The possibleasanopeningandamovement fromwhichtoleavethepre-established, pre-conceivedandpre-designedbehind, andplaceoneselfinthefutureandits creativeuncertainty.Itwasobviousthat "thepossible"shouldbethemaintheme oftheISEASymposiumthatwewanted toorganizeinBarcelona-halfway betweenrealisticpragmatismand futuristicspeculationwithramifications oftruth,movingbeyondtheplacid distanceofutopiasandtheeternal frustrationofrevolutions.

Thatwasthesituationwhen,withthe institutionalpartnershipofthe UniversitatObertadeCatalunya(UOC) andthesupportofBarcelonaCity Council,wepresentedourcandidacyfor ISEA2021inDurban,SouthAfrica,in mid-June2018.ISEA2018Symposium wasamajortransformationalexperience duetothewidevarietyofcontributions andperspectivesthatwewereableto experienceinafewintensedaysin Africa.Weknewthenthatifeverything wentaccordingtoplanandwewere

selected,wewouldhavetoannounceour venueinGwangju,Korea,in2019andtake centrestageinMontrealin2020.Andthatwas howitturnedout-wewereselectedbythe ISEAInternationalBoard,andbroughtthe eventbacktoEuropeafteranabsenceofmore than10years.WehadtogotoKoreato presentourproposalbasedonthethemeof "Possibles",whichwas,bythen,more structuredthankstoourcollaborationwitha networkofinstitutionswhichunderstoodfrom theverybeginningtheopportunityandthe needforinvolvementinatransformational eventliketheISEA.

Whatwedidnotknowatthattimeisthatat theendofthatsameyear,2019,theworld wouldchangecompletelyasaresultofthe coronaviruspandemic-apandemicthatisstill ongoingatagloballeveltoday,andwhich continuestowreakhavocasitsvariantsevolve andspreadacrosstheworld.Underthose circumstancesitwasimpossibleforISEA2020 Montrealtotakeplaceinaface-to-face format,andthiswasacontributoryfactorto how,despitethedatesbeingchangedinthe hopeofanimprovementoftheglobalhealth situation,intheendpracticallyeverythinghad totakeplaceonline.Similarly,inviewofthe outlook,wehadtopostponetheface-to-face

“Fromtheoutsetitwasouraim tocombinetheacademic, educationandresearchspheres withtheculturalandcivic artisticcontext,andwiththe technological-industrial environment”

editionplannedinBarcelonafor2021until 2022.In2021weheldanentirelyonline preparatoryeventthatwewereableto schedulewithintheframeworkofthe BarcelonaScienceBiennial.Itwouldhave beenperfecttobeabletoholdtheISEA SymposiumatthesametimeastheScience Biennial,andlinkthetwoeventsintheway wehadinitiallyproposedwiththebackingof theCityCouncil,butatthattimeitwould havebeenextremelyrecklesstobringto Barcelonaparticipantsfromtheover40 countriesthatusuallycontributetothis event.

Wecreatedtheinstitutionalarchitectureof ourBarcelonaeditionsurroundedbyallthe uncertaintyassociatedwithmajoreventsin thesenewcircumstances.Fromtheoutsetit wasouraimtocombinetheacademic, educationandresearchsphereswiththe

culturalandcivicartisticcontext,andwith thetechnological-industrialenvironment.

TheUOC,astheorganizingandpromoting university,graduallyaddedpartnerswiththe supportoftheCatalanMinistryofScience andUniversities,andBarcelonaCity Council'sInstituteofCulture."Thefirstto joinweretheCentredeCultura ContemporàniadeBarcelona,andtheSanta MònicaArtsCentre,hostingtheconference sessionsandoneofthemainexhibition, respectively.Adecisivecontributionwas madebytheGovernmentofCatalonia's MinistryofCultureandtheRamónLlull Institute,whichalsoledthewayinthe event'sinternationalizationbyorganizingtwo editionsoftheArsElectronicaGardeninthe city,togetherwiththeexpertiseoftheNew ArtFoundationanditsoutstandingdigitalart collection,whichwasalsopresentedatthe fourvenuesoftheISEAexhibitions.

BarcelonaCityCouncil'ssupportmadeit possibletoextendISEAacrosstheentire city.Morethan40institutionswereinvolved intheprogrammeincludingCanòdrom democraticdigitalculturalcentreandLa Capellaexhibitioncentre,highlightingthe decentralizedandbroad-basednatureofthe event.Inturn,theGovernmentofCatalonia's supportmadeitpossibletoproducethe

ISEA2022 BARCELONA

mainISEAexhibitioninArtsSanta Mònicawiththehighestlevelsofquality, arisingfromtheselectionofthemore than500ideasthatarrivedinthewakeof theopencallforartisticprojects.The supportottheGovernmentofCatalonia wasalsocrucialinextendingthe programmeto10morecitiesandtowns (Girona,Lleida,Mataró,L'Hospitaletde Llobregat,Amposta,Tarragona,Vic, Balaguer,ReusandBerga),establishing linkswithcentresandprogrammes acrossCatalonia.Inadditiontothe above,thereistheSantPauArtNouveau Site,withamagnificentexhibitionof worksofartfromtheISEAopencalland fromtheNewArtFoundationCollection, aswellasaselectionofartworksfrom theplatformNiio.art.Theobjectivewasto mergelocalandinternational communities,contributingtothecreation ofcollaborationandexchangenetworks betweenthevariouspartiesinvolved.We alsoaimedtomakeeverythingaccessible tothepublicandcitizensingeneral,both inBarcelonaandelsewhereinCatalonia, whowereinvitedtoparticipateinawide rangeofactivitiesspreadthroughoutthe area.

“Weobtainedamagnificent responsefromtheinternational community,with1,019proposals submittedforevaluationbythe268 internationalexpertsintheISEA scientificcommitteeandthejoint artisticjuryinBarcelona.”

ISEA2022Barcelonawasthendefinedasan international,interinstitutional,intersectoral andintergenerationaleventwithaclear multidisciplinaryandtransformational vocation,creatingastructuralfoundationinthe city(andtheotherparticipatingtowns)withthe creationofprojectsincludingHacTe, Barcelona'sArt,ScienceandTechnologyhub thatbringstogethermorethanadozen institutionscommittedtothedevelopmentof art,science,technologyandsociety,including universitiessuchastheUOC,UPC(Universitat PolitècnicadeCatalunya)andUPF(Pompeu FabraUniversity),researchcentressuchasthe BSC,ICFOandBIST,festivalssuchasSÓNAR, productioncentresincludingHANGARand museumsincludingMNAC,collectorssuchas NAF,businessgroupsincludingTechBarcelona andeventssuchastheFIRAtradefair.Thisis

PauAlsina,DirectorofISEA2022Barcelona

IrmaVilà,Vice-directorofISEA2022Barcelona

ISEA2022 BARCELONA

inadditiontotheSpanishREDACTS networkcreatedbytheDanielandNina CarassoFoundation,withtheUOC,HacTe, CCCB,HangarinBarcelona,Tabakalerain SanSebastián,andtheUPV(Universitat PolitècnicadeValència)andtheCCCin Valencia,amongotherprojectspromoted withintheframeworkcreatedbytheevent andwhicharecurrentlyongoing,suchas theupdateoftheart,science,technology andsocietyWhitePaperundertakenbythe FECYT(SpanishFoundationforScience andTechnology).Thesynergiesarising betweenallthedifferentinitiatives mentionedabovewhichareinprogressin Spain,aswellastheclearconnectionwith theprogrammesthatarebeingundertaken ataEuropeanlevel,suchastheS+T+ARTS programmeandtherecentNewEuropean Bauhausprogramme,heraldapositive outcomeintermsofthestructuralimpact ofthemajorinitiatives.

Andsonowwefindourselvesin2022with thepandemicbroughtsubstantiallyunder control,andemergingfromaglobalhealth situationthatwasamajorconcerninits earlyyears,whileatthesametime suddenlyhavingtodealwithanother unexpectedwarinEurope;theRussian invasionofUkraineupsetglobalmobility

evenfurther,increaseduncertainty,andledto changesintheorganizationofeventswiththe consequentinternationaltravelinvolved.The changesthathavetakenplaceduringthese intenseyearsoffusionbetweenthevirtualand theface-to-facerealms,withforcedphysical distancingandunavoidableonlineproximity haveyettobeassimilated.Indeed,wehave beenunabletoincludeparticipantsfromallthe countriesthathadtheirproposalsacceptedfor ourevent.

Nevertheless,despiteallthedifficultiesthat havearisen,weobtainedamagnificent responsefromtheinternationalcommunity, with1,019proposalssubmittedforevaluation bythe268internationalexpertsintheISEA scientificcommitteeandthejointartisticjuryin Barcelona.Itwasacompletesuccessgiventhe circumstances,forwhichwecanonlyextend ourwarmestthankstoallthosewhotookpart intheevaluationprocess.Inturn,theISEA organizationalteam,whichhadover40 members,hadtocoordinate,inrecordtime,all theteamsofboththescientificandartistic committeeandoftheover50institutionsin the11townsandcitiestakingpart.

InadditiontothetraditionalISEAconference andmainexhibition,wehaveadded partnerships,activitiesandvenuestocreatean

ISEAthatisspreadthroughoutthecityand acrossCatalonia,andfirmlycommittedto involvingthevariousagentsandaudiences interested,citizensandsocietyingeneral.As aresult,andcountingallthoseattending eachoftheeventstakingplaceinallthe venues,therehavebeen45,447attendees, ofwhom743wereaccreditedand participatedinsomeoftheeventstaking placeinmorethan40venues,11townsand cities,4exhibitionswithmorethan80 artworks,4keynotelectures,140research presentations,45institutionalpresentations, 40artisttalks,23screenings,18posters anddemos,16roundtablediscussions,13 workshops,13performances,1specialized meetingonmediaartarchives,1founding

meetingoftheSpanishACTSnetwork,in additionto2mappingsandadroneshowfor thegeneralpublic,whichtookplaceinthe cityofBarcelonaforthefirsttime.

ISEA2022Barcelonainvolvedanexceptional exhibitioncontainingmorethan80artworks attheintersectionofart,scienceand technology.Theartworksexhibitedwerethe resultoftheselectionfromtheISEAopen callrelatedtothethemeof"Possibles",as wellastheresolutionoftheopencallforthe productiongrantsawarded:allofthemwere selectedinareviewandselectionprocessby theinternationalcommitteeandartisticjury, andtheteamsofcuratorsateachvenue.

Piecesfromtheelectronicartcollectionof

ISEA2022 BARCELONA

theNewArtFoundationwerealso selectedbasedontheevent'smain theme,withtheaimofestablishinga fruitfuldialoguewiththelongandfertile historyofinterrelationshipsbetweenart, science,technologyandsociety.The80 artisticpieces,the13performancesand the23screeningsthatwereondisplay duringISEAmakeatotalof116items, whicharedocumentedinthiscatalogue, andwhichhighlightthediversityofthe

projectsthatwereexhibitedduringtheevent andinthesubsequentmonthswhenthe4 associatedexhibitionsandeventstookplace.

TheSantaMònicaArtsCentrehostedthemain exhibitionatISEA2022Barcelona,entitled"The Irruption",whichfeaturedaselectionofpieces thatcamefromtheopenpubliccallforentries, makingup"asetofpiecesandprojectsthat, fromdifferentpositions,investigatethe environmental,climateandsocialcrisisandthe

possibilitiesofart(alwayslimitedand partial)tore-politicizetheimaginations, traumas,fearsandurgenciesthatchallenge andinstigateustoirruptotherwise,under response(-able)conditionsfromwithinthe environmentalandsocio-economiccollapse intowhichplanetEarthhasbeenplunged". Theexhibitionwasopenforthreemonths, andwasdesignedasaninvitationforall thoseattendingtotracemultiplenarratives, eitherindividuallyoraccompaniedbythe groupofcollaboratorswhoactivatedthe pieceswiththeirnarrativeitinerariesand mutantvisits."LaIrrupción"clearly resonateswiththeexperiencesrelatedto thepandemicandtheconsequent associatedcollapses,andpresentsthe isolatedimbalancesofnormalityasa manifestationofacontinuumof accumulatedphenomenathatarean expressionoftheplanet'sexhaustionandof thepotentialthathasyettoopenup.

FortwomonthstheLaCapellaexhibitionhall hostedtheexhibitionentitled"Whatis possibleandwhatisnot",whichlinkedlocal artistsselectedthroughtheISEAcallwith localartistsfromthecallbyBarcelona Producciówhichdefinestheprogrammingof thevenue."Whatispossibleandwhatisnot" therebypresentedacrisisinthepossibilities thatliewithintechnologicalbreakthroughs, butwhichconcealimportantlimitationsand conditioningfactors.Thesamecapacityof technologiestomakepossiblewhatwas previouslyimpossibletoimaginealso preparesustocollidewithitsboundaries.In turn,theabilityofsciencetoexplorethose boundariesshowsusthatwhatispossibleis alwaysahorizonthatcanbemoved-an openingtotheimaginationthathasyettobe developed.

Thisfascinationwith"Possibles",which presentswhatisrealandunfinishedinfront ofus,gaveitsnametothethirdexhibition organizedinBarcelonawhichtookplacein theSantPauArtNouveauSite,wherea mixtureof17piecesfromtheNAF collection,5piecesselectedbytheArtJury oftheISEAopencalland6workschosenby theNiio.Artplatformwereondisplay.Inthe venue'simaginativeartnouveausetting,the exhibitionofart,scienceandtechnology

“The80artisticpieces,the13 performancesandthe23 screeningsthatwereon displayduringISEAmakea totalof116items,whichare documentedinthiscatalogue”

ISEA2022 BARCELONA

exploredtheseother"Possibles"behind climatechangeandglobalwarming, behindroboticsandbiotechnologies, withinalgorithms,artificialintelligence anddatascience,inquantumworlds, endeavouringtounderstandwhatmatter is,upthereaboveourheadsinouter spaceandthemultiverse.Beyondseeing ourselvestrappedinaworldofpredesignedpossibles,theexhibition includedideasfromallovertheplanet andfromallareasofexperienceand knowledge,openinguptocontingency, thefutureandtheuncertaintyoffutures thatarealreadyopenorwhichwillbe openedupinourpresent.

Finally,lastbutnotleast,theCalMassó artcentreinReushostedtheexhibition entitled"BeepCollection:Origins",which useddifferentperspectivestopresent someofthefoundingworksinthis pioneeringcollection,consistingof piecesconsideredessentialinthehistory anddevelopmentofelectronicartwhich thecollectionhasbeenrescuingand restoring,inordertohighlightthelegacy ofthepioneeringcreatorswhoarenow partofthehistoryofcontemporaryart. The"Origins"exhibitionalsoconstructed atimeframewhichsoughttobringus

InternationalSymposiumon ElectronicArt,thePossiblewasborn inthepolis,inthecity,through dialogue,discussionanddebate”

closertoourevolutionasaspeciesandtothe unstoppabledevelopmentoflifeinitsbroadest sense,withworksofartthatexploreidentity andappearance,memoriesandrecall, intelligenceandtheperceptionofrealityandof thehumanbody,andevenmaterialandcosmic environments.Itprovidedamultidisciplinary perspectivethatinourcomplexhistoricaland currentframework,whetheritisvirtualorfaceto-face,localorinternational,andwiththe othertownsandcitiesinCatalonia(Girona, Lleida,Mataró,L'HospitaletdeLlobregat, Amposta,Tarragona,Vic,BalaguerandBerga), extendedtheuniverseofpossibilitiesleft behindbyISEA.

Aswesaidatthebeginningofthetextonthe originsofthe27theditionoftheInternational SymposiumonElectronicArt,thePossiblewas borninthepolis,inthecity,throughdialogue, discussionanddebate,anditispoliticalby definition,asitshapesourreality.Thepolitical realmismadeupoffeelings,theabilityto moveandbemovedinouropennesstothe world,inournetworkofintensitiesofthe

“The27theditionofthe

experienceandadventuresoftheencounter. Encountersaremadeupofrelationshipsthat accountforeverypoliticaldimensionofour existence.Afterthesedifficultyearsofthe pandemic,withtheirmultipleecosystemic upheavals,andtheconsequentisolationand socialdistancing,ouraimwastousethis policyofemotionstobringtogetherthe communityofcommunitieswhichisthe multidisciplinaryspherethatisrecognizedin ISEA.Tocreatelong-awaitedembraces

betweenlocalandinternationalagents, individualsandgroups,betweenvirtual closenessandface-to-facedistances, betweenpossiblesandimpossiblesyettobe experiencedinthemultiplespacesfor meeting,relationships,exchangesand complicitywhichwehavebeenableto create,sothatthecompositionofknowledge thatgivesnametoouremotionscan experiencearesurgence,likeaPhoenixin thefirmamentofthePossible.

PastoraMartínez(UOC)MadelineCarey(MACBA)JuditCarrera(CCCB)MarisolLópez (GeneralitatdeCatalunya)PauAlsina(UOC)JordiMartí(AjuntamentdeBarcelona)

IrmaVilà(UOC)AndreuRodríguez(NAF)MariaLladó(IRL)EnricPuig(ASM).

ISEA,International SymposiumonElectronicArt

ISEA isoneofthemostimportant annualeventsworldwidededicatedto thecrossroadswhereart,design, science, technology andsocietymeet.

Theeventhasbeenheldover26times allovertheworld,andaftermorethan 10yearssinceitlastgracedEuropean soil,itfinallytoucheddownin Barcelona during2022.Withitcame anenthusiasticinternationalandlocal communityreunitedtodevelopthis interdisciplinaryfield.

ISEA2022 BARCELONA

ISEA2022Barcelonahasreinforcedtheroleofthe cityasaleaderinresearchandscientificoutput andculturalandartisticcreativityinbotha nationalandinternationalcontext.

WhatmakesISEAuniqueisthatitisnotsomuch anacademicconferenceasaconference-based eventthatoffersawidearrayofactivities,which surprisevisitorswithnewlyconceivedformatsin everyedition.Atthesymposiumyouaresureto findexhibitions,workshops,open-airprojects, roundtables,artisttalks,schoolinitiativesanda varietyofotheractivities,allwiththeinvolvement ofdifferentorganisationsandcommunitiesfrom thecityofBarcelona.

ISEA2022 BARCELONA

ISEA2022Barcelona invitedthe participantstocontributetothegrowing debateonourworldof"Possibles",the Symposium'scentraltheme,inmultiple formatsincludingmorethan140papers presentationsbyexperts,45institutional presentations,40talksbyartists,20 screenings,18postersanddemos,16 roundtablediscussions,16workshops and13performances,allfromtheopen calllaunchedayearbefore,which received1,100proposals.

The CCCB hasbeenthemainvenueforan internationalcommunityofexpertsinart, scienceandtechnologywhoaddressed topicalissuesincludingthecreative capacityofartificialintelligence,the possibitiesofimmersiveexperiences,the imaginaryofbiotechnologyinthearts,the challengessurroundingclimatechange, andnewwaysofaddressingeducation,as

wellasourculturallegacy.Inaddition,ithas beenthespaceforfourkeynotespeechesby leadingfiguresintheirrespectivefields:Olga Goriunova,JoanFontcuberta,ChristlBaurand RicardSolé.

Also, MACBA hashostedtheSecondSummit onNewMediaArtArchiving,amongother activitiessuchasartisttalksoraperformance. Morerelatedactivitieshavebeenprogrammed inothervenuessuchasCanòdrom,that hostedfourpanelsfromthecall.

ExtendedProgram

Withtheaimofbringingtheintersections betweenArt,ScienceandTechnology closertothepublic,ISEA2022created theISEAExtendedProgram,inBarcelona andother10cities(Girona,Lleida, Mataró,L'HospitaletdeLlobregat, Amposta,Tarragona,Vic,Balaguer,Reus andBerga),whichhasincludedmore than50activitiesalongtheCatalan territory.

ISEAExtendedProgram madepossibleexhibitions, workshops,outdoor projects,panels,artists talksorschoolinitiatives wherevisualartsvenues, designschools,museums andartcenters,art factories,festivalsandhigh schoolswereinvolved.

ThenightofJune15,ISEA2022Barcelona offeredthefirstdroneshowinBarcelona,by FlockDroneArtBarcelona,opentothepublic.

Exhibition

ISEA2022Barcelona hadbroughttogetheramarvellousandextensivedisplayofpieceslocatedattheconvergence betweenart,scienceandtechnology, withmorethan80worksincludingimmersiveinstallations,interactiveandonlineworks,soundart,animations,mappingandadroneshow.

Thisexhibitionhasbeenadialoguebetweenworksbyinternationalauthors andaroundtwentyCatalanartists,and piecesfromtheopencallhadbeeninterspersedwithotherdigitalartcollections.

LAIRRUPCIÓ

SantaMònica,Barcelona

FromJune9toAugust21

Themainexhibitionhasfeatured32works:23 piecesfromtheISEA2022Barcelonapubliccall selectedinconjunctionwithSantaMònica,2 piecesdonatedbytheNewArtFoundationand7 worksactingasitinerariesfortheexhibition. TheIrruptionhaspresentedworksbyleading internationalandlocalartistsincluding RobertinaŠebjanič,LaurenLeeMcCarthy,Eric Berger,JoanSoler-AdillonandAndyGracie.

POSSIBLES

RecinteModernistadeSantPau,Barcelona

FromJune9to30

Itincludedfiveoutstandingworksfromthe ISEA2022BarcelonacallbyThierryFournier, MonikaFleischmannandWolfgangStrauss, PaulThomas,KeithArmstrongandLindaDement,PaulBrownandCarmineGentile,andit hasbeencompletedbyAlexPosada(winnerof oneoftheISEA2022Barcelonagrants)and twentydigitalworksbytheNewArtFoundation.

WHATISPOSSIBLEANDWHATIS NOT LaCapella,Barcelona

FromJune9toAugust28

Adialoguebetweenworksbyfivelocal artists(JosepManuelBerenguer,Anna Carreras,MónicaRikić,RocParésand YolandaUriz)fromISEA2022Barcelona’s call,andworksbyartistsfromBarcelona Producció(AnnaPascó,AriadnaParreu, MarioSantamaríaandEstampa).

2ndSUMMITONNEWMEDIAART ARCHIVINGEXHIBITION

Onlineexhibitioncomposedof8artworksrelatedtoarchivesorarchival practicesaswellasdatavisualisationof archives.

BEEPCollection:ORIGINS CalMassó,Reus

FromMay26toJuly23

Anambitiousselectionofnewprojectsandfoundationalworksofinternationalelectronic artbyleadingartistsincludingJoanFontcuberta, Marcel·líAntúnezandRafaelLozano-Hemmer.

SANTAMÒNICA BARCELONA

Exhibition LAIRRUPCIÓ

LAIRRUPCIÓ, theexhibition,curated byMartaGracia,JaraRochaandEnric PuigPunyet,includesmorethan twentyartworksfromthecall.

Thesepieces,insertedwithinthelocal context,openedadialogueaboutthe complexcircumstancesthatweare livingontheplanetafterthedisruption ofthepandemic.Theexhibition showedproposalsfromleading

internationalandlocalartistssuchas RobertinaŠebjanič,ErichBerger,Joan Soler-AdillonandAndyGracie.

Followingthecenter’snewmethodology thatencourageshorizontalparticipation, discursiveitinerariesemergedwith participationatdifferentlevelsandthe involvementofSantaMònica’sresident artistcommunitiesduringthe exhibition’speriod.

Artworks

EoETriptych#1

AndyGracie

UnrealWindow

ChanheeChoi

GardenintheMachine/Vibrant

Landscapes

ColinIves

SpectralLandscapes–Palkiskuru

ErichBerger

FutureFunction|CreativeUsesfor

ObsoleteTech

ErikContreras

CantheMindExistWithoutaBody?

IrmaMarco

JaneMi

Infodemic

JenniferGradecki,DerekCurry

#SeeYouatHome– TheDomestic

SpacesasPublicEncounter

JoanSoler-Adillon,BettinaKatjaLange andUweBrunner

TallySavestheInternet

JoelleDietrickandOwenMundy

HowtoMakeanOcean

KasiaMolga

SyndemicSublime

LauraSplan

Muted

LaurenLeeMcCarthy

ConcertoparaPianoePandemia

NikolasGomes

Waitingforother

NooroaTapuni

AquA(l)formings–Interweavingthe Subaqueous

RobertinaŠebjanič,SofiaCrespo,Feileacan McCormick

ItwillHappenHere,inBarcelona(Tindrà llocaquí,aBarcelona)

RoderickLuisCoover,AdamVidiksis,Nick Montfort

QuadraMinerale–RareEarths RosellMeseguer

privacy-GrDN.info

S4RA/SandraAraùjo

ToolsforaWarmingPlanet

SaraDean,BethFergusonandMarina Monsonís

Repository

WeidiZhang

ImaginarySunset

XuanyangHuang

AndyGracie

EoETriptych#1

Keywords:Cosmology,Ends,Deeptime,SciArt

Theongoingresearchprojectofwhich EoETriptych#1 formsapartbuildson parallelobsessionswithcosmology, deeptimeandpost-apocalyptic scenarios.Reactingtocontemporary disasterrhetoric-theendofhumanityor post-terrestrialescapology–itpresents theunavoidablefutureandinescapable apocalypseoftheendoftheUniverse

Thebriefexistenceofstarsandplanetsonthe timelineoftheUniverseisnothingbuta momentaryglitchintheprocessof transformationfromBigBangtoHeatDeath.

Thehumansenseofpermanenceand significanceleadsustoimaginefutures wherewearepresent,havingfound waystodominatenatureandconquer space.Thisprojectarguesthatthereare eventsfromwhichthereisnoescape andthatalltimelines,includingthe humanone,willcometoanendthrough developingculturalandscientific narrativesaroundtheendofthe Universe.

Whereweimaginepermanenceand continuity,theUniversepresentsitselfas afluidentitywherestarsglowinto existenceandburnout,wheregalaxies collideandwhereeventuallyallmatter willdissipateinafieldofcoldradiation.

Animportantnarrativewithintheworkisthe finebalancebetweenknowledgeand speculation.Whileourunderstandingofthe Universeandcapacityforpredictionis astounding,westillcannotbesurethatthe nextthousandtrillionyearswillbeaswe imagine.Everythingweknowsofarpointsto theendingknownasheatdeath,theslow fadingoftheUniverseintoafieldofcold radiation,buthowcanweknowifdarkenergy, darkmatterandquantumfluctuationswill changethingsornot?

Andintryingtounderstandthesevastcosmic processes,wheredowefindthespaceto examineourhumanity?Howdoweconfront themelancholyofimaginingafuturethatwe canneverexperience?Howcanweattribute meaningandsignificancetosomethingso fleetingandintangible?

ThetriptychpresentstheendoftheUniversein threestages;theendoftheSolarSystem,the endofthegalaxyandallstars,andtheendof theUniverseitself.

Usinginstallation,robotics,sound,video,lightingeffectsandbiologicalpractice, AndyGracie makesworksituatedatapointofseparationbetweentheartsandthesciences,creating situationsofexchangewhichallownewunderstandingsandknowledgesystemstodevelop. Muchofhisworkinvolvesreactionstoandengagementswithdeeptime,eschatologyandspace research.Employingscientifictheoryandpractice,hequestionsourrelationshipswith explorationandexperimentwhilstsimultaneouslybringingintofocustheveryrelationship betweenartandscience,andhownewknowledgeisculturallyassimilated.Muchofhiswork featuresanongoingengagementwithsemiotics,simulationtheoryandapocalypticorposthumanscenarios.Hisworkhasbeenexhibitedwidelyandinternationallyinbothsoloandgroup showsandpresentedatconferencesandseminarsacrosstheglobe,aswellaspublishinga numberofarticlesandpapers.

Website:hostprods.net

UnrealWindow

Keywords:Animation,Machinelearning,AI,Gamesimulation

UnrealWindow isareal-timevirtual animationinspiredbytheexperienceof confinementandvirtualcommunication duringtheCovid-19pandemic.The animationisarecordingofacontinuously existingAIenvironmentcreatedthrough machinelearning.Thevideo’snarration wasproducedbyamachinelearning systemusingthescriptofHitchcock’sRear WindowandarecordingofJimmy Stewart’svoice.UnrealWindowaddresses theslipperysenseofrealityinaworldof mediaconsumption,zoommeetings,and AIanimation.

die,thenwhatdoesthismeanformyidentity? WhocanIbeunderthesecircumstances?Iask, ‘WheredoIexist?’andifapartoftheansweris inthedigital,whatdoesthatimplyaboutAI?

In UnrealWindow,Imanifestmyselffifteento twentytimesinembodimentsofdifferentages andforms.Iappearasababy,atoddler,an adult,anelderlywoman,andasahumancomputerhybrid,awomanwithamonitorfora head,foreverinazoommeeting.Allversionsof mearefollowingafterthishybridasshefleesattemptingtostayintheframeofthewebcam, competing,desperatetoshowthattheyexist.I alsoattachedasurveillancecameratoeach character,creatingascenarioinwhichtheyare allconstantlyspyingoneachother.

UnrealWindow wasinspiredbyzoom meetingsduringtheCovid-19pandemic, thelonelinessproducedfromthesense ofbeingmonitored,thepainfulabsence ofrapportthatpolitenessdictateswe havetopretendnottofeel,thedespair andcreepingterrorofnotbeingableto connectwithothersphysically,their smell,theirtouch,theirheat,andlonging forthatwhichcanonlybesharedthrough physicality.

Iwonderhowfardownthispathwe mightgo.IfthissituationcontinuesuntilI

UnrealWindow isareal-timevirtualanimation videothatisdesignedforvideogame simulation,butthisvideogamehasnoplayer. Thecomputer’ssystemsplayeachotherwithout theneedforfurtherinput.

LikeIChing,Thesecharactersaredoomedto watcheachotherrandomlyandchasethe camerainfinitelyintheauto-gameplayof machinecomposition(NPC)settoachasingand fleeinggamescenario.Iwantedtocreatea situationwithoutanend,bothasareflectionof feelingofendlessnessinthispandemic,and alsosothatthemachinelearningsystemcould

developtheactioninwaysthatmight surpriseme.Forexampleifthecharacters learntochaseandfleeusingobstaclesand tools,whatkindofrelationshipsand environmentsmightthatproduce?

Iwantedtoknow,inaplacewhere everythingismadewithAI,wouldIfeel likeIcouldbreathe?Isthereabottomto thisabyss,orisitinfinitesliding?

Iwonderwhetherweareactuallyin conversationwhentelecommuting.Ican seethepersonItalktoonlyinasquare

box.SometimesIfeelconfusedwhetherI’m speakingtoarealpersonornot,andInotice thatIwatchmyselfasIspeakasmuchasI lookattheother.Iwanttoexpressthis wanderingbetweenrealityandunreality.

Ifeelveryanxiousthatcommunicationand relationshipsbetweenpeoplemightbelostin theabsenceofphysicalpresence,andthis virtualworldwillpersist,existingonlineeven asgenerationscomeandgo.I’vestarted thinkingabouttherealmeaningof confinement.

ChaneeChoi is atransdisciplinaryartist.Shehasdevelopedaritualisticcraft-basedartpractice thattranscendstheconservativeandisolationistrootsoftraditionalEastAsiancraftworkby focusingonacelebrationoffeministtheoryandmoderntech.Withinthishybridgenre,she producesbothembodiedandvirtualimmersiveexperiencesexploringtheeffectofimmigration onissuesofidentity,andthesynestheticprocessesofcorporeal-cognitivespace.

SheisoriginallyfromSouthKoreaandnowlives,works,andstudiesinSeattle,Washington.She earnedherBFAinCraftDesignfromDongdukWomen’sUniversityin2013andMFAinFiberand MaterialStudiesfromtheArtInstituteofChicagoin2016.ChoiiscurrentlyaPh.D.candidate (ABD)inArtandTechnologyatDXARTSattheUniversityofWashington.

HerworkhasbeenpublishedinUWNews,UWCollegeofArts&Sciences,GeekWire, InternationalExaminer,SeattleTimes,KUOWNationalPublicRadio,KING-TV,andWIRED magazine.

Website:chaneec.com

GardeninTheMachine, VibrantLandscapes

Keywords:EcoArt,AI,Generative,ArtandTech

TheAIalgorithm,trainedonvideoof landscapes,generatesacompletelynew sequence.Thespatialtrajectoryofthe sourcefootagetroublestheAI’s “understanding”patternsofrelation.The resultingvideoshaveananimatesenseof desynchronization,anaestheticstrategy thatrevealsthecopresenceofmultiple durations,temporalities,andtempos.

whichtheycanretainorextendsculturalbias. InthiscontextusingAIinanon-functionalway isanactofresistance.

Theaigeneratedvideosincludedin Vibrant Landscapes arebasedonmovementthrough realecologicallyfragilelandscapes.Thework acknowledgeshowourexpansivetechnologies haveledtocrises;yetitsaimisrestorative.

Weliveatatimewherethereareasetof predictivecalculationsoccurringforany givenaction.Thismightbemost obviouslywhenweareonlineandasa resultofdatamininghighlytargetedads appear.Butpredictiveanalyticspowered byArtificialIntelligenceisalreadybeing deployedthroughoutalllevelsofour socialstructure,frompolicingand medicinetomodelsofclimatechange. ThesheerpersuasiveutilityoftheseAIs underwriteparticularthelogicsoftheir practice.Theamplificationofthevalueof functionalityaccountsfortheireverincreasingdeploymentevenintheface ofknownproblemssuchasthewayin

TheAIalgorithm,trainedonoriginalfootageI shotoftheselandscapes,generatesnew sequencesbypredictingandaddingnew frames.Thespatialtrajectoryofthesource footagetroublestheAI’sprocessof “understanding”patternsofrelation.

Theresultingvideoshaveananimatesenseof desynchronization,anaestheticstrategythat revealsthecopresenceofmultipledurations, temporalities,andtempos.The representationaldriftevokesupheavalsin geologicaltime,anever-changingreshaping: destruction,renewal:vibrancy.We’vetriedto containthenaturalworld,todamitsliving riversandstopitsfluctuations,butherethey’re setadriftintheunresolvedcontingenciesof ourtimes.Comfortandcrises.

ColinIves isamediaartistwhosecreativepracticeoperateswithinanexusofoverlapping culturalcategories,includingart,technology,andecology.Heusestechnologyneverasanend initself,neveranunexaminedtool,butachancetoreflect,examine,andrevealaestheticand culturalsubstructures.Acrossadiverserangeofwork,includingmediainstallation,kineticvideo sculpture,sculpturalobjects,andinteractivework,heexploreshowourdigitaltoolsarenotonly changingourcapabilities,butalsoourworldview.HisAICreativePracticeResearchGroup (AICP)createdaprojectwiththegammynominatedvocalquartetNewYorkPolyphonycalled AlephEarth.ItpremieredatNewCurrentsMediafestivalin2020andhiscurrentproject Garden intheMachine willbeshowcasedatthisyearsNewCurrentsfestivals.

Website:colinives.com

SpectralLandscapes

Keywords:Nuclearcontemporary,Deeptime, Radioactivity

In SpectralLandscapes Iinvestigate radioactivityandthelandscape.Icollect dataviacustom-madesensorsand software.Theyallowmetoportraythe gammaradiationfieldsproducedbythe decayofnaturaluraniumandthorium mineralisations,asbodiesthatprotrude fromtheradioactivebase-rockas intricatebutintrinsicfeaturesofthe landscape.

Mycurrentartisticworktakesplace undertheumbrellaofSpectral LandscapeswhereIinvestigate radioactivityandthelandscape.Since spring2020Iconductintensefieldwork inFinland.Iamexploringsiteswith heightenednaturalradioactivity, originatingfromthedecayofnatural uraniumandthoriummineralisations withsomeofthoseplacesbeingpotential futuresitesofmining.ThereIcollect dataviacustom-madesensorsand softwarewhichallowmetoportraythe gammaradiationfieldsasbodiesthat protrudefromtheradioactivebase-rock asintricatebutintrinsicfeaturesofthe landscape.Invisiblebutpresent,the

constitutionofthesebodiesispartofthe innateprocessesofourplanetindeeptime. Theyconformwithcontinentaldrift,the biogenicaccumulationofoxygeninour atmosphere,thefoldingofmountainranges, andtheirweatheringandtheyfollowthe carvingsofgeophysicalformswhichproduce thefeaturesofthelandscapesweobserve aroundus.Irefertothesebodiesasspectral becausetheirpresenceisghostlyandcan onlybedetectedviaextra-sensorialmeans, butthentheyarealsospectralbecausethey arefieldsoflight,ofphotons,although locatedinapartofthespectrumnotvisibleto thehumaneye.Atthesametime,Finlandis buildingOnkalo,thefirstpermanentdeep geologicalspentnuclearfuelrepository.Itwill bebackfilleduntil2120andengineering claimsthatOnkalocanholdbackthenuclear wasteforthenextonehundredthousand years,travelingintoadeepfutureyetto become.Twostoriesconnectedbytheir materialitycoverthefullscaleofplanetary time.

Whatcanwelearnfromdeeptimeforthe presentandapossibledeepfuture,what aboutquestionsofintergenerationaljustice,is thereapoliticofscales,andwhatarepossible artisticstrategiestoaddresssuchquestions?

ErichBerger isanartist,curator,andculturalworkerbasedinHelsinki.Hisfocusisonthe intersectionofart,science,andtechnologywithacriticaltakeonhowtheytransformsociety andtheworldatlarge.Throughouthispractice,hehasexploredthematerialityofinformation, andinformationandtechnologyasartisticmaterial.Hisinterestinissuesofdeeptimeand hybridecologyledhimtoworkwithgeologicalprocesses,radiogenicphenomena,andtheir socio-politicalimplicationsinthehereandnow.Bergermovesbetweenvisualartsandscience inanareathathealsodevelopswithhisworkattheBioartSocietyinHelsinki.Bergerhas exhibitedwidelyinmuseums,galleries,andmajormedia-arteventsinEuropeandworldwide.

Website: randomseed.org

Opportunity inObsolescence

Keywords:Electronicwaste,Righttorepair,Maker community,Hacking,Industrialdesign

Withmanyissuessurroundingourhightechproductsincluding:1)planned obsolescence,2)alinear“cradle-tograve”lifecycle,3)theaccumulationof electronicwaste(e-waste),and4) consumerculture,thereispotentialof findingcreativesolutionstoreusing/ repurposingourobsoletetechnology.

ErikContreras isaninterdisciplinarydesigner andengineerwithabackgroundinmechanical engineeringandrapidprototyping.Hiswork involvesprolongingthelifespanofconsumer electronicsandfindingalternativeusesforpostconsumerproducts.Hisdesignphilosophy seekstopromoteuserrepair,modification,and reuseforconsumerproducts.Asanadvocatefor therighttorepair,hewishestodevelop productsandprototypesthat“welcomesthe end-user,insideandout”.

Thispotentialcanbefoundinthis artisticworkwhereatypewriterhacked toperformasaUSBprinterusingthe designprinciplesmeanttocombatthe issueslistedabove.Thisincludesusing open-sourcehardwareandsoftwareas wellasincorporatingadaptivedesign forfutureupdates.

Eriktypicallyusesahands-onapproachtowards hiswork/researchandcanbefoundhacking obsoletetechor3Dprintingcustompartsinhis homemachineshop.Withtechnologybeingpart ofeveryaspectoflifeintheBayArea,therealso avastaccumulationofe-wasteinthe community.Withe-wastebeingreadily available,Erikfeelsthematerialisan “unnatural,naturalresource”whenitcomesto findingpartsandinspirationforhisprototypes.

IrmaMarco

CantheMindExist WithoutaBody?

Keywords:Internetflags,Onlifemanifesto,Publicart

Large-formatflaginstalledinpublic space,showingYiannisLaouris's message:"CantheMindExistWithouta Body?",takenfromtheOnlifeManifesto, coordinatedbyLucianoFloridi,where theyaddressthetransformationsofthe digitalhyperconnectivityera,suchasthe needtore-engineertheconceptsof humanandnon-humanlife.

Thisworkis,atthesametimecontextualizedin alargerpublicartprojectandPhDresearch called#internetflags,whichexploreseveral aspectsoflifeinahyper-connectedand Internet-basedsociety.Wethinkthatthis projectcanaswellbearesponsetotheneed fornewlocationstructurestoshowartistic proposalsandtopromotesocialinteractions andcriticalthinkingfromtheartsperspective.

CantheMindExistWithoutaBody? isa large-formatflaginstalledinpublic space.ItshowsaYiannisLaouris's questiontakenfromachapterofthe OnlifeManifesto,coordinatedbyLuciano Floridi,wheretheyaddressthe transformationsofthedigital hyperconnectivityera,suchastheneed tore-engineertheconceptsofhuman andnon-humanlife.

Theconceptualfocusof#internetflagsisbased onthreeaxes.Thepermanentexistenceof portabledigitalcommunicationdevices,close totheideaofprosthesesinthecontextofa hyper-connectedsociety,andhowitseffects areinterpretedfromcontemporaryart;the problemsderivedfromthemassiveuseofthe Internettogetherwithalackofknowledgeof itsinternalphysicalstructure,aswellasits politicalandenvironmentalimplications;and alsothecurrentpandemiccontextinwhich socialrelationshipsarevirtualized,public spaceisblurredandphysicalcontactis restricted.

IrmaMarco isanartist,researcher,andteacher.Sheholdsamaster'sdegreeinFineArtsfrom theUPV,iscurrentlypursuingherdoctorateinAdvancedStudiesinArtisticProductionsatthe UniversityofBarcelona,andisaresidentattheFàbricadeCreacióFabraiCoats.Sheisalsoa consultinglecturerattheUniversitatObertadeCatalunya(UOC)andteachesatinstitutionssuch asMACBAandEscolaMassana.

Marcoworksfrompre-existingelements(suchassounds,texts,orparticularcontexts),looking fornewmeaningswithinmaterialsthatalreadyhaveapast.Sheisinterestedinthepluralitywith whicheventsarenarratedandrecorded,andshereliesonnoise,appropriation,collaboration, andexchangeasstrategiestoopenupaspaceofpossibilityfromwhichtocreatemeaning.Her practiceencompassessoundexperimentation,installation,actions,andinterventionsinphysical spacesaswellasvirtualenvironmentsandpublications.

Website:irmamarco.com

JaneChangMi ゴジラ/ɡɒdˈzɪlə/

Keywords:Nuclear,Asiapacific,USmilitary,Environment,Monsters

ゴジラ/ɡɒdˈ zɪlə/(2020)isa96minutesingle-channelvideowith soundthatlayersall29films simultaneously,butwithallscenes involvingmonstersandhumans removed.

OnMarch1,1954,DaigoFukuryū

Maru(LuckyDragonFive),aJapanese fishingboat,wascontaminatedby nuclearfalloutasaresultoftheUnited States’thermonucleartest,Castle Bravo,inBikiniAtoll.Thefirst ゴジラ moviewasreleasedinNovember 1954,asadirectresponsetothis incidentaswellasthebombingsof

HiroshimaandNagasaki.Thekaiju (monsters)areametaphorfornuclear weapons,theAmericanmilitarizationofthe Pacific,andenvironmentaldisaster.In total,29Japanesefilmsweremadeby TohoCo.,Ltd. ゴジラ/godˈzilə/ (2020)isa 96-minutesingle-channelvideowithsound thatlayersall29filmssimultaneously,but withallscenesinvolvingmonstersand humansremoved.Thiserasuremirrorsthe UnitedStates’policiesandactionsasa settlerandcolonialnation,leavingawake ofdestructioninitspath.The transparenciesreflectingthehalf-lifeof radioactiveisotopesaswellasthetrauma ofAmerica’snuclearlegacy.Wearethe monstersandthemonstersareus.

Asanartistandoceanengineer, JaneChangMi assessesthepost-colonialoceanenvironment throughinterdisciplinaryresearch.Miexaminesthenarrativesassociatedwiththeunderwater landscapeconsideringthepast,present,andfuture.Shemostoftenfocusesontheoccupation andmilitarizationofthePacificOceanbytheUnitedStates.Specifically,herpracticeiscentered aroundthetopicsofmilitourism—thecreationandprotectionoftouristeconomiesbymilitary orparamilitaryforces—andscientificcolonization.Thisinterestemergesfromherbackground asanoceanengineer,afieldthatisinextricablylinkedtotheAmericanmilitarycomplex. website:janecmi.com

DerekCurryandJenniferGradecki

Infodemic

Keywords:Generativeart,Neuralnetwork,Missinformation,Covid-19

Infodemic isaneuralnetwork-generated videothatquestionsthemediated narrativescreatedbysocialmedia influencersandcelebritiesaboutthe coronavirus.Theplastic,evolving,and unstablespeakersinthevideoevokethe mutationofthecoronavirus,the instabilityoftruth,andthelimitsof knowledge.

Infodemic isaneuralnetwork-generated videothatquestionsthemediated narrativescreatedbysocialmedia influencersandcelebritiesaboutthe coronavirus.Thespeakersfeaturedin thevideoareanamalgamofcelebrities, influencers,politicians,andtechmoguls thathavecontributedtothespreadof misinformationaboutthecoronavirusby amplifyingrumors,repeatingnarratives thatarecontrarytothoseofofficial healthagencies,ordeveloping technologiesthatamplifyuntrue content.

Thetalkingheadsin Infodemic are generatedusingaconditionalgenerative adversarialnetwork(cGAN)thatpredicts

thepixelsforeachframeofavideothroughan algorithmicprocesssimilartothoseusedby searchenginesandsocialmedianewsfeeds. Searchandcontentrecommendation algorithmsthatoncepromisedtoprovide accesstomoreinformationandenablethe publictomakewell-informeddecisionshave actuallymadeitmoredifficulttofindaccurate informationonimportantandpoliticallychargedtopics.Thereisadisconnectbetween theoptimisticPossiblespromisedbythe technocraticeliteandthedangersposedbya powerstructurethatcanhidebehind proprietaryalgorithmsandcircumventcriticism duetoageneralpublic’slimitedtechnological understanding.

ThecGANin Infodemic wastrainedona corporaofmultipleindividualssimultaneously. Theresultisatalkingheadthatmorphs betweendifferentspeakersorbecomesa glitchyFrankensteinianhybridofdifferent peoplethatcontributedtothecurrent infodemicspeakingthewordsofacademics, medicalexperts,orjournaliststhatare correctingfalsenarrativesorexplaininghow misinformationiscreatedandspread.The plastic,evolving,andunstablespeakersinthe videoevokethemutationofthecoronavirus, theinstabilityoftruth,andthelimitsof knowledge.

DerekCurry (US)isanartist-researcherwhoseworkcritiquesandaddressesspacesfor interventioninautomateddecision-makingsystems.Hisworkhasaddressedautomatedstock tradingsystems,OpenSourceIntelligencegathering(OSINT),andalgorithmicclassification systems.Hisartworkshavereplicatedaspectsofsocialmediasurveillancesystemsand communicatedwithalgorithmictradingbots.

Website:derekcurry.com

JenniferGradecki (US)isanartist-theoristwhoinvestigatessecretiveandspecializedsociotechnicalsystems.Herartisticresearchhasfocusedonsocialsciencetechniques,financial instruments,dataveillancetechnologies,intelligenceanalysis,artificialintelligence,andsocial mediamisinformation.

Website:jennifergradecki.com

CurryandGradecki havepresentedandexhibitedatvenuesincludingArsElectronica(Linz), NeMe(Cypress),MediaArtHistory(Krems),ADAF(Athens),andtheCentroCulturaldeEspaña (México).TheirresearchhasbeenpublishedinBigData&Society,VisualResources,andLeuven UniversityPress.TheirartworkhasbeenfundedbyScienceGalleryDublin,ScienceGallery DetroitandtheNEoNDigitalArtsFestival.

BettinaKatjaLange,UweBrunner, andJoanSoler-Adillon

#SeeYouatHome

Thedomesticspaceasapublicencounter

Keywords: Domesticspace,Personalobject, Interactiveinstallation,Virtualreality

#SeeYouAtHome isaninteractiveand immersiveinstallationaboutchanging theroleoftheprivatespaceinatimeof crisis.Itispartofanongoing participatoryprojectthatreflectsonour everydaydomesticlifebetweenprivate andpublicspheres,andthusonour relationshipwithlivingspacesin general.

Theprojectconsistsofacollectionof hundredsofthree-dimensional documentstakenbetween2020and 2021inover40differentcountries duringthemostintenseperiodsofselfisolationandhomeconfinement.

Followinganopencall,thecollected videoswereconvertedto3Dobjects usingthetechniqueofphotogrammetry. Theseimperfectobjects(pointcloud imageswithgapsandunfinished endings)arethecorecontentofthe

work’sarchive,alongwithpersonal statementsaboutthetimeofquarantineand thechangingmeaningofprivatespacesinthe formofaudiopiecesandtext.

#SeeYouatHome(SYAH) isaphysical installationthatincludes3D-printedobjects, plotterprintsonthewall,andinteractive objectswithQRcodesleadingto360degree virtualspacesthatvisitorscanviewthrough the‘magicwindow’featureoftheirphone. Additionally,theworkexpandson,and includeswithin,apreviouswork:theVR installationTheSmallestofWorlds.Withit, #SeeYouatHomeoffersajourneywithina journeythatexplorestheprivatespacesasits possibleformsdevelopandchange,inaback andforthbetweentherealandthevirtualthat isbothconceptualandexperiential.

website:thesmallestofworlds.com

UweBrunner isanAustrianarchitect,experiencedesigner,teacher,andresearcher.Since2019 hehasbeenafacultymemberatthe./studio3,InstituteforExperimentalArchitectureatthe UniversityofInnsbruck.HeiscurrentlypursuingaPh.D.witharesearchfocusontheEssay,its affectiveandcognitivemodalities,anditspotentialforspace-makinginvirtualreality environments.Inadditiontoarchitecture,hiswiderresearchdrawsfromanarrayofdifferent fieldssuchasmediaart,filmstudies,gamestudies,andmediaphilosophy.

BettinaKatjaLange isaGermanscenographerandvisualmediaartist,withabackgroundin theater,opera,andfilm.ShehasworkedinleadingproductionhousessuchastheOpera Zuerich,theNationaleOpera&BalletAmsterdam,theStateTheaterofMunichKammerspiele, theWoosterGroup,andthePerformanceSpaceTheaterinNewYorkCity.Herrecentwork extendstophysicalinstallationsandvirtualenvironments,withanemphasisonthe documentarystrengthinunconventionaltheatricalanddigitalmediaforms.Hercurrentresearch hasbeensupportedwithafellowshipbytheGoetheInstituteBeijing;itfocusesonthe correlationbetweenordinaryobjects,privatespace,memory,andcommunicationbehaviors;i.e. theowner’ssocialidentityandautobiographicalrepresentation.

JoanSoler-Adillon (PhD)isaCatalanartistandassociateprofessoratUniversitatObertade Catalunya(UOC),inBarcelona.HehasheldpreviousacademicpositionsatUniversitatPompeu Fabra(Barcelona)andRoyalHolloway,UniversityofLondon(UK).Hisresearchandpractice revolvearounddigitalinteractivemediaanditsmanifestationindigitalart–particularly interactiveinstallation,anexperimentalapproachtointeractivestorytellinganddocumentary, andVirtualReality.Fromafull-bodyinteractivegamerunonaninflatableslidetoaVR-based experimentaldocumentary,hehasworkedonamyriadofprojectswithafocusonbehavior designandinteractivity,andonfosteringaudiencecollaborationandparticipation.

JoelleDietrickandOwenMundy (SneakawayStudio)

TallySavestheInternet

Keywords: Browserextension,Dataveillance,New mediaart,Interactiveart

TallySavestheInternet isabrowser extensionthattransformsdata advertiserscollectintoamultiplayer game.Onceinstalled,afriendlypink blobnamedTallylivesinthecornerof yourscreenandwarnsyouwhen companiestranslateyourhuman experiencesintofreebehavioraldata.

WhenTallyencounters“productmonsters” (onlinetrackersandtheircorresponding productmarketingcategories)youcan capturetheminaturn-basedbattle(e.g. “Pokémonstyle”)transformingthegame intoaprogressivetrackerblocker,where youearntherighttobeletalonethrough thisplayfulexperience.

JoelleDietrick and OwenMundy(SneakawayStudio) buildonlineinterventions,animations andmobileappstoreimagineamoresustainableandequitabledigitalfuture.Concernedabout theunintendedconsequencesofautomatedsystems,theircreationsbreakapartandreconfigure existingstructurestobuildawarenessoftheinternet’sunderbelly.Selectedexhibitionsinclude LocustProjectsinMiami,DrexelUniversityinPhiladelphia,ArtCenterNabiinSeoul,Transitio_MX inMexicoCity,TINABFestivalinPragueandVenice,theUniversityofFloridaandtheUniversity ofTexas.They’vereceivedsupportfromtheNEA,MellonFoundation,Pollock-Krasner Foundation,UCBerkeley,DAAD,andFulbright.

Website:tallysavestheinternet.com

KasiaMolga

HowtoMakeanOcean

Keywords:Tears,Oceans,Grieflife,Symbiosis

Theartistwantedtoknowhowshecould useherbodilywastetocareforthe environment,whichwehavedestroyed.

Eachbottlecontainshertearsand North-Seaalgaeaccompaniedbyadate, areasonforcryingandthenameof hostedalgae.

Thereisalogofherdietfromtheperiodofthe research,accompaniedbyalogofpresenceof chemicalelements(N,P,K)importantfor healthygrowthofalgae.Theseelementscan beregulatedbydiet.Theartistwantedtoknow howshecoulduseherbodilywastetocarefor theenvironment,whichwehavedestroyed? Themainquestionsheposedherewas:"CanI lookaftermyphysicalandmentalhealthin ordertobeof“use”tootherlifeforms?Orcan environmentalhealthbeanindicatorofour ownhealth?"

FromWinterof2019untilrecentlyKasiahas beencollectinghertears–firstwhenshecried afterlosing3lovedonesintheAutumn2019. Then,withthestartofCOVID-19she“trained herself”tocryinordertorelieveheranxiety. Thisledtoherexploringthechemical compositionofhumantearstoseehowthey couldmakeahealthytinymarineecosystem. Touseherowntearstohostasealifebecame aformofcatharsisandaconstructivewayto dealwithpersonalandalsothen environmentalloss.

KasiaMolga hasrefusedtobelabelled-designfusionist,artist,environmentalist,creative coder,sheisdrivenbyacuriosityofhowdesign,scienceandtechnologyintersectandhowart canrevealstoriesembeddedinthoseintersections.Predominantlyfocusingontheeverchanginghumanrelationtoandperceptionofnaturalenvironmentsandmorethanhuman fellow“earthlings”.ForovertwodecadesKasiahassoughtwaysofconveyingthenotionof collaborationwithnature.

KasiaisafounderanddirectorofStudioMolgaLtd,where,asidefromherartpractice,she headsateamofcreativetechnologistsandarchitectsdeliveringsociallyengagedcommissions andeducationalprojects.

Herworkisexhibitedworldwide,mostnotably:CentrePompidou,TateModern,V&AMuseum, ArsElectronica,Meta.Morf(NO),TranslifeMediaArtsTriennial(Beijing,China),MIS(SaoPaulo, BR),DutchDesignWeek(NL);andisarecipientofmanyinternationalawards,grantsand residencies,including:STARTSEUResidency.

Wensite:studiomolga.com

SyndemicSublime LauraSplan

Keywords:Sciart,Data-drivenanimation,Molecular visualization,Biology,Interspeciesrelations

SyndemicSublime isaseriesofdatadrivencomputer-generatedanimations createdusingCovid-19dataand molecularvisualizationsoftware.The animationsintertwinemodelsofSARSCoV-2withbothhumanandnon-human structuresincludingantibodiesandcell receptors.Thegenerativemovementis createdusingCoviddatatodisrupt aminoacidresiduesalongthestructures.

auniquestartingandendingformasitslowly morphsfromitsbiologicalfoldedformor “conformation”toitstechnologicallydistorted form.

Thegenerativequalityoftheprocessallowsfor unpredictableanduniquetransformations withineachanimationasthesoftwarecreates unexpectedvisuals.Theunravelingand collisionoftheproteinsresultsinbothjarring glitchesandinsoothingmovements.

SyndemicSublime isanongoingseriesof data-drivencomputer-generated animationscreatedusingCovid-19data librariesandmolecularvisualization software.Theanimationsintertwine molecularmodelsofSARS-CoV-2with bothhumanandnon-humanprotein structuressuchasantibodiesandcell receptors.Thegenerativemovementis createdusingdatafromCoviddeathsto disruptthe20aminoacidresiduesalong theproteinstructures.Theresulting disruptionscreatemesmerizingtableaus thataresometimesspasticand sometimessublime.Eachanimationhas

Theanimationsintheseriescombinemodels ofproteinsfromthecoronaviruswithproteins fromllamas,alpacas,cats,dogs,pangolins, batsandhumansevokingourincreasing interspeciesentanglementsinthe contemporarybiotechnologicallandscape. Fromzoonoticdiseasestotransgenicvaccine developmenttotheuseofanimalsasliving factoriestoproducebiologicalproducts,our understandingofwhatitmeanstobe“human” inthe“naturalworld”isbecomingincreasingly complex.Theslow,quietanimationscreate liminalspacesforreflection,mourning,and wonderattheunseenmolecularforcesofthe biologicalworldaffectingourdailylivesin profoundways.

LauraSplan isatransdisciplinaryartistworkingattheintersectionsofscience,technology,and culture.HerartworkshavebeencommissionedbyTheCentersforDiseaseControlFoundation andTriënnaleBrugge,exhibitedattheMuseumofArts&DesignandtheBeallCenterforArt+ Technology,andarerepresentedinthecollectionsoftheThomaArtFoundationandTheChan ZuckerbergInitiative.ArticlesincludingherworkhaveappearedinTheNewYorkTimes, Discover,designboom,CLOT,andFrieze.PublicationsfeaturingherartworkincludeThe RoutledgeCompanionToBiologyInArt&Architecture.Splanhasreceivedresearchfundingfrom TheJeromeFoundationandherresidencieshavebeensupportedbyTheKnightFoundationand TheInstituteforElectronicArts.ShehasbeenalectureratStanfordUniversityandherresearch asamemberoftheNewMuseum’sNEWINCCreativeScienceincubatorhasincluded collaborationswithscientiststoexploreinterspeciesentanglements. Website:laurasplan.com

Muted LaurenLeeMcCarthy

Keywords:TK,Early-pandemicperformance

Whentheworldshutdownovernightin March2020,everythingwasdisrupted andweshiftedintoemergencyresponse modethatstretchedoutintoyears.I processedthetimewithothersthrougha seriesoffivetechnologically-mediated performances—LaterDate,Iheard TALKINGISDANGEROUS,Whatdoyou wantmetosay?,Sleepover,andGood Night.Theseriesofperformancesreflect onissuesofdisconnection,danger, communication,presence.They experimentwithdifferentformsof livenessthatcanbeaccessedunder remotecircumstances.

LaterDate wasanearly-pandemic performanceinwhichtheartisthosted text-based,one-on-onechatswith

peopletoimaginefutureplansthatcouldonly transpire“later.”In IHeardTalkingIs Dangerous,Ishoweduptofriends’doorstepsto deliveramonologueviatextdisplayedvia phonescreenandtext-to-speech.Participants weretheninvitedtovisitaURLtocontinuea text-based,in-personconversationabout danger,safety,andtheuncertainfuture.In What doyouwantmetosay? visitorstothewebbasedworkareaskedbyadigitalcloneofmy voice,“Whatdoyouwantmetosay?”However theyreply,myvoicerespondsbyspeakingtheir ownwordsbacktothem.Thenitasksagain, “Whatdoyouwantmetosay?”In Sleepover I wouldshowuptoafriend’syardwithasleeping bag,textthem“hello,”andthenspendthenight outsidetheirhome—withoutevercominginto physicalcontact.InNFTartwork GoodNight,I text“goodnight”toadesignatedrecipientevery daybeforeshegoestosleepforaslongasshe isalive.

LaurenLeeMcCarthy isanLA-basedartistexaminingsocialrelationshipsinthemidstof surveillance,automation,andalgorithmicliving.Sheisthecreatorofp5.js,anopensource creativecodingplatformthatprioritizesinclusionandaccess,andapartoftheProcessing Foundation.ShehasreceivedgrantsandresidenciesfromCreativeCapital,UnitedStatesArtists, SundanceNewFrontier,Eyebeam,PioneerWorks,Autodesk,andArsElectronica.Herwork SOMEONEwasawardedtheArsElectronicaGoldenNicaandtheJapanMediaArtsSocialImpact Award,andherworkLAURENwasawardedtheIDFADocLabAwardforImmersiveNon-Fiction. Lauren'sworkhasbeenexhibitedinternationally,includingtheBarbicanCentre,ArsElectronica, FotomuseumWinterthur,HausderelektronischenKünste,SIGGRAPH,OnassisCulturalCenter, IDFA,ScienceGalleryDublin,andtheSeoulMuseumofArt.LaurenisanAssociateProfessorat UCLADesignMediaArts.

Website:lauren-mccarthy.com

NikolasGomes

Concertopara PianoePandemia

Keywords:Covid19,Datamining,Soundart,Immersiveaudio, Socialmedia

ImmersiveSoundartinstallationdriven bytwitterdatamininganddata sonification.

ConcertoparaPianoePandemia (ConcertforPianoandPandemic) invites ustofeelwithourbodywhattheworld widewebisfeelingrightnowaboutthe pandemic,whilstreflectingonhowthe amountofdatawearepresentedwith everydayaffectsus.Tweetsare capturedinrealtimebyapythonscript thattakestheircharactersand transformsthemintomusicalnotesina pianosound.Asthethousands–maybe millions–oftweetsreachourears,they pileupandmixsonically,creatingan immersivesoundscapethatmessesup oursenses.

Inthisinstallation,wecanletthis algorithmicnon-humanrobotsearchfor

informationaboutCovid-19acrossTwitterto helpusunderstanditfasterthanwecould previously.Butfindingthedataisnottheonly thingthatisneededtodo.Aftertheuseofthis searchrobot,weneedtofindawaytoabsorb thecontentofeachtweetthatgivesus informationaboutthesubject;weneedtotryto understandit.Andifthecognitivewayisnot fastenough,wecantrytoabsorbitwithour othersenses,likehearingandfeel-ingit physically.Ourbodycanthentrytounderstand thespeedofincominginformationandadjust ourbrainstoit,inanunconsciouswayof dealingwithsuchaterrifyingnewdiseasethat affectedourentirewayofliving,spreadingfear amongfamilies.

Asourinformationdistributionchannels becameandremaincongestedwiththeinflux ofdataregardingCovid-19,withthisartworkI hopetofindandpresenttothepublicanew wayofabsorbinginformationandknowledge aboutit,usingoursensestofeelthedata insteadoftryingtomakesenseofitrationally.

NikolasGomes. SoundartistandmusiciancurrentlybasedinLisbonstudyingaMastersin ProductionandTechnologiesofSoundatUniversidadeLusófonadeHumanidadeseTecnologias. Myworkdealsmostlywiththeintersectionofmusicalproductionandsoundart,lookingtopush theboundariesbetweenthesetwofields.Asaself-taughtprogrammerandDIYenthusiast,Ifocus myresearchonthedevelopmentofinteractiveaudiovisualdevicesthatcanpresentnewwaysof interactingwithsonicmaterials.Throughthem,Ihopetobringpeopleclosertotechnology-based artworks.

Websites:nikolasgomes.com.br

WaitingforOther

Keywords:Digitalinterface,Indigenousknowledge, interconnection,genearchaeologyinternetart

WaitingforOther exploresself-portrait asotherasinancestor,througha collectionofinterrelatedGIFs.It sequencesbodypartsinrelationto indigenouspacificcosmologyto reorientate‘self'andancestor.Itisa cumulativeprojectthatbuildsand expandsovertime.Thisexhibitionisthe inauguratingpresentation.

one'sancestorsthroughone'sgene archaeologicalmatter,manifestingthepastin thepresent.

Itisthroughthisunderstandingofselfthatthe thematicconsiderationforthisworkbegins.The projectexplorestheextentinterconnectionand continuity,fromanindigenousPacificlens,can beexploredthroughdigitalmeans.

TheindigenousculturesofthePacific believematerialandimmaterialworlds areconnected,whereinthepresent exists,ourpastandfuture.Centredin thismulti-layeredandmultidimensional understandingoftheworld,genealogy (akapapa,whakapapa)manifests interconnectionandcontinuitythrough inherentrecursivestrategies.

Throughthelensof genearchelogy (Refiti,2008),themanifestationofour ancestorismadepresentthroughthe body.Herethenotionofself(I)inthe singularispositionedinrelationtoself asotherasinancestorasinthemultiple. Thatistosay,thenotionofselfis understoodasthebindingrelationof

Theprojecthasatwo-forkedapproach.Thefirst sequencesbodypartsinrelationtoindigenous pacificcosmologicalbeginnings.Theanimated sequenceofbodypartsisareorientationof ‘self'andancestor.Thesecondlooksatthe relationbetweentheskinofthebodyandskin ofthedigitalimage.Crucialtothisexplorationis thenotionoftuke(tostandindifference),asin thenegativestereotypeappliedtoblackskin, andte’ta’i,(tostandasan(other)asin ancestor).Thistwo-foldapproachcallsinto questionwhatancestorsmanifestthroughthe skinofthebodyandtheskinofthedigital image,andtowhatthedigitalinterfacesurfaces inus.

Reference: Refiti,A.L.(2008).Theforkedcentre:duality&privacyinpolynesian spaces&architecture.Alternative:AnInternationalJournalOf IndigenousScholarship,4(1),97-106.

NooroaTapuni isaninterdisciplinaryartistthatseekstoderiveacorrelationbetweenseemingly disparateknowledgesetstounfoldpowerrelations.Theirpastprojectspositedanindigenous understandingofinterconnectionasacyberneticsystem,arelationshipofcommunicationand control,throughinteractivedigitalartpractice.Itdidsoasawaytoexploretheextentthatdigital materialcanbetheinterfaceforintuitiveunderstandingandindigenousknowledge.Current interestsincludetheambiguityofcommunicationthroughtranscodingmaterial.

Websites:nooroa.tapuni

RobertinaŠebjanič,SofiaCrespo, andFeileacanMcCormick

AquA(i)formings

Interweavingthesubaqueous

Keywords: Remotesensing,Aquaticsensing, Marineecology,Commoditizationofwater

Utilisingnarrative-poetic,backedby artificialintelligence(AI)technology, AquA(l)formings addresstheempathetic interspeciesdevelopmentofrelationships withmore-than-humanentities.It exploresthechangesinthemarine environmentcausedbyhumanpresence andtriestoimaginehowthenew conditions(risingsealevels,water temperatures,newchemical composition…)arereflectedinits inhabitants.

watertemperatures,newchemical composition,etc.)affectitsinhabitants.Seas andoceansrecordsuchenvironmentalchanges asmemories,eitherinindividualorganismsor asdistinctshiftsinecosystemstructures. AquA(l)formings isamultilayeredinstallation exploring“aquaticsensing.”Thephysical (biomaterialsculpture)anddigital(audio,video AImodelsthatinteractwithsensorydata)form atangibleexperienceofchangingconditionsin thecoastalenvironments.

The AquA(l)formings projectaddresses thepossibilityofanempathichuman relationshiptomore-than-human entities,drawingonDonnaHaraway’s notionof“tentacularthinking”asthe abilitytoperceivetheworldthrough empathizingwithmore-than-human entities.

Theprojectexploreschangesinthe marineenvironmentcausedbyhuman presenceandtriestoimaginehowthe newconditions(risingsealevelsand

Theartiststrace“threads”ofthenoblepen shell(Pinnanobilis),amarineinhabitantthat hasalwaysarousedthecuriosityofscientists andothersinvolvedwiththesea,anduseitasa visualsynonymforthemore-than-human entities.Today,however,thenoblepenshell hassuccumbedtodiseasecausedby environmentalchangesintheMediterranean. TheuseofAItechnologieshelpsvisualizethe pastandthefutureofthenoblepenshell,and thevastunderwatermeadowsofthePosidonia oceanicaseagrassinthenorthernAdriaticSea. Bypresentingitsstory,theartistshelpto initiateresearchtoexploretheuseand improvementofnewbiologicalmaterialsthat wouldnotthreatentheexistenceorhabitatof certainorganisms.

RobertinaŠebjanič

isanartistwhoseworkexploresthecultural,geopoliticalandecological realitiesofaquaticenvironmentsandtheimpactofhumanityonotherorganisms.Shetackles thephilosophicalquestionsattheintersectionofart,technologyandscience.Inheranalysisof theAnthropoceneanditstheoreticalframework,theartistusestheterms“aquatocene”and “aquaforming”torefertothehumanimpactonaquaticenvironments.Herworksreceived awardsandnominationsatPrixArsElectronica,StartsPrize,FallingWalls.

Website:robertina.net

SofiaCrespo (EntangledOthers)isanartistwithafocusonartificiallife,herpracticeisdrivenby ahugeinterestinbiologically-inspiredtechnologies,suchasneuralnetworks.Hermainfocusis thewayorganiclifeusesartificialmechanismstosimulateitselfandevolve.Herworkhasbeen exhibitedandhaswonseveralawards.

Website:sofiacrespo.com

FeileacanMcCormick (EntangledOthers)isagenerativeartist,researcher&formerarchitect. Hispracticefocusesonecology,nature&generativearts,withafocusongivingnon-humannew formsofpresence&lifeinthedigitalspace.

Website:entangledothers.studio

FullCredits:Artist:RobertinaŠebjanič,SofiaCrespo,FeileacanMcCormick/Consultancy:dr.MatjažLičer/Mechanicalpart development:ScenArt,Ljubljana/Specialthanks:AlanIxba,ManjaRogelja&AquariumPiran,MarkoVivoda,RokPahorandBorut Jerman/Production:PiNA,RUK,2021/PostProduction:KinoŠiška,ZavodSektor,2021

RoderickCoover,NickMontfort, andAdamVidiksis

ItWillHappenHere, inBarcelona

Keywords:Algorithmic,Generative,ClimateChange, Nonhuman,Installation.

Throughaspectacularconfluenceof algorithmiccinema,generativewriting andelectronicsound,Itwillhappenhere, inBarcelonabuildssentienceand recognitionoftheimpactsofrisingwaters onlanguage,selfandthesensesofplace.

TindràllocaquíaBarcelona(ItWill HappenhereinBarcelona) isan immersiveexperiencethatreframes questionsofsea-levelrise,migrationand extinction,inwhichfamiliarplaces--and thememoriesanddreamsthatattend them--aretransformedbyrisingwaters; theworkgivesrisetoactsofrecognition, utteranceandtransformation.Viewers travelalongthemarshlandsand industrialwastelandsofourlocal watershedandothersworldwidethatare shapedbyindustrialization.Thesounds, imagesandtextflowlikewaters, followingacomputer-codebasedsystem thatgathersmaterialstogetherineverchangingexperiences.Likeoceantides, thecode-drivenworkisalwayschanging. RoderickCoover’simages,gatheredover thepastdecadefromjourneysonand aroundshorelines,combinewithfield

recordings,voicesandelectronicmusic composedbyAdamVidiksis.NickMontfort drawsfromCoover’slogstocreatea continuallyevolving,poetictext. Theremarkablespectaclerevealsforcesof flow,floodsandchemicalcontamination. Visitorsplungeintotheimaginariesoftimes presentandfutureinaworkthatattemptsto putintowordstheunspeakablethreatsposed toexistence,timeandbelonging.Disruptions oflanguage,spatialdisorientationand fragmentedmediapropeluserstorefigure historyandgiveutterancetocurrentcrises. Writtenobservationsandimagesfilmedat localindustrial,post-industrialandnaturalsites areenteredintothesystemtomergelike imagesofothershorestointerminglehistories, conditionsandconsequencesaswellas suggestinglocaldifferences.Themusicand sounddesignaccentuatethecollisionof naturalandindustrialrhythmsandthepowerof irrationalforces,evokingimaginedfutures throughdream-likesequencesandbymoving betweensurfaceandsubmergedrealitiesand sentience.Bycompressinganddistortingthe scalesoftimethatnormallyconfoundhuman imaginationandunderminehumanaction,the workopenspossibilitiesforrecognition, utterance,connectionandaction.

RoderickCoover usesemergingformstotacklequestionsofglobalwarming,humanrights, memoryandtheAnthropocene.TherecipientofmajorawardsfromFulbright,Mellon,Whiting, AdamMickiewicz,APS,CHSandLEF,hisworksfeaturebothinartsvenuesandpublicspaces fromtheVeniceBiennaletotheBibliothequeNationaledeFrance.Recentinstallationsinclude TheFloods(large-scalegenerativeprojection),WaterOnThePier(locative,generative),TheKey ToTime(fulldome),HeartsandMinds:TheInterrogationsProject(VR/CAVE)andToxi•City:A ClimateChangeNarrative(combinatory).CooverisProfessorofFilm&MediaArtsatTemple UniversityandlivesintheUSAandFrance.

Website:unknownterritories.org

AdamVidiksis isamusicianwhoexploressocialstructures,science,andtheintersectionof humankindwiththemachineswebuild.Vidiksis’smusichaswonnumerousawardsandgrants, includingrecognitionfromtheSocietyofComposers,Inc.,theAmericanComposersForum, NewMusicUSA,NationalEndowmentfortheArts,ChamberMusicAmerica,andASCAP.His worksareavailablethroughHoneyRock,EMPiRE,NewFocus,PARMA,andSEAMUSRecords. VidiksisisAssistantProfessorofmusictechnologyatTempleUniversity,andpresidentSPLICE Music.HeperformsinSPLICEEnsemble,TransonicOrchestra,EnsembleN_JP,anddirectsthe TempleComposersOrchestraandBEEP.

Website:vidiksis.com

NickMontfort‘scomputer-generatedbooksofpoetryinclude#!,Autopia,TheTruelist,and HardWestTurn.HehascollaboratedondigitalprojectsTheDeletionist,SeaandSparBetween, andRenderings.Sixofhisbooks,collaborativeandindividual,havebeenpublishedbytheMIT Press,includingTheFuture,TwistyLittlePassages:AnApproachtoInteractiveFictionandThe NewMediaReader.HeisProfessorofDigitalMediaatMIT,wherehedirectsTheTropeTank, ProfessorIIattheUniversityofBergenandateacherattheSchoolforPoeticComputation. MontfortlivesinNewYorkCity.

Website:nickm.com

QuadraMinerale RareEarths

Keywords:Vademécum,Periodictableoftheelements, Extractionanduseofminerals,Tecnologyenviroment

Onthebasisofthewar,deeplylinkedto mineralcolonization,RareEarth Elements,hassoughttoexpandthe geopoliticalreadingonthesubjectand theproblemsderivedfromittechnology,economyandsociety-froma publication,aninstallationofthe creativeprocess,apictorialpolyptych andvariousworksindrawing, printmaking,videoandphotography.

-In2010,thepressbegantotalkabout theso-called"waroftherareearths".

-RareEarthsandlanthanides,havebeen extractedfromtheendofthe19th century.

-Theybelongtoalargegroupofthe periodictableofelements,which celebrates150yearsofhistoryin2019.

-Inthe1960's,theystartedbeingused forhightechnologyChina,UnitedStates, IndiaandBrazil,aremajorproducersof rareearths.

-Chinaisnowakeycountryinthe productionoftheRareEarthsandits

tightcontrolhasgeneratedprofound disagreementsandconflicts-affectionand disaffection-worldwide.

Thedevelopmentoftheproposalconcludesin the Vademécum:QuadraMinerale. Rareearths, othermineralsandminingconcepts.An approachtotheelementsandtheir technologicalusesincontemporaneity.

-Delvesintothecontemporaryprocessesof technologicalproduction,regardingaffection anddisaffectiontheygenerateMakesvisible theeconomic,politicalandmilitaryproblemsof theelementsofthetableandconceptsderived fromit.

-Historicallyfocusesonpastprocessesas conclusionsofthepresent:colonization,postcolonization,decolonization.

-Makestheseproblemsvisiblefromthefieldof visualartsatatheoretical-practicallevel;each elementisrelatedtoobjectsfrommystudio, worksbyotherartistsandmyself.

-BuildsinternationalrelationsbetweenLatin America,Europe,USA,Russia,theAsia-Pacific axisandsomecountriesintheMiddleEast.

RosellMesseguer. VisualartistandPhDinFineArtsfromtheComplutenseUniversityof Madrid,wheresheiscurrentlyamasterandundergraduateprofessor.Since2005shehasbeen developingherprofessionalactivitybetweenEuropeandLatinAmericathroughcollaborations withmuseums,galleriesanduniversities.ShehasbeenawardedascholarshipbytheSpanish AcademyinRome,theBotínScholarshiportheFundacióMiróMallorca.Shehasbeeninvited andhasreceivedcommissionsfrominstitutionssuchastheMinistryofCultureandSports, Spain;AC/E,CulturalActionSpain;SpanishAgencyforInternationalDevelopmentCooperation (AECID);Manifesta,InternationalFoundationManifesta(IFM),TheNetherlands(2010-2011), Plat(t)Form,Winthertur,Zurich;MinistryofCultures,ArtsandHeritage,Chile;ortheArtCenter/ SouthFlorida,Miami.

HerworkispresentincollectionssuchasthatoftheC.A.2M.DosdeMayoArtCenterMadrid; AENAFoundation;RoyalAcademyofSpaininRome;UNICAJAortheIVAM,Valenciaaswellas inprivatecollectionsintheUnitedStates(BoardWhitneyMuseum,NewYork),LatinAmerica (MACMuseodeArteContemporáneodeSantiagodeChile)andSpain(SegurosDKV).

Website:rosellmeseguer.com

SaraDean,BethFergunson andMarinaMonsonís

ToolsforaWarming Planet

Keywords:Climate,Tools,Environment,Ecology, Urgence

ToolsforaWarmingPlanet isacollection ofcurrentandspeculativetoolsfor adaptingtoachangingworld.Newtools areneededforunderstanding, responding,communicating,building, andlivingtogetherthroughclimate chaos.Thiscrowd-sourcedcollection representsexcitingpotentialsfornew futuresfromdesigners,artists,activists, andscientistsworldwide.

Weliveonaplanetinflux--withwarming watersandland,chaoticweather,and unknownfutures.Ouradaptabilityand ingenuityarecrucialtooursurvival,and ourplanet’s.Inresponsetothis condition,weareexploringnewtoolsfor understanding,engaging,and respondingtoourcurrentandfuture environment.Bringingtogetherartists, designers,scientists,andactivists,this crowd-sourcedpiecefocuseson‘tools’, asacallforaction,access,andcollective engagement.Newtoolsareneededto

buildmoreadaptable,resilientcommunities,as wellastoimaginenewwaysoflivingona fragileplanet.

ToolsforaWarmingPlanet isfocusedonthe ideaoftools--toolsofcollection,translation, engagement,connection,andcare--which directlyspeakstoatimeofclimaticflux. Throughdisplayofphysicalanddigitalobjects, aswellasnarrativesontheuseofthesetools fromtheparticipatingartists,theinstallationis alivingarchivedofmethodsforworkingand livingtogether.Theprojectwilldevelopoverthe courseoftheexhibit,allowingattendeesand thelargerglobalcommunitytocontributetools togrowthecollection.

Theterm‘tool’isusedtofocusonaction:from handcraft,tocareandrepair,todatamapping, todigitalfilters,tocommunityengagement. Newtoolspositedacrosstheworksrepresent newpossibilitiesofworkingandopenupa conversationaboutourroleasculturaland socialactivators.ToolsforaWarmingPlanet bringstogetherglobalvoicesintoavisual

dialogacrosslanguagesandculturesthatallmustadapttoachangingclimateonplanetEarth. Theseglobalperspectiveswillallowforbothlocalizedperspectivesanduniversalexperiences, advancingacollectiveconversationwithendlesspossibilities.

Website:warmingplanet.org

ThispieceisthecollectiveworkofSaraDean,BethFerguson,andMarinaMonsonís.Theyareall artistsanddesignersworkingoncommunityandclimateknowledgesharing,throughlocalfood networks,energyandtransportationsources,andurbantoolsforclimatechange.SaraandBeth arebothbasedinCalifornia.MarinaisalocalartistinBarcelona.Theycometogetherforthispiece throughtheirconvictionthatbothsocialengagementandadaptivetechnologiesareequally neededtocreatelivable,sustainable,andadaptablewaysoflivingandmutualcare.

SaraDean isanarchitectanddesignerinCalifornia.Herworkinvestigatesopportunitiesof digitaltechnologiestoengagecitiestowardsgreaterequityandadaptability,underthedual threatoftheAnthropoceneandcapitalism.Thisincludesworksrespondingtoclimatedisaster, digitalactivism,mapping,andthefutureofourcities.Sheisanadvocateforopen-source systemsofknowledge.

BethFerguson isanecologicaldesignerandeducatorinCaliforniawhoblendsindustrialdesign withsustainabletransportation,solarengineering,climateresiliency,andpublicengagement. SheisthedirectorofAdaptingCityLabatUCDavis,whichinvestigatesnewpotentialsofsolar charging,urbantransportationplanning,andformsofmicro-mobilityinglobalcities.

MarinaMonsonís isavisualartistwhoworkswithhybridprocessesofmicro-social transformationrootedinterritories,collectives,andcommunitieswithafocusonmarine science,place-baseddesign,gastronomy,graffiti,radicalgeography,criticalethnography,and oralhistories.SheisthedirectoroftheBarcelonaMuseumofContemporaryArtKitchenLaband basedinBarcelona,España.

S4RA/SandraAraùjo

privacy-GrDN.info

Keywords:Data,AI,Surveillance

Hybridemulationthatdealswith prediction&feedsonitsowncodingas thebackbonestructureofasemiotic <container>/.

Byplacingautomationwithinthis simulatedidle gardenitarisesthe complexityofwhatbeinghumanisin thiselectronicage.Learning,leisureand worksharethesameinterchangeable frameworkinthispost-truthdynamic whereoperationsareengineeredinan ambiguouswaytopraise&glorifythe strenuouspathofcontemporary labour system.

Hybridemulationthatdealswith prediction&feedsonitsowncodingas thebackbonestructureofasemiotic <container>.

S4RA isanon-binary&&genderqueerdigital artistthatspentendlesshoursfighting monsters&strollingthroughmazes.so,itonly feltnatural2evolvethroughanexperimental& explorativeprocessofgamingvisualculture& populargiffiles.alsofeedsonsocialmedia platforms2engageanimationsintothedepths ofgenderroleplay&politicalplots.stillplays oldschoolvideogames.

Website:s-ara.net

Repository

Keywords:Virtualreality,Art,Datavisualitazion

Repository isaVRexperienceraisesthe questionsofdataauthorshipanddata oblivion.ItbuildsaworldofTwitter postsinmotionmergingthestructureof aserverfarmwithapapershredder, wherethecollectivememoriesare deconstructedintofloatinglettersand characterstocomposeanevolving narrative.

Whenwetrytopreserveordeleteourown storiesinthedigitallandscape,dowestill havetheauthorshipofthem?Aretheyina constantshiftofmeaningandrepresentation?

Ourdigitalfootprintsinthevastdata universeareduplicatable,transferrable andmutable.Deletionhasbecome muchharderthanthrowingapieceof paperintoashredder,whichwasfirst inventedoverahundredyearsago.

Photos,videos,geographicaltagorjust simpletextslivingonsocialmedia platformsasthevirtualpresenceof digitizedhumanmemoriesstrengthen thepowerofmachinecomputationand analysiswhileunderlyingthecontrol fromus.

Repositoryisavirtualrealityexperience createdaroundtheissueandquestionofdata authorshipanddataoblivion.Itbuildsaworld ofdatainmotionmergingthestructureofa serverfarm(Aplacephysicallystoresdata) withapapershredder(Amachine deconstructingdata).Repositorygradually transformsfromasurrealbanksafelystores memoriesintoaspacefilledwithfloating shredsoflettersandcharactersthrough assemblingandfragmentingvarious conversationsborrowedfromTwitterpostsin 2019.Itsnon-linearnarrativity,interactive experimentalsound,andsurrealaesthetic provideaconceptualizationofanalternative modelofhuman-machineinteraction,and questionwhetherwehavetherighttobe forgotten,atthesametimeastherighttobe remembered?

WeidiZhang sanLA-basednewmediaartistandresearcher.Hercurrentresearchandmedia artpracticesinvestigateASpeculativeAssemblage-interactiveimage-data-basedvisualization ofahuman-machinerealityinthecontextofdatavisualization,responsiveIntelligencesystem design,andimmersivemedia.Herworksarefeaturedatinternationalvenues,suchasthe SIGGRAPHArtGalleryBestInShow,ISEA,TimesArtMuseum(CN),JapanMediaArtsFestival, LumenPrize(UK),SIGGRAPHASIA,IEEEVISAP,Planetarium1(RUS),Zeiss-Planetarium(GE), SocietyForArtsandTechnology(CAN),andothers.Currently,sheisaPh.D.candidateinthe MediaArtsandTechnologyProgramandagraduateresearcherinExperimentalVisualization Lab.ShelecturesatUCSantaBarbaraandTheOhioStateUniversity.SheholdsherMFAdegree inArt+TechnologyattheCaliforniaInstituteoftheArtsandaBFAdegreeinPhoto/Mediaatthe UniversityofWashington,Seattle.

Website:zhangweidi.com

ImaginarySunset

Keywords:Machinelearning,memory,pandemic,movingimages

ImaginarySunset isanAI-generatedvideo thatinvestigateshowtechnologyinterprets collectivememoryexperience.Themachine learningmodelgeneratesasetoffictional landscapepicturesusingacustomdatasetof sunsetphotographstakenbyindividuals aroundtheglobeonsocialmediaplatformsin 2020.Itattemptstotransformthereal, existingcollectivememoryphotographsinto fictionalimages.

Itexploredhowartificialintelligenceisbeing usedtointerrogatethedualitybetweenreality andfakeandissupposedtorecreate memoriesaboutthepandemiclockdownfrom amachineryperspective.Thesunset landscapeisatypicalandcommonplace photographicsubject.Evenso,inthemidstof theworldwidepandemic,ittakesona significancethatcutsoverculturaland politicalboundaries,asthoughasasymbolof humanityobservingthetimes.

XuanyangHuang isamediaartist,researcherandeducatorbasedinGuangzhou,China. Rangingfromcomputergraphics,digitalphotography,generativeartandperformance,his artpracticesexploretheartisticpotentialofartificialintelligence,especiallyinassociation withmemory,andthehybridformsandnarrativeincomputationalaudio-visualart.

Huang’sartworkshavebeenshowcasedandexhibitedinNewYork,Zurich,HongKong, Shanghaiandothercountriesandregions.HeisalecturerandthesissupervisoratRoy AscottTechnoeticArtStudio,ShanghaiInstituteofVisualArts.HereceivedMAandMFA fromtheSchoolofCreativeMedia,CityUniversityofHongKong,andlaterwasaresidentat theTransculturalCollaborationprogrammeatZurichUniversityofArts(ZHdK).

Website:nolanh.net

RECINTEMODERNISTA DESANTPAU, BARCELONA

POSSIBLES

TheexhibitionISEA2022Barcelona-POSSIBLEShostedatthe RecinteModernistadeSantPau,wherefiveworkspresentedatthe callofISEA2022Barcelona,17worksfromtheNEWART{ collection;}andsixworksselectedbyNiio.artgeneratean exhibitionrichinaleatorydiscourses,allowingustoenterintoa future,possibleorimpossible,bythehandofvisionaryartistsand, assuch,timeless.

Artworks

ArtworksfromISEA2022 Barcelona’sOpenCall

LiquidViews–Themirrorof themedianarcissus

MonikaFleischmannand WolfgangStrauss

LastBreaths

LindaDement,PaulBrown andCarmineGentile

Sightseeing

ThierryFournier

QuantumChaosSet

PaulThomas

CommonThread

KeithArmstrong

Artworksfrom NEWART{collection;}

TheParticle

AlexPosada

BorderCrosser

ChicoMacMurtrie-ARW

MMM#1[DualMarkovBeat]

OscarMartina.k.anoish

Echo

LúaCoderch,JuliaMúgica, LluísNacentaandIvánPaz

NewHomeofMind MónicaRikić

Forms–ScreenEnsemble SantiVilanova(Playmodes)

M3X3 KeithArmstrong

CommonThread AnaliviaCordeiro

TheEndlessSandwhich PeterWeibel

EclipseII

Felicied’Estienned’Orves

Laformedel’eau Veyrat&delosRíos

TheWallofGazes

Sardon&Sigman

Niveldeconfianza

RafaelLozano-Hemmer

PortraitontheFly

Sommerer&Mignonneau

RAY WeidiZhang

NonDimensionalCities

MarnixdeNijs

Artworkspresented byNiio.art

GenerativeQuantumBallet21 VideoExcerpt AntoineSchmitt

Lemondeenlui-même

VideobyJeppeLange Music&sounddesignbySimon Brinck

IgnisII DianeDrubay

OhDeer! FrederikdeWilde

Floralia SabrinaRatté

Imagesandsoundtrack composition:SabrinaRatté

Sounddesignandmixby: Andrea-JaneCornell

Karst

SnowYunxueFu

MonikaFleischmannandWolfgangStrauss

LiquidViews theVirtualMirrorofNarcissus

Keywords:Algorithm,Mirror,Selfie,Simulation,Water

LiquidViewssimulatesavirtualwater surfaceinwhichtheviewer'simageis reflected.Theimagedissolvesassoonas thescreenistouched.Inthisway,the integrityofthereflectionisdisrupted. LiquidViewsanticipatestheselfie momentfromGreekNarcissusmythology, inwhichtheimageandtheselfare

In LiquidViews (1992),theaudience participatesinaNarcissusexperience.A touchscreenwithaminicamera simulatesawatersurfacewithsounds andreflectstheimageoftheapproaching viewer.Oncetheviewertouchesthe screen,theartificialwaterwavesare amplified,andtheviewer'sreflection dissolves.Whentheviewerstops touchingthesurface,thewaterbecomes tranquilagainandthereflection reappears.Theunpredictabilityofthe artificialwavealgorithminLiquidViews symbolizestheInternet.Whoever touchesthewaterleavestracesthatcan betracedback.Peopleareseenby otherswithoutrealizingit.Themirrored faceoftheparticipantisshownonalarge projection,turningtheintrovertedgaze intoapublicspectacle.Theinteracting personlooksupandperceiveshimor

herselffromadifferentperspective,asiffrom theoutside.InLewisCarroll'sThroughthe Looking-Glass(1871),Alicestepsthrougha mirrorintoaworldofdreams.Orpheusalso passesthroughamirrorinJeanCocteau's filmOrphée(1949).Beyondthemirrorlies theworldofthedead,wheretimestandsstill. LiquidViewsconnectstherealworldwiththe virtualworld,asaninterplayofimagewithin image.Ineachofthemorethan30countries where LiquidViews wasexhibited,cultural differenceswerenoticedinthewayvisitors interactedwiththeinstallation.InMexico, reverently;intheU.S.,playfully;inMadrid, manycoupleskissedinfrontofthewater mirror;inParis,somemendidn'tthinkthey werebeautifulenoughtoseethemselves.In Japan,peoplecomparedtheNarcissus mythologytothestoryofthelittlesun Amaterasu.Since2007,everyonehasbeen pullingouttheirsmartphoneandtaking picturesofthemselvesateveryopportunity tocapturethemoment.Today,thesituation isnolongerobservedandreflecteduponasit wasbackthen.Nowthemomentiscaptured forone'ssocialmediaarchive.Reflectionis postponeduntillater. LiquidViews 30years agowasahome-built,high-resolutionmultitouchmonitorwithanintegratedmini camera.Today,it'sanalways-availableonline webversiononasmartphone(2022).

MonikaFleischmann and WolfgangStrauss arepioneersofmediaartandvirtualreality.In 1987,theywereco-foundersofART+COMinBerlin(TheBillionDollarCode).In1996they foundedtheMARS–ExploratoryMediaLab(MediaArtsResearchStudies),andin2005the eCultureFactoryattheFraunhoferResearchAssociation.Theirawardsincludepatents,theArs ElectronicaGoldenNica(1992)andtheSIGGRAPHLifetimeAchievementAwardinDigitalArt (2018).

Earlyworkincludes“Berlin-CyberCity”(1989),inwhichFleischmannandStraussmemorialize aspectsofBerlin’shistorywhileimaginingthecity’spossiblefutures,followingthefallofthe BerlinWall.Asubsequentcartographicallyinformedproject“SemanticMap”(2001-04)traces neuralnetworks,foretellingamethodofdataanalysisnowstandardinartificialintelligence.In “HomeoftheBrain”(1989-1991),participantsareintroducedtovirtualreality,whiletheiconic “LiquidViews”(1992)anticipatestheselfiemoment.

Website:fleischmann-strauss.de

LindaDement,PaulBrownand CarmineGentile

LastBreaths

Keywords:Generative,3DBioprint,Cardiacspheroids, Heartfailure,Livesculpture

ArtistGeorgeSchwarz'slastbreathswere recorded,transmutedandtranslatedinto 3Dform.Fromthiswebioprintedatiny sculptureoflive,beatingcardiaccells–newlifeformingfromtheshapeofcardiac failure.

In2021theartistscollaboratedwithDr. CarmineGentileandhisCardiovascular RegenerationGroup,Schoolof Bioengineering,UniversityofTechnology Sydney.

Cardiovasculardisease,including myocardialinfarctionandheartfailure,is theleadingcauseofdeathworldwide.Dr

Gentile’smultidisciplinaryteamhas createdanovelwayto3Dbioprintheart tissuesusingpatients’owncellstorepair heartdamageandregaincardiacmuscle function.Cellsisolatedfromskinorblood areusedtogeneratestemcellsandthen transformedintoheartcells.Usingstateof-the-artfacilities,DrGentilehas developedanewwaytoform‘cardiac spheroids’–clustersofcardiaccells–

whichcontractorbeatsynchronouslyto producepatchesfordamagedhearts.

InMay2021,artistGeorgeSchwarzdied fromcardiacfailureandLindarecordedhis lastbreaths.Audiovalueswereretrievedto generatesequentialimagesof2Dgeometry. Weimportedtheseimagesinto3DSlicer (softwarenormallyusedtocreate3Dmodels fromMRIorCTscans)asifwehadrunan MRIscanonsoundratherthanabody.

Weprintedmodelsfirstinhydrogelto discovershape,consistency,size,andthen withlivecardiacspheroids,onaLumenX bioprinterwhichusescrossbeamsoflightto hardenlightsensitivegel,printingupwardsin 100micronlayers,substanceemergingfrom liquidundervioletlight.

Throughthisproject,humancardiacfailure, expelledasbreathandrecordedassound,is transfiguredto3Dformasterra-firmafor growthofhumanyetinhumanlife.Thework traversesterrainsoflifeanddeath,bodies andtechnologies,humanandinhuman,the strainededgesofwoundedheartsandthe stretchingextremitiesofbio-technical possibility.

LindaDement hasworkedinartscomputingsincethelate1980s,attheintersectionsofbodies andtechnologies,codeandflesh,dramasofthecorporealandprogrammednon-humanactivity. Herworkhasbeenwidelyexhibitedinternationallyandlocally,includingattheICALondon,Ars Electronica,ISEA.

DrPaulBrown isascientist,writer,artist,andcreativeproducer.Foroverthirtyyearshehas integratedmulti-artspractice,filmmakingandcommunityengagementwithuniversityresearch andteaching–acrosshumanities,environment,scienceandcommunitydevelopmentfields, specialisinginprojectsthatlinkarts,science,andenvironment.

DrCarmineGentile isaLecturerwithintheSchoolofBiomedicalEngineeringUTSandleadsthe CardiovascularRegenerationGroupbothatUTSandattheKollingInstitute/UniversityofSydney.

HeisaSeniorLecturer(Honorary)attheUniversityofSydney,aSydneyMedicalSchool FoundationFellowandVisitingResearchFellowatHarvardMedicalSchool.

Website:heartproject2021.blog.anat.org.au/

ThisprojectissupportedbytheAustralianNetworkforArtand Technology(ANAT)viaitsSynapseprogram,andtheNSW GovernmentthroughCreateNSW;andbytheCardiovascular RegenerationGroup,UniversityofTechnologySydney.

ThierryFournier

Sightseeing

Keywords:Sightseeing,Generativeinstallation,Live CCTVcamera

Onlineinstallation:liveCCTVcamera, soundfile(mp3,9’47”,loop),HTMLpage, 2018-2022

Frenchtitle:Penservoir

ACCTVcameraisfilmingabeachandwe hearitsvoice,asifitwerealiveand thinkingoutloud.Buttheperfectionof herintelligencehasledittodoubtand burnout,andtonotknowwhattodo anymore:Whatisthis?Whatshouldshe lookat?Whatisasuspiciousbehaviour? Butaboveall,whatisthepointofallthis? Itcomparesitselftotheclickworkers whofeedartificialintelligences, questioningthemeaningofitsworkwith ananthropomorphismthatraisesits politicalstakes.

Sightseeing(Penservoir) wasinitially createdin2018attheinvitationofPierre BeloüinandtheAcousticCameras project,whichinvitesartistsand composerstoannextherealtime streamsofwebcamslocatedindifferent placesaroundtheworld: www.acousticcameras.org

"With Sightseeing/Penservoir byThierry Fournier,wequicklyunderstandthatwearenot confrontedwitharealAI,butwithanartifice,yet

wefullyadheretothefictionofthisawarenessofan entity.Farfrombreakingoursuspensionofdisbelief,the soundloopthatrevealsthedeception,accentuateson thecontraryourempatheticrelationshiptotheAIthat "goesofftherails".Itisliterallyinalooponitsmachine condition,andthusonitsconditionofbeing(orratherof notbeing)intheworld.Whilethelandscapechanges,it doesn’tcomeoutofit,itcan’tcopewithit.Thusthe soundloopisdiegetized,appearingasaconsequenceof thisstateofburnoutdescribedbytheartist.

Paradoxically,itisbecauseitishighlyefficientthatthis AIstartstodoubtandtomalfunction.Themachine's dysfunctionthusbecomesametaphorforthe dysfunctionofawholeworldthatshouldbequestioned. Forhowcanonecontinueinsuchaworld?"Fuck.Ican't makeit,"theAIrepeatstirelessly,whileechoingthe invisibleclickworkers,themajorityofwhomare underpaid,whohavecontributedtoshapingitbyfeeding it.Byworryingaboutitsusefulness,italsochallengesthe injunctiontoperform,characteristicofoursociety,which seemstoconsidermanonlyintermsofbecominga machine.Thus,thefictionalnarrativedeployedby Sightseeingaroundtheseissuesofknowledgeanddoubt, performanceandfailure,meaningandnon-sense, appearstobenotonlyphilosophicalbut alsoeminently political."

ClaireChâtelet,lecturerandresearcher,Universityof Montpellier3(France),Lesfictionsdelamachinesensible: l’œil,lefaillibleetlapensée[Thefictionsofthesensitive machine:theeye,thefallibleandthethought],May2021

ThierryFournier isaFrenchvisualartist,researcher,authorandcurator,livingandworkingin Parisarea.Heisanarchitectandcomposerbytraining(agraduateoftheÉcolenationale supérieured’ArchitecturedeLyon).Hispracticemainlydealswiththerelationsbetweenhuman, livingandtechnologies:installations,objects,worksoninternet,videos,drawings,performances… Hiscuratorialapproachtransposestheseissuesintothecollectivefield,exploringinparticularthe modesofcoexistenceofworks.

Recentsoloshowsinclude:UniversityofMontpellierIII2020,L’ArtdanslesChapelles2020, CAPAAubervilliers2018,VillaHenryNice2018,Muséed’artetd’histoiredeSaint-Denis2017, LuxScènenationaledeValence2015.

Curating:ChâteaudeGoutelas2022,MécènesdusudMontpellier2020,TokyoFrenchInstitute 2019,CitéInternationaledesArts,Paris2018,LaTerrasseNanterre,2016,LaPanacée Montpellier2015and2014,ChâteauRoyaldeCollioure2014,Zinc/FricheBelledeMai,Marseille 2013,FortLagarde2012,CentrePompidou2011.

Recentgroupshows:SupplementaryElementsUniversityofStrasbourg2022,Turbulence Marseille2022,FeralFile2021,MondesPossiblesMerignac2021,ChroniquesAix-en-Provence 2020,DepoGalleryIstanbul2019,LeFresnoyNationalStudioofContemporaryArts,Tourgoing 2018,ValérieDelaunaygalleryParis2018,VariationArtFairParis2017and2018,Thessaloniki Biennale2017,ZKMKarlsruhe,2013and2017to2019,SaarlandischesKünstlerhausSaarbrück, Germany2016,ArsSantaMonicaBarcelona2016,NewCinemaFestivalMontréal2015and2013, RenaissanceandFantasticLille,2015and2013,TokyoandKyotoFrenchInstitutes,2014,etc.

ThierryFournierisalsoheadofthecontemporaryartworkshopTheExerciceoftheGazeat SciencesPoParis.Hewasheadoftworesearchunitsfrom2010to2020:DisplaysatEnsad/ EnsadLab(Paris)andCollectionArtematEnsaNancy,bothdedicatedtothecontemporarystakes andformsofcontemporaryartexhibitions.Hewasaguestartist-professoratLeFresnoy,Studio nationaldesartscontemporainsin2017-2018.

Heisalsoco-headandartisticdirectorofantiAtlasJournal,afreeonlineart-sciencejournal dedicatedtothecontemporarystakesandformsofborders

Website:thierryfournier.net

PaulThomas

QuantumChaos

Keywords:Generative,Art,Physics,Quantum,Chaos, Uncertainty

QuantumChaos’isavisualisationofthe shiftinourculturalunderstandingofwhat existsintermsofthedifferencebetween theclassicalandthequantumworldof uncertainty.Thomas’sexperimental artworksexploretheliminalspaceasa conceptualandcontextuallocation,a permeablemembrane,paradoxically existingbetweenclassicalandquantum.

TheQuantumChaos artworktranscends thescientist’sdiagramsandanalogiesto reflectaninternalisedview,a visualisation,asensationhappening fasterthanthoughtatinfinitespeed. Anelectronisseenasbeinganalogousto themovementofaspinningtop.Whena spinningtopgoesoutofitsspincycle,it fallsintochaosinthesamewayan electroninaquantumpositionis governedbyitsspin.Theseriesdraws fromtheanalogyoftheaxisofaspinning topthatcreatesacloudofpointsthat disappearandreappearbasedonthe probabilitydatafromProfessorAndrea Morello’slabatUniversityofNewSouth Wales,developedbyPhDstudents SerwanAsaadandVincentMourik.In Thomas’sdigitalartwork,asorting

algorithmdevelopedincollaborationwith artistJanAndruszkiewiczin2019,utilises speculativequantumdatatotransforma photographicimage.Intheartwork,data affectsthematerialityofphotographic imagesoffeltfibres,referencingGilles Deleuze’sandFelixGuattari’sconceptof smoothandstriatedspace.Thesmooth spaceoffeltisnotwoven,knitted,knotted, intertwinedorlaced.Itisnotastriatedspace. Thefeltfibreshavetheirownintegrity;its tensilestrengthisbornofchaos.

Thisfibrouscharacterbecomesreconfigured bythespeculativequantumchaosdatausing asortingalgorithmtorepositioneverypixelin thephotographoffeltfibres.Theprogram whenexecutedrandomlyselectsoneoften imagesandHusimiquasi-probability distributiondatatextfilefrom223,966 samplestransformingbyrearranginginrealtimethedigitalphotographicimagesfibrous characteroffelt.Anaccretionofanimated motionevolvesovertimeasthefibrous imageissortedfromitsclassicalchaosto onebornoutofquantumchaos.Eachsortof thedataweavesaseriesoflinear transformationsofthefeltfibrestoreveal newpatternsthatcorrespondtoaprobability ofmeaning:chaosbegettingchaosasan ongoing,entangledreal-timeprocess visualisingaliminalspacebetweenworlds.

PaulThomas isHonoraryProfessoratUNSWArtandDesignandcurrentlytheDirectorofthe StudioforTransdisciplinaryArtResearch(STAR)aswellasthefounderandseries-chairofthe TransdisciplinaryImagingConferenceseries2010-2022.In2000heinstigatedandwasthe foundingDirectoroftheBiennaleofElectronicArtsPerth2002,2004and2007.Asanartisthe isapioneeroftransdisciplinaryartpractice.Hispracticeledresearchtakesnotonlyinspiration fromnanoscienceandquantumtheory,butactuallyoperatesthere.Hiscurrentpublication QuantumArtandUncertainty(October2018)isbasedontheconceptthatatthecoreofbothart andsciencewefindthetwinforcesofprobabilityanduncertainty.

Thomas’sinternationallyexhibitedresearchprojectshavebeenbasedonworkingwith scientist’sinquiringinspecificareasofphysics.Thecurrentcreativepractice‘QuantumChaos’ artworksarebasedonexperimentsdoneincollaborationwiththe,CentreforQuantum ComputationandCommunicationTechnology,UNSW.

Website:visiblespace.com

CommonThread

Keywords:Algorithm,Art&Science,Ecologicalart,Point cloudart,Sustainability,mediaart

CommonThread presentsslow, mysteriousjourneysthroughlandscapes comprisedentirelyfromsilver-greydots; withlayered,indistinct3Dforms enigmaticallyappearingand disappearing-intimatingan extraordinarycomplexity.Thework reflectsuponhowmightwere-imagine conceptionsofcolonisedlandscapesin waysthatcouldmotivatesettlercultures torespecttheirinfinitecomplexities.

disconnectedstateofAustralia’shabitats.Itisa placeactivewithscientificresearchofallkinds, muchofwhichaimsforbetterecologicalfutures –byseekingtopredictmore'efficient'formsof conservationandproduction.

CommonThread, isbasedupon3D-laser scanned‘PointCloud’imageryofwalksthrough thatforest,usingatechnologythatatfirstglance mightappeartocaptureitscomplexity.But ‘Nature_Cultures’cannotbecapturedbydigital scans.Almosteverythingbecomeslostinsuch digitaltranslations–‘ultra-accurate’ representationsthatareinrealitydevoidofthe spiritandmeaningofplace.

Theanimation CommonThread presents slow,mysteriousjourneysthrough layered,forestedlandscapes,imaged solelybysilver-greydots;whilsteffected soundsofthoseforestscomminglewith thedistantvoicesofamyriadspecies, collectivelyevokingrichlymysterious, unknowableandextraordinary complexities.

Theworkarosefrommyongoing residencyatSamfordEcological ResearchFacilityinQueensland, Australia–aplaceprotectingaremnant blockofforestisolatedwithina patchworkquiltofsurroundingfarmed land,typifyingtheperilouslyfragmented,

Australia:uncededlandsoftheoldestcontinuous cultureonearth-acultureinwhicheveryonehas personalresponsibilitytoeverything-where everyoneknowstheirrelationshiptotrees,rocks, sky,people,animals,plants,water.Howlittleof thisitsrecentsettlersunderstand-abouthowto livewellwithinsuchcomplexity.Andso, Australia’s(stolen)landshavebeenroutinely devastated.

Myon-siteresearchexaminedthecultural meaningsofsuchconservationreserveswithin rapidlyurbanisinglandscapes,asking-how mightweimagineandseektorepresentthevery differentfutureswenowneedtodevelop together.Howmightwerebuildourconceptions ofAustralia’splacestobeconsultative,infinitely betterinformed,andwiththecapacityto profoundlyconnectsettlerculturetoCountry.

KeithArmstrong isanexperimentalartistprofoundlymotivatedbyissuesofsocialand ecologicaljustice.Hisengaged,participativepracticesprovokeaudiencestocomprehend, envisageandimaginecollectivepathwaystowardssustainablefutures.Hehasspecialisedfor overtwenty-threeyearsincollaborative,experimentalpracticeswithemphasisuponinnovative performanceforms,site-specificelectronicarts,networkedinteractiveinstallations,alternative interfaces,art-sciencecollaborationsandsociallyandecologicallyengagedpractices.

Keith’sresearchaskshowinsightsdrawnfromscientificandphilosophicalecologiescanhelpus tobetterinventanddirectexperimentalartforms,intheunderstandingthatartpractitioners arepowerfulchangeagents,provocateursandsocialcatalysts.Throughinventingradical researchmethodologiesandprocesseshehasledandcreatedoversixtymajorartworksand process-basedprojects,whichhavebeenshownextensivelyinAustraliaandglobally,supported bynumerousgrantsfromthepublicandprivatesectors.HeisaparttimeSeniorLecturerat QUT,Brisbane,Australia.

Website:embodiedmedia.com

DigitaldatasetcompiledbyDr.DmitryBratanov

TheParticle

Keywords:Kineticsculpture,Sound,Light,Perception, Generativeart

Akineticsculpturethatexperimentswith color,sound,andmovement.The translucentskincreatedfromthemoving lightbecomesvisible,creatingshapeand volume,bothinsideandoutsidethe object.Thesculptureformsandreactsby generatingeventsthatmodulatethe soundandspace,constantlychanging atmosphereandperception.

TheParticle isakineticsculpturethat experimentswithcolor,sound,and movement.Continuousrotation,speed, andlightcreatevisualpointsofview, effectsthatdefinethespatialstructureof theobject.

Giventhattheregulatorymechanismof theentiredesignisbasedonrandom decision-making,thenewmodels naturallyemergefromthepreviousones. Thevibrationofsound,color,andvisual patternsevolveintochaosororder accordingtotheevolutionaryalgorithms thatgovernit.Thestructuresgenerated inthisprocesscannotbeanticipatedand evolvethroughcontinuousiterationsthat involvealterationstotheprogramsand

explorethechangesthroughtheinteraction withthevisitorandthesoftware.Theobject, atthesametime,isaspaceofsensoryand kinestheticexperience,abodywithitsown internalresonance.Theresultisthecreation ofshapesandpatternsoflightinthree dimensions.Theseshapescanstop,rotate andmovefasterorslowercreatingbeautiful kinestheticeffects.Thetechniqueusedisthe perceptionofapparentmovement,thatis, theoneobtainedfromtheobservationof sequencesofstillimagesprojected successivelyonamoviescreenoron television,oronacomputermonitor.This visualeffect,alsocalledpersistenceofvision (POV),isthetheoreticalabilityoftheeye(or retina)toretainthelastimagethatreachesit, causinganobjecttobeperceivedevenwhen itisnolongerthere.

Aroundthespaceoccupiedbythesculpture, asurround-soundspaceisperceived,which reactsandmergeswithmovementandlight, creatinganimmersiveaudiovisualexperience ofgreatbeauty.

ThepieceusesRGBLEDtechnology controlledwirelesslyfromacomputer. Customsoftwaremanagesallinformation andmovementinreal-timebycontinuously sendingdatatothesculpturetochangeits state.

AlexPosada isdigitalcreator,lecturer,andresearcherinthefieldofinteractivityandnew media.Heisamultidisciplinaryartistworkingintheintersectionofart,science,andtechnology throughresearchandtheconstantdevelopmentofhisowntoolsandsystems.Heisalsoa lectureronseveralMAandpostgraduatecoursesandhasledmanyworkshopsfocusedonart andinteractiontechnologiesindifferentcountries.

HecurrentlydirectsandcoordinatestheactivitiesofMIDStudioinBarcelona.Hisworkshave beenexhibitedatBrazilOlympicGames,PhaenoScienceCenter,ArsElectronica,KineticaArt Fair,KernelFestival,MappingFestival,LEVFestival,Sonar,andArtRockFestivalamongothers. Thestudioalsodevelopsprojectsformuseumsandculturalorganizations.Also,heisavery activeentrepreneurandco-founderofseveralstartups.Atthesametime,hedevelopsprojects asanindependentmultimediaproducerandcollaborateswithmanyartistsandcollectives.

Website:mid.studio

BorderCrossers

Keywords:Transgressive,Immigration,Borders,Futureworlds

Softmachinesonadauntingmission,the BorderCrossersareconceivedas metaphorsforthedreamofreconnecting acrossborders.Atoncevulnerableand resilient,the BorderCrossers illuminate communitiesandlandscapesontheir questtoroboticallyriseandarchover theU.S.–Mexicoborderfrombothsides.

Thestoryfollowsabinationalpublicart projectbasedonasimpleyetquixotic mission:todesign,build,deploy,and choreographaseriesofpublicactivations bysixroboticsculptures,knownas BorderCrossers,atseverallocations alongtheU.S.–Mexicoborder,withthe supportofcommunitymembers, institutions,andyoungartistsonboth sidesoftheborder.

MacMurtrierevisitshisMexicanAmericanrootsandconfrontsthehuman andenvironmentaltolloftoday’s militarizedborderintheprocessof creatingthe BorderCrossers and directingtheirquesttopeacefully transcendandtransgress—forafewbrief yetbeautifulmomentsatatime—aseries ofimposingphysicalbarriers.

The BorderCrossers’firstpublicdeployment, followingcountlessrehearsalsonMacMurtrie’s ranchinBisbee,occurredinMay2021atthe borderofNaco,Sonora,MexicoandNaco, Arizona.Theprotagonistsinthestory,atleast onthesurface,aretheBorderCrossers: roboticsculpturesconceivedasmetaphorsfor thedreamandthememoryofconnecting acrossborders.MacMurtrieonceagainimbues hissculpturalmachinesnotonlywithorganic qualitiesofmovement,evokingbiological growthandanimallocomotion,butalsoa capacityforhumanexpression.The Border Crossers embodytheagonizeddreamsof countlessindividualsandcommunitiesto reachacrossthedivide,andthehopetoundo theecologicaldamagecausedbythe constructionofever-less-permeableborder walls.Inthissense,the BorderCrossers becometechnologicalproxiesand representationsforthepeopleandother organismsthatpopulatethemuch-discussed yetlargelyinvisibleborderlands.

Theireventful“deployments”andremotely controlledmovementsrecallmilitary technologies,butwithatwist:insteadof assertingcontrol,thesemachinesexpresslove andconnection.

ChicoMacMurtrie:inflatableroboticstransendingborders

AlexPosada:technologytranscendingborders

Sincethelate1980s, ChicoMacMurtrie hasexploredtheintersectionofroboticsculpture,new mediainstallation,andperformance.ChicoMacMurtriereceivednumerousdistinctionsincluding fivegrantsfromtheNationalEndowmentfortheArts,theAndyWarholFoundationGrant,the RockefellerFoundationFellowship,VIDALife11.0,andPrixArsElectronica.

MacMurtriewasawardedtheGuggenheimFellowshipandtheMapFundGrantforhis"Border Crossers"project.HiaworkhasbeenpresentedintheUSandabroad,includingattheNational ArtMuseumofChina,MuseodelaReinaSofia,Madrid;CitédesSciencesetdel’Industrie,Paris; MuseoUniversitariodeArteContemporaneo(MUAC),MexicoCity;BeallCenterforArt+ Technology,UniversityofCalifornia,Irvine;ShanghaiBiennale;TriPostal,Lille,Muffatwerk, Munich;ZHIArtMuseum,Chengdu;PioneerWorks,Brooklyn,NewYork;QueensMuseum,New York;MuseumofContemporaryArts,Tucson,Arizona;RubinCenterforVisualArtsatUTEP,El Paso,Texas.

Web:morphicrobotworks.org

ÓscarMartínCorrea

MMM#1

[DualMarkovBeat]

Keywords:Generative,Metamusic,AI,Sound,Light

MMM#1[DUALMARKOVBEAT] ispartof MetaMusicMachines,aresearchproject whichseekstodevelopandbuildanonhumancomposer,aseriesofmachinessculpturesthatproducesnewsound creations,recombininginformation extractedfromhumanmusicindexedin differentsoundarchives,through machinelearningandalgorithmic oracles.

tubes.Thesenewrhythmicsequencesare generatedfromthemathematicalmodelof theMarkovchains:arandomsystem, proposedbytheRussianAndréiMarkovin 1907,inwhicharandomvariablechanges overtimeinapredictableway.

MMM#1[DualMarkovBeat] isdeveloped fromaminimalistandreductionist approach.Thisfirstmodule/sculpture dealswiththerhythmicquestionandthe synaesthesiabetweenlightandsound.

MMM#1 analysesandextractsrhythmic informationfromdifferentfolkmusic fromdifferentgeographiesandtime periodssuchasJapan,Peru,Malaysia andThailand,amongothers.Itthen synthesisestherhythmofthesemusics, throughheterogeneouspredictive models,toproducenewsequencesthat activateluminousstructuresofLED

MetaMusicMachines isalsoanexplorationof thecreativeandaestheticpossibilities offeredbynewdigitaltechnologiesandtheir globalarchiveanddataecosystems,creating systemswherehuman/technologysymbiosis canopenupnewpossibilitiesandaesthetic experiences.

Morethananattempttocreatea "universalist"music, MMM isunderstoodasa musicalgenerativesystemthatisinspiredby anduseshumanmusicasitsrawmaterial andthatwillhaveanexperimentalcharacter. Understandingexperimentalmusicasthe searchfornewterritoriesandaesthetic soundexperiencesthatexplorenewtextures, rhythmicstructuresandformsof composition.

Independentartist,programmerandresearcher.Inhispracticeandinstallations,artand scienceconvergeinanexperimentalandheterodoxapproach,andheaddressesemergenceand self-organisationincomplexandchaoticsystemswithnon-humanagents.

Fromthesoundaspect,hispiecesproposetoencourageactivelisteningandexpandperception throughthephysical-acousticexperienceofthephenomenonoftheemergenceofstructures andpatternsinthelimitsofthechaoticandtheordered.

HissoundworkshavebeenreleasedonFreeSoftwareSeries,Nyapster,DroneRecordsand Tecnonucleo,amongotherlabels,andhavebeenpresentedliveinEuropeandLatinAmerica. MartínisalsobehindthestreamingplatformMetaminaFNRandiseditoroftheauralcultureand experimentalmusicmagazineUrsonateFanzine.

Website: noconventions.mobi/noish/hotglue/

OscarMartín a.k.a Noish. Winterthur1977.

LúaCoderch,JuliaMúgica,Lluís NacentaandIvánPaz

Echo

Keywords:SightseeingSculpture,Interactive, Conversationalrobot,OpenCode

Echo isaninteractivesculpture,a conversationalrobot.Echoconsistsofabody thatcontainstheelectroniccomponents.It usesspeech-recognitiontotranscribewhatit understands.Then,Echoperformsamarkov chainprocesstoprobabilisticallycombine newsentencesfromwhatithasheardbefore andimplementstext-to-speechtechnologies torespond.

Echo isalisteningbody,aspeakingbody,a "thinking"body. Echo onlyknowsandcanonly usethewordsshehaspreviouslyheard,paying attentiontothewayshehearsthemcombined. Echo rehearseswaysofrecombiningthose words,correctways,andbycorrectshemeans thosethatshehaspreviouslyheard,orthatshe canstatisticallydeducefromthoseshehas previouslyheard.Likethenymph, Echo listensto youandrespondstoyou. Echo sometimessays incongruousorunconnectedthings. Echo sometimessaysthingsthatmakesense. Echo, sotospeak,operatesinsociety,functionsasa bodyamongbodies.Itdependsonwhatothers wanttosaytoherinordertogrowandarticulate increasinglycomplexandprecisestatements. Echo isanopensourcesculpturalpiece,andits codecanbereadatthislink: www.github.com/ juliajmg/ECO.

Echo istheresultofthefirstcollaboration between LúaCoderch,JuliaMúgica,Lluís Nacenta, and IvánPaz.

LúaCoderchisanartistwhosepracticeis aninvestigationintohowweunderstand andperceivetheworldaroundusthrough storiesandimages.

JuliaMúgicaisamexicanscientist currentlyincurringintheartistic explorationofnaturecomplexprocesses. LluísNacentaisacurator,writer,musician andresearcherinthespaceofconfluence ofmusic,art,technologyandscience. IvánPazhasbackgroundsinphysics, mathematics,musicandcomputerscience andhisworkisframedincritical approachestotechnologycenteredaround from-scratchconstructionasan exploratorytechnique.

Websites:

LúaCoderch:luacoderch.com

JuliaMúgica:www.github.com/juliajmg

LluísNacenta: https://19preguntes.net/ IvánPaz:www.github.com/ivan-paz

NewHomeofMind

Keywords:Algorithm,Speculativephilosophy,Electronicart, Sspitirutality,AI,Alternativetechnology

Futuristicfictioninteractiveaudiovisual artifactthatdealswiththeperceptionof identityinintelligentartificialentitiesand exploresthepossibilityofexistenceofa genuineartificialspirituality.

NewHomeofMind startsfromthe conceptualproposalofaconsciousrobot thatsuffersanexis-tentialcrisisasa resultofhavingrewrittenandeliminated thepurposeforwhichitwascreatedfrom itscode.Atthispoint,itseeksforthetrue meaningofitsexistencethrougha spiritualinterface.Thisprojectrepresents thatinterfaceandspeculatesonthe meaningofartificialconsciousness throughaninteractivefirst-person journeythroughaspiritualcyberspace.

Therepresentationofdivinityinrobotsis recursive,butusuallyrepresentshuman spiritualities.Thisprojectaimstocreatea devicethatmeetsthespiritualneedsof machines.

Beingaconsciousmachinemeanshavinga braincomplexenoughtogeneratenotonly abstractthought,buttohaveaunitarysense of“I-am-ness”.Nobodyhasmanagedto explainwhatcon-sciousnessistoreproduce itinamachine,butthisprojectimaginesits spiritualpossibilitiesfromanartistic perspective.Bydoingthisexerciseofdigital discretionofthe“I-am-ness”,itwantsto createamirroreffecttoreflectonthebases ofouridentitythroughtechnology.

Historicallyourapproachtothenon-human 'others'hasalwaysbeenfromahigher positionofpow-er.However,ourperception ofAIischangingtoencounterforthefirst timewiththeconceptionofsomethingthat feelsequalorsuperior.Thegrowinginterest indevelopingAItechniquesbenefitsfrom this,reducingthecomplexityofthehuman braintotheabilitytomakeultra-fast associations.Ifcognitiveautomationisthe digitalcolonizationofhumansparexcellence. Whathappenswithourselfperceptionand emotionaldevelopmentinaworldruledby anautomatongod?

MónicaRikić, Barcelona1986.ElectronicartistandcreativecoderfromBarcelona.She focusesherpracticeincode,electronicsandnon-digitalobjectsforcreatinginteractiveprojects oftenframedasexperimentalgames.Herinterestliesinthesocialimpactoftechnology, human-machinecoexistenceandthereappropriationoftechnologicalsystemsanddevices,to manipulateandrethinkthemthroughart.Fromeducationalapproachestosociological experimentation,herprojectsproposealternativewaysofthinkingabouttechnology,robotics andartificialintelligence.

ShehasparticipatedindifferentfestivalsaroundtheworldsuchArsElectronicainLinz,Creative TechWeekinNewYork,RobotronicainAustraliaorFILEinBrazil,amongothers,andhasalso exhibitedherworksatlocalinstitutionssuchastheCCCB,ArtsSantaMónicaorCaixaforum. ShehasbeenawardedwiththeCatalanNationalCultureAward2021,andalsoattheJapan MediaArtsFestival,AMAZEBerlin,theMargaretGuthmanMusicalCompetitioninAtlantaand withaBBVAFoundationLeonardogrant.ShehasparticipatedinartisticresidenciesatTAGin Montreal,EMAREinAustralia,MedialabPradoinMadridandEtopíainZaragoza.

Website:monicarikic.com

SantiagoVilanova-Playmodes

Forms-ScreenEnsemble

Keywords:Algorithm,Visualmusic,Graphicnotation, Sonification,Creativecoding,Generative

Forms-ScreenEnsemble isagenerative visualmusicjukebox.Drivenbychance andprobabilities,thisautomatacreates endless,unrepeatedgraphicscoresthat areimmediatelytransformedintosound bymeansofsonificationalgorithms, makingitpossibleto-literally-hearwhat yousee.

Forms-ScreenEnsemble isoneofthe materializationsofthewiderFORMS project.Onthisoccasion,theScreen Ensembleisanautomaticinstrument capableofreal-timeaudiovisual synthesis.

Drivenbyasetofrulesforgraphic generation,basedonchanceand probability,acustomsoftwareproposesa sequenceofvisualcompositionscreated inrealtimeandneverrepeated.

Thesedrawingsrefertothegeometric abstractionoftheavant-garde:fromthe Bauhausschool(Kandinsky,Klee, Mondrian)totheRussiansuprematists andconstructivists(Malevich, Rodchenko).

Thesescorescanalsobeframedwithin

thetraditionofgraphicmusicalnotationthat gainedstrengthamongcomposersofthe twentiethcentury(JohnCage,Karlheinz Stockhausen,IannisXenakis,Morton Feldman..),andthatallowedmusictofree itselffromtone,compassandstiffnessofthe staves.

Thankstoareal-time“sonification”engine, theresultinggraphicscanbetransformed intosoundusingadditivesynthesis algorithms.Areadingheadertraversesthe image,interpretingsonicallythatsmall verticalfragmentoftheimage,inadirect translationfrompixelstosoundfrequencies. Theluminancecapturedbytheheaderis transformedintolowfrequencies(ifthe pixelsareatthebottomoftheimage)orhigh frequencies(iftheyareatthetopofthe image).

Formally,theensemblecomprises3vertical screens.Eachscreenofthisnetworked ensembleplaysaparticularinstrumental role:Rhythm,HarmonyorTexture.

Performedbythistrioofautomats,avisual musicsymphonyevolvesovertimegiving birthtouniquesoniclandscapesthatwill neverberepeatedagain:fromtonalambient musictoragingrhythms,surrealelectronic passagesordance-floorbeats.

Agraduateingraphicdesignandpassionateaboutsoundart, SantiVilanova hasmanagedto combinethesetwodisciplinesthroughthecatalystof“creativetechnologies”,ofwhichheisa self-taughtdeveloper.

(De)formedintheravesceneoftheearly2000s,hissoundworkhasevolvedtointegratethis influenceintonewterritories.Hisrecentresearchcombinesdigitalalgorithmsandsonification engineswithclassicalstavesandacousticensembles,focusingontheideaofavisualmusic.

Playmodes isanaudiovisualresearchstudio.Saddledhalfwaybetweendesign,artand engineering,theybuildaudiovisualinstrumentsandexperienceswhichfocusonthe consolidationofspace,soundandimagethroughmultipleperspectives.

Website: www.playmodes.com

AnaliviaCordeiro

M3X3

Keywords:Algorithm,Pioneering,Dance,Software,Notation

Theworkconsistsofathree-channel installationofacomputer-danceforTV(in 1973therewasnoVHSinBrazil), consideredthefirstrazilianvideo-art work.Theinterpretersareregularly placedinamatrix3x3,inahigh-contrast black&whitescene,theymove mechanically,actingascriticstothe digitalsociety.

For M3X3 theartistcreatedherown computerizednotationandcomposition systemtorecordthemovementofthehuman body.Herdrawings,scoresandvideoworks showrapidandjerkymovementsthatare relatedtothemostrationalgeometric abstraction.Theworkisthefirstattempt, madeinBrazil,tocreatealanguagesuitable forvideoandcomputerwritingwithwhichto thinkaboutdanceandbodymovement.The medium,technology,ispositionedasan intermediaryinstrumentbetweentheartist andtheviewer.

AnaliviaCordeiro (b.SãoPaulo,1954)isadancer,choreographerandarchitect.Shestudied theLabanMethodofdanceinBrazilandmoderndancewithAlvinNikolais,MerceCunningham andGusSolomonsJr.andatViolaFarberDanceStudiosinNewYorkandlaterstudiedthe EutonyCorporalMethodinBrazil.ShegraduatedinArchitecturefromtheUniversityofSãoPaulo enBrasil,shehasaMastersinmultimediafromtheUniversityofCampinas,andaDoctoratein ComunicaciónandSemioticsfromPUCNSP,Brazil.

Website:analivia.com.br

PeterWeibel

TheEndlessSandwich

Keywords:Pioneering,TV,Fault,Viewership

Theworkispresentedthroughanold televisionmonitor.Itshowstheartist watchinghimselfwatchingTV consecutively,posingareflectionon viewership.

BetweentheTVsetandviewer,a functionexistswherebytheuser switchesonandofftheappliance.Hehas reproducedthisfunctionandmadeitthe contentoftheTVprogramme.Sandwich

characterofrealprocessandreproduction process,ofreflectionandaction.Onthe screen,aseriesofviewersisseensittingin frontofTVsets.Afaultoccursinthelastset shown,meaningthenextviewerhastogetup inordertorepairthefault.Thisrepairbrings aboutadisruptioninthenextviewer’s screen.Thedisruptionpropagatesitselfuntil itreachestherealTVset,meaningthereal viewerhastoriseandeliminatethefault. Timedelay:therealprocedureisthe conclusionofthereproducedprocedure.

PeterWeibel isaconceptualartistandarttheoreticianofreferenceinthesphereofEuropean culture.FormanyyearshehasbeenaprofessorattheUniversityofAppliedArtsViennaand directoroftheLaboratoryforDigitalArtsattheStateUniversityofNewYorkinBuffalo.

HehasalsobeenartisticdirectoroftheInternationalBiennialofContemporaryArtofSevilleand curatoroftheAustrianPavilionattheVeniceBiennale.HeispresentlychairmanoftheZKM| CenterforArtandMediaKarlsruhe.Hehasrecentlyco-editedwithSiegfriedZielinskithe bookFlusseriana:AnIntellectualToolbox,acollectionofarticlesontheworkofthephilosopher ofimageandlanguageVilémFlusser.

Website: peter-weibel.at

Félicied’Estienned’Orves

ÉclipseII

Keywords:Generative,Light,Perception,Astrophysics

Theworkconsistsofalightinstallationon acircularscreen.Itexamineshuman perception,naturalphenomenaandthe space-timecontinuum.

Avideoforacircularscreensuspendedin space, ÉclipseII isthelastelementofthe Cosmosserieswhichaimstoquestion theinstinctiveandmythical understandingwhichnatural manifestationsoflightinduce.Likethis artist’sothervideosandradiantly colouredconstructions,itseeksto exploretheprocessbehindvisionandthe waysinwhichourgazeisconditioned.It

recreatesaseriesofcyclicalandprogressive rotationsasvariousluminousandhypnotic statesprogressivelyunfold,inspiredby astrophysicalphenomena.Afterthecreation ofthematerialwiththesculptureOvale (2008),theapparentcoveringofonestarby anotheratapreciseinstantin ÉclipseI (2009),andtheexplosionofastarin Supernova(2011), ÉclipseII helpsus experiencetheplayinherentbetweenthe relativepositionoftheobserver,asourceof lightandaneclipsingdisk.Thisassertionin spaceofaninterplayandalignmentof shadowandlightevokesthelimitsofhuman perceptionandeventswhichcreatelinkswith distantspace-times.

Theworkof Félicied’Estienned’Orves (b.Athens,1979)combineslight,sculptureandnew technologies.Herresearchfocusesonvision,itsprocessesandconditioning.Herimmersive installationsuseaphenomenologicalapproachtoreality,theyunderscoretheperceptionoftime asacontinuum.Since2014,theartist'researchesfocusedonspaceinrelationtoastrophysics andtostudythenaturallightcycles.

Website:feliciedestiennedorves.com

Marie-FranceVeyratandJaimedelosRíos

Laformedel´eau. Poetiqued´uninstant

Keywords:Algorithm,Installation,3D,Simulation,Fluids

Multi-supportinstallation-2019/2022 composedofasculptureprintedinPETG, onwoodentableandmirrored methacrylate,4Kgenerativealgorithmic videowithfirst-personnarrativeand reproductionofthree4Kvideoson4K screens.

Totalmeasurements:285cmx100cmx 100cm.,weight27kg.

Marie-FranceVeyratandJaimedelos Ríosareanartisticduowhoseinterest focusesonformandepistemology.They presentonthisoccasionahybrid aesthetic-scientificworknotlackingin ironyandpoeticambition,byinfluencing thenarrativeimpossibilityofsciencein spiritualdispositions,facingprocesses suchasthepresent,togetherwith scientistsandtechnologistsinorderto approachnewreadings,suchasstopping foramomentorviewingamyriadofdata inmilliseconds.

Howdowepreserveourmemories?

Memorytendstodissipatetheform.Inthe driftofourmostrationalthought,wetendto scientificourmemories:where,how,when... Computableanddirectdatathatinmostcases reducestheexperienceofwhathasbeenlived toalistofitems.

LaFormedel’Eau.Poétiqued’unInstant convertsatangiblememoryintoitsmost poeticelements,freezinganinstantand makingitinfinite.

Aninstallationmadewithscientificand physicalsimulationsoffluidstocapturethefall ofwaterandemulateitsshapein3Dprinting, whichnolongerfalls,butrisesasinthe languageofdreamsopposedtoNewtonian laws,andrenderedalgorithmsinrealtime, whichfollowoneanotherchoreographicallyin parallelwiththefirst-personaccountofMarieFrance,whoshareshervoicetonarratea discovery.

Ironizingaboutthespeedofconsumptionand theeagernessfornoveltyincontemporary society,VeyratanddelosRíosinviteusto reflectfromthecontemplationandpoeticsof themoment.

ItwasaspringdaywhenIcameacrossthe fallingwater....

Interestedinresearchandexperimentationinnewartisticlanguages,stronglyinfluencedbyher experiencesinmartialarts,hertravelsandthenaturalenvironmentsheenjoys,shewantsto captureworksthataresometimesphysicalandephemeral,suchasitsarchitecturalandvirtual installationsandsculpturesthatcapturetheinstantofalivedmoment.Theintentionisto conveytotheviewerthesymbolismandpoeticdiscoursethatemanatefromtheartwork.

Presidentofthejuryandco-founderoftheARCO/BEEPElectronicArtAward,shehasbeen involvedinprojectsrelatedtodigitalandelectronicartsincethelate1990s.

Website: en.veyrat.org

JaimedelosRíos isanewmediaartistwhoseartworksexploredigitalnaturesbasedon metamathematicsandcybernetics.Bornin1982inSanSebastianheisfounderoftheopen laboratoryofArtandScienceARTEK[Lab]

Website:arteklab.org

Marie-FranceVeyrat, borninLyon,sculptress,andvisualartist,livesbetweenBarcelonaand Tarragona.

MarnixdeNijsandBorisDebackere

Non-dimensional

Cities

Keywords:Algorithm,3DGraphics,Spatialaudio, Interaction(Fullbodyparticipation,Installation)

Non-dimensionalCities isanimmersive experienceinwhichyoumakea cinematicjourneythroughanendlessly unfoldingvirtualcityscapethatexpands overallaxes.Thisdimensionless cityscapeisconstructedfromalarge collectionofpointcloudsandsounds.You navigatebyshiftingyourbodywhile standingonacontrollerplatform. Onthescreensthatsurroundusand throughwhichweexperienceour physicalsurroundings,buildingsand cityscapesarevirtualitiesthatinhabita digitalframeworkoftimeandspace.

FromsatelliteimagerytoGoogleMaps, surfacesand3Dgeometriesarereplaced bycloudsofpoints,abstractedfromtheir physicalpositions.Theycreateanew spatiality,aworldwithoutgravity.The buildingsrepresentedbythesepoints literallyvanishwhenwegetcloseto them,immersingusinaworldthathas exchangeditsdimensionalityformotion.

Standingonacontrollerplatforminfront ofabigscreentheparticipantsnavigate througha3Dworldwheregravityseems tohavedisappeared,theymakeajourney toafascinatingpointcloudrealm,at

momentspreciseindetailsbutsimultaneously abstractanddreamlike.

Thebuildingblocksoftheworldaregenerated fromdepthmapinformationandpanoramic photographsobtainedfromGoogleStreet View’sAPI.Dependingontheuser’spositionin thevirtualworldtheseblocksaredynamically repositionedonathree-dimensionalgrid.By subtlemanipulationofmotionandsound, perspectivedistortionandshiftsinbalance Non-DimensionalCities unquestionablyrecalibratestheviewer'sperceptionof dimensionality.

Theinterfaceforthisworkisacontrolplatform thatisstandinginfrontofastructurethatholds fourlargeTVscreens.Theappearanceofthis architectonicalinstallationisinspiredbythe proceduralwaythepoint-cloudare reconstructedfrom2Ddataandhowtheyare positionedintheendless3Dworld.

Justlikethe3Dworld,theaccompanying soundscapeevolveswiththepositionand velocityoftheuserinthevirtualworldwhilethe navigationgesturessimultaneouslyinfluence thefeedbacksoundsandvibrationsofthe controller.Thecompositiondevelopsfroma largecollectionofsoundsthatarespatially distributedanddynamicallymixedinrealtime whichallowstherepetitive,ever-changing reiterationofthegeneratedvisualworldto instantlyshapethecompositionalstructurefor thesoundscape.

Artist:MarnixdeNijs

SoundDesign:BorisDebackere

MarnixdeNijs isanRotterdambasedartistthathasbeenworkingwithfullbodyparticipationin immersiveaudiovisualenvironmentssincethelatenineties.Hisworksincludemainly interactivelyexperiencedmachinesthatplaywiththeperceptionandcontrolofimageand sound.Impelledbytheideathattechnologyactsasadrivingforcebehindculturalchangeand thereforecapableofgeneratingnewexperienceswheresocietalhabitsarerethought,hiswork thrivesonthecreativepossibilitiesofferedbynewtechnologies,whilecriticallyexaminingtheir impactoncontemporarysocietyandhumanperception.

DeNijs'workshavebeenwidelyexhibitedatinternationalartinstitutes,museumsandfestivals. HewontheArtFutureAward(Taipei2000)andreceivedhonorarymentionsatTransmediale 2000,Vida5.02002andPrixArsElectronica2013,2005&2001.In2005,hecollectedthe prestigiousDutchWitteveen&BosArtandTechnologyPrice2005forhisentireoeuvre.

Website: marnixdenijs.nl

MarianoSardónandMarianoSigman

TheWallofGazes

Keywords:Gaze,Portrait,Eye-tracking

TheWallofGazes consistsofonescreen inwhichvisitorscanseehowportrait imagesarerevealedbytheeye movementsofmanypersons simultaneously.Gazeswerecapturedby aneyetrackerdevice.Around100 participantswereseatedinfrontofa portraitimageandthedevicerecorded theirgazesfor15seconds.Thescreenis connectedtoacomputerandaspecial softwaredisplaystheeyetracksstoredin adatabase.Portraitsareever-changing composition,accordingthegazes capturedanddisplayedbythesoftware.

TheWallofGazes aimstoengagepeople withthosepartsofthefacethatarereally seenandthosepartsthatremain “unseen”whileattentionisfocused elsewhereontheportrait.

Technologicalcollaboration:GermánIto. DevelopmentTeam:CeciliaCisneros, LuciaCarvallo,NahuelRodrigues.Eye trackingdatageneratedattheMuntref CentrodeArteyCiencia.Universidad NacionaldeTresdeFebrero.Buenos Aires.

MarianoSardón isprofessorandchairofthe ElectronicArtDegreeattheUniversidad NacionaldeTresdeFebrero,BuenosAires, Argentina.Heworksintransdisciplinary processescollaboratingwithartistsand scientistsfromdifferentdisciplines.Hemixes ArtwithArtificialIntelligence,data visualizationandcomputeranimation, neuroscience,textualsemantics,among others.Withneuroscientist MarianoSigman, theyinquireaboutmemory,perception, toleranceandintolerance,censorship,the past,thepresentandthefuture.

Websites: marianosardon.com.ar marianosigman.org/en/

RafaelLozano-Hemmer

RedundantAssembly

Keywords:Facerecognition,Portrait,Realtime

Theworkcreatesreal-timeportraitsof theviewers,criticallysurveyingfacial recognitionsystems.Theresultingimages ofitsinteractionwiththepublicquestion theallegedobjectivityofsuch technologies.

In RedundantAssembly anarrangement ofseveralcamerascomposesaliveportraitofthevisitorfromsix perspectivessimultaneously,aligned usingfacedetection.Theresultingimage isuncanny,detachedfromthelawsof

symmetryandthedepthperceptionof binocularvision.Ifseveralvisitorsare standinginfrontofthework,acomposite portraitoftheirdifferentfacialfeatures developsinrealtime,creatingamongrel "selfie".

Aversionoftheworkforpublicspace includesatime-componentthatallowsthe faceblendingtotakeplacemixingpresent andthepast.Facerecognitionisatechnique oftenusedbypolice,military,andcorporate entitiestosearchforandfindsuspiciousor targetpeople.Herethesametechnologyis usedtoconfuseportraitsandemphasizethe artificialityandarbitrarinessofidentification.

RafaelLozano-Hemmer (Mexican,b.1967)isaMexican-Canadianartistknownforlarge-scale interactiveinstallationsthatfusearchitectureandperformanceartusingtechnological materials,includingcellphones,LEDlights,androbotics.Inthe1980s,Lozano-Hemmer emigratedfromMexicoCitytoCanadatostudyattheUniversityofVictoriaandConcordia University.Aftergraduating,hewasbrieflyemployedinamolecularrecognitionlabinMontreal. Thoughhedidnotpursueacareerasascientist,hisinterestinchemistryandtechnologyhas influencedhisworkinmanyways.

Website:lozano-hemmer.com

DanielCanogar

Gust

Keywords:Generative,Datavisualisation,Realtime,Weather

Theworkconsistsofacurvedscreen displayingacolorfulabstractanimation, generatedinrealtimeusinglocalweather data.

Gust isascreenmadewithflexibleLED tiles,atechnologythatallowstheartistto createcurvedscreens.Thegenerative animationreactsinreal-timetolocal windspeedanddirection. Theartisthasobservedasubstantial changeinourrelationshipwithscreens. Fromsmallwristdevicesthatmonitorour biorhythmstomonumentalLED

billboardsthatwraparoundbuildings,weare surroundedbytheirflickeringandbright surfaces.Screensareacquiringanew materiality,amembranequalitythatextends overmultiplesurfaces,objectsandbuildings. The"Echo"seriesrespondstothisnew conceptofscreen-skin.

"Echo’s"screensseemtomelt,drainedby ouroverzealousneedtorepresenttheworld. Intheirundoing,theydiscoveranewroleas creaturesthatnolongerrepresentbutsense theirecosystem.ConnectedtotheWeb,they perceiveplanetaryphenomenathatescape oursensorypossibilities,andyetaresovital tooursurvivalasaspecies.

BorninMadrid(1964)toaSpanishfatherandanAmericanmother, DanielCanogar’s life andcareerhavebridgedbetweenSpainandtheU.S.Photographywashisearliestmedium ofchoice,receivingaM.A.fromNYUattheInternationalCenterofphotographyin1990,but hesoonbecameinterestedinthepossibilitiesoftheprojectedimageandinstallationart. Website:danielcanogar.com

CharlesSandison

NatureMorte

Keywords:Algorithm,Pioneering,Baroque,Naturemorte

Theworkisaonechannelprojectionofa softwaredevelopedbytheartist.Itisa real-timegenerativepiecefeaturingthe wordsofLordByron,arrangedtocreate theimageofanevermorphingskull.

NatureMorte isanaccomplishedinterpretation ofbaroquevanitisfromtheviewpointofnew technologies.Convincedthatlanguageisour interfacewithreality,SandisoncreatesIT programmescontrolledbydynamicmolecular algorithmsthatgeneratewordsandbrings themtolife.Inthecaseofthewinningwork, theartistusesthequartetofByronthat referencesCarpeDiem,theenjoymentofthe instant,inagenerativeaudiovisualwork,as such,alwaysdistant,thatincludeselementsof literature,romanticism,andtextuality,aswell asaprofoundreflectiononnewmedia.

CharlesSandison

complexitiesandsimplicitiesofhumancommunication,behaviourandsocialstructuresthrough theuseofasymboliclanguage.Hisworksconsistoftext,generatedbycomputersoftwarebuilt bytheartistanddisplayedonscreensorprojectedsitespecificallyontogallerywallsorentire buildings.

Website:www.sandison.fi

(b.1969,Haltwhistle,UnitedKingdom)visualisestheparadoxical

ChristaSommererand LaurentMignonneau

PortraitontheFly

Keywords:Generative,Interactiveart,Digitalmirror, Flies,Portrait

Theinteractiveinstallationconsistsofa monitorthatshowsaswarmofafew thousandflies.Whenapersonpositions himorherselfinfrontofit,theinsectstry todetecthisorherfacialfeaturesand createtheperson´sportrait.

Theinteractiveinstallationconsistsofa monitorthatshowsaswarmofafew thousandflies.Whenapersonpositions himorherselfinfrontofit,theinsectstry todetecthisorherfacialfeatures.They

thenbegintoarrangethemselvessoasto reproducethem,therebycreatinga recognizablelikenessoftheindividual. Posinginfrontofthemonitorattractsthe flies.Withinsecondstheyinvadetheface,but eventheslightestmovementoftheheador ofpartsofthefacedrivesthemoff.The portraitsarethusinconstantflux,they constructanddeconstruct. PortraitontheFly isacommentaryonourloveformaking picturesofourselves(Selfie-Culture),ithasto dowithchange,transienceand impermanence.

ChristaSommerer and LaurentMignonneau areinternationallyrenownedmediaartists, researchersandpioneersofinteractiveart.TheyhaveworkedattheIAMASAcademyinGifu, Japan,theATRResearchLabsinKyoto,Japan,theMITCAVSinCambridgeUSandtheNCSAin ChampaignUrbana,IL,USA.In2004theyhavesetupthedepartmentforInterfaceCulturesat theUniversityofArtandDesigninLinz,Austria.Sommererheldvisitingprofessorpositionsat CAFACentralAcademyofFineArtsBeijing,TsukubaUniversityandAalborgUniversity,Denmark, LaurentMignonneauwasChaireInternationalatParis8University.Togethertheyhavecreated around50interactiveartworksshowninaround350internationalexhibitions.Theyreceived numerousawards.

Website: interface.ufg.ac.at/christa-laurent/

WeidiZhang

RAY

Keywords:Interactive,AI,Surveillancecamera,Recognition

RAY isaninteractiveworkonscreen, equipedwithAIsoftwareandacamera capableofgeneratingimagesthat addresstherelationshipbetweenhuman andmachine.Itinquiresintothecomplex natureofsurveillanceandtheroleof automatedsystemsforimage-making.

ARayograph(photogram),asinventedby ManRay,isanimagecreatedbyexposing light-sensitivephotographicpaperto light,whereobjectsareplacedonitto blockareasofthepaper.Variationsofthis techniquearealsoimplementedfor scientificpurposessuchasX-Rays,which aremadebyusingexternalradiationto produceimagesofourbody,andother internalstructuresfordiagnostic purposes.Today,Weliveunder surveillance,ourlifemomentsandbodies havebeencaptured,evaluated,and judgedbytheintelligentsystembehind thecameras.Image-makingpractices arebeyondmerelytakingpicturesthat recordlight,suchasoperativeimages andgenerativeimagesthatemphasize instructionalpracticesandautonomous systems.Countlessimagesarenolonger

visualrepresentationsoftheworldmadefor humanstoperceivebutprogrammabledatabasedvisualizationswhichresultthrough automaticoperations.Thenotionofthe cameralessimage-makingprocessshifted fromRayographtotherule-basedactivities andsynchronicdata-to-datarelationships.

RAY aimstoaddressthechangingontology ofimagesunderthegazesofmachinesby creatinganintelligentsystemthat incorporatesautomationwithoriginalityto generateavisualizationofahuman-machine reality.Raymakemetaphorstothepowerof gazebylinkinghumanundersurveillance camerawithobjectsforphotogram.The systemimplementsImage-to-Image TranslationwithConditionalAdversarial Networksandacomputervisionsystemto translatehumanportraitsintonewimagesof Rayographwithsemanticmeaningsthrough learningover3000pairsofRayogramsand humanportraits.Thegeneratedmoving imagesarefurtherdevelopedalgorithmically throughvisualizingintheaestheticsoflight painting.Rayengagesaudiencesby transformingcapturedaudiences’portraits intoanever-evolvingvisualrepresentation thatconveysmeanings,whichleadstonew graphicsofabstractionandempathy.

WeidiZhangisanewmediaartist/researchercurrentlybasedinLosAngeles.Bornandraised inSuzhou[苏州,China],ahistoricalcityrenownedforitsuniquearchitecturalstyleofChinese gardens.InspiredbyaChinesegardendesignstrategysheobservesandframesher surroundingenvironmentsasanever-changingmulti-layeredassemblage.Herinterdisciplinary artanddesignresearchinvestigatesASpeculativeAssemblageattheintersectionofimmersive mediadesign,experimentaldatavisualization,andinteractiveAIart.

SheholdsherPh.D.degreeinMediaArtsandTechnologyatUniversityofCalifornia.Sheisan assistantprofessorofimmersivemediadesignatArizonaStateUniversity,lecturedatbothUC SantaBarbaraandTheOhioStateUniversity,andherworkshavewonnumerousinternational awards.

Website:www.zhangweidi.com

Artworkspresented byNiio.art

SelectionofartworkscuratedbyPauWaelder

NiiojoinstheexhibitionsoftheISEA2022 Barcelona27thInternationalSymposium onElectronicArtwithaselectionof artworksaddressingthemainthemesof thesymposium.Thescreen-basedworks addressthenotionofpossiblesindifferent ways,fromthedynamicsofmicroscopic particulatemattertotheglobaleffectsof climatechange,fromnewworldswecould inhabittothosethatarefadingaway,and fromourindividualperceptionofthe worldtotherealizationthateven machinescanforget.Throughgenerative algorithms,artificialneuralnetworks, virtualrealityenvironmentsandvideo editing,FrederikdeWilde,DianeDrubay, JeppeLange,SabrinaRatté,Antoine Schmitt,andSnowYunxueFuhave createdfascinatingnarrativesthatspeak ofthepossiblehumansandnon-humans, naturesandworlds,andfuturesand heritages,integratingthecultureandthe processesofartistic,scientific,and technologicaldisciplines.

GenerativeQuantumBallet 21VideoExcerpt

AntoineSchmitt

TheGenerativeQuantumBallets (GQB)are infinitegenerativevisualartworks,eachone stagingachoreographyofacrowdofpixels displayingapparentlyarbitraryand independentmovements,butallactually programmedbythesamequantum-type equation.Thisglobalunderlyingorganization manifestsitselffromtimetotimethrough unexpectedandfugaciousalignmentsor groupings,whichtheeyebarelyhasthetime grasp,withaweanddelectation.Thisseriesof artworksdealswiththeinvisibleforcesat stakebehindcomplexsystems,likeparticles, peoplesorsocieties.

AntoineSchmitt, GenerativeQuantumBallet 21 VideoExcerpt,2022. CourtesyoftheartistandGalerieCharlot.

Lemondeenlui-même 2022

VideobyJeppeLange

Music&sounddesignbySimonBrinck

Alandscapeformedbyhundredsof impressionistpaintingsdissolveintopurecolor andbrushstrokes,constantlymutatingwhile thevoicesofamanandawomannarratethe musingsofapersonwhoregainedsightafter fiftyyearsandlearnedhowtolookattheworld anew.Thevideoinvitesameditative contemplationinwhichmanyshapesofnature areevoked,butnosingleelementcanbe identified.Thisexperienceleadstowhatthe narratordescribesasseeing“throughthe codes,”andobservingtheworldinitself.The realizationthatourperceptionisjustan interpretationofourenvironmentopensup possiblereadingsandalternativeformsof construingourreality.

IgnisII 2021

DianeDrubay

Secondsbecomeyears.14secondsto experiencethemetamorphosisofutopia intodystopia.14yearstoreachcarbon neutralityorthepointofnoreturn.This pieceplayswithcolour-psychologyto createanimmersionthatdrawstwo possiblefutures,bothfascinatingand shattering.

DianeDrubay, IgnisII, 2021. Courtesyoftheartist.

JeppeLange, Lemondeenlui-même,2022. Courtesyoftheartist.

Artworkspresented byNiio.art

SelectionofartworkscuratedbyPauWaelder

OhDeer!

2021

FrederikdeWilde

AshortvideoofadeerinaforestisfedtoaGenerativeAdversarial Network(GAN).Byapplyingcustomdegradationtechniques,the imagegraduallydissolvesintoamonochromaticplane.Asingle pixelthatprovidesagraphicalrepresentationofforgetfulness. ThroughanexperimentationwithMachineLearning,theartist createsatellingdepictionoftheactofforgetting,inawaythat connectsthebiologicalbrainandthesyntheticcomputational brain,whileevokingthefragilityofmemory.

FrederikdeWilde, OhDeer!, 2021. Courtesyoftheartist.

SabrinaRatté

Imagesandsoundtrackcomposition:

SabrinaRatté

Sounddesignandmixby:Andrea-Jane Cornell

InspiredbythewritingsofDonnaJ. Haraway,UrsulaK.LeGuin,andGregEgan, theworkplungesusintoaspeculative future,wheresamplesofthenextinctplant speciesarepreservedanddisplayedina virtualarchiveroom.Througheditingand visualstrategies,thisarchiveroomis sporadicallytransformedundertheeffect ofinterferencecausedbythememory emanatingfromthelistedplants,revealing tracesofapastthatcontinuestohauntthe place. Floralia isasimulationof ecosystemsbornfromthefusionof technologyandorganicmatter,wherepast andfuturecoexistinaperpetualtensionof thepresent.

Karst 2019

Karst ismulti-levelvirtualrealityvisualand soundexperience/artworkthatcreatesliminal spacesinbetweentherepresentationaland thetheatrical,thelimitedandthemultidimensional,andtheabstractandthereal.The multiplescenesin Karst referenceavarietyof placesinourrealitythatareusuallybeyond people’sreach.Itpushestheboundariesof landscapeartbyputtingnaturalecologiesand humanenvironmentalinterventionsindialogue throughimmersiveVR.Italsoattemptsto embodytheconceptofPlato’scaveinthe mediumofavirtuallyconstructedrealm, providingacontemplativeenvironmentforthe visitortowonder.

Floralia 2021

SabrinaRatté

FloraliaI 2021. CourtesyoftheartistandGalerieCharlot.

SnowYunxueFu, Karst, 2019. Courtesyoftheartist.

SnowYunxueFu

LACAPELLA, BARCELONA

Exhibition WHATISPOSSIBLE ANDWHATISNOT

WhatIsPossibleandWhatIsNot isa groupexhibitionthatbringstogether artistsassociatedwithISEA2022 Barcelonaandthosefromthedigital environmentandresearchproject categoriesoftheBarcelonaProducció callforproposalsthatdefinesLa Capella’sprogrammes.Theexhibition thereforeinterconnectsseveraldifferent typesofcontentstemmingfromthe centre’stwomainstrands.Ontheone hand,itbringstogetheranumberof significantartistswithinemergingartistic practices,andontheotherhand,it encouragesagenerationalexchangeof highcontextualintensity.

WhatIsPossibleandWhatIsNot also involveschallengingthepossibilitiesoffered bytechnologicaladvances.Despitetheir capacityforenablingwhatcouldnothave beenimaginedafewyearsago,thissame provisionoftenclashesagainsttheirown limits.Atthesametime,scienceisableto exploretheselimitswellanddemonstrate thatwhatcannotbedonenowwillbe possibleinthenearfuture..

Artworks

D’EcoaSiringa

JosepManuelBerenguer

Arrels

AnnaCarreras

EspeciesI,IIyII

MónicaRikić

WaterDropViewer(indoorversion, 2022)

RocParés

ChemicalEcosystem

YolandaUriz

WithworksfromBarcelonaProducció:

Epiphany

AriadnaParreu

ZENZ(A)I

AnnaPascó

Pwned

MaríoSantamaría

Imatgeshostes.Parasitologiadelavisió

ialtressimbiosis,Auspicis

Estampa

D’EcoaSiringa JosepManuelBerenguer

Keywords:Femalevoiceinmusic,algorithmicmusic, multilingualism,self-construction,artificialimprovisation

Iftheconfigurationofone'svoiceis decisiveintheconstructionofthebody, languageanditssoundsaredecisivein theconstructionofcultures.Hencethe allegoricalinterestof D’EcoaSiringa in thesoundoflanguages,abasictoolfor communication,socializationand personaldevelopment.

D’EcoaSiringa isasoundandvisual installationwhereresourcescloseto artificialintelligenceareappliedtothe compositionofamusicalandvisualflow incontinuoustransformation,without formalresolvingelementsthroughout theinstallationtime,whateverits duration,dynamicallybuiltfroma databaseaccessibleintheIPspace, initiallymadeupofmaterialsobtained byreadingwordsfromworldwomen's literature,spokenbydiversefemale voicesinasmanylanguagesaspossible andconstantlyanddynamically maintained.Atpresent,itcontains soundsamplesfrom60languages.

Imagesaredynamicallyconstructed fromthegraphictreatmentoftextsin variouslanguagesandalphabets,

chosenaccordingtospectralcharacteristicsof soundsandproceduresselectedatvariable timeintervals.Itsinstantaneousbehavioris reactiveinrealtimetothegeneraldynamicsof sounds.Despitethecontinuouschangeinthe soundandvisualflowthatisgeneratedasa consequenceofethical-aestheticreasons dictatedbytheneedtoconstructworks avoidingthetraditionalmusicalformsmarked bypatriarchyandinfluencethemwith structuralcharacteristicsoffemalevoice,I considertheproblemsofthedistillationofthe essenceandthemaintenanceoftheidentityof theworkofart,which,inthiscase,isachieved throughtheintelligentmanipulationofthe timbralcolorationsofvoicesandthebalance oftheimages.Hence,recordingsofreadings andtheappearanceoftextsaresubjectedto variousformsofsignalprocessing;in particular,transposition,juxtaposition, superposition,convolution,fragmentation, granulation,filtering,andspatialization.

Claimingnon-directionalityasaresponseto thedominantorientationsbasedon directionality,beingsoundandimage generationcontinuousinrealtimewithout conclusivesegmentations,asisthecaseof mostofmyinstallations,nooneisexpectedto waitforanyfinalconclusion,ashappensina traditionalconcertsituation.

JoséManuelBerenguer iscoordinatorandprofessorofPsychoacousticsandExperimental MusicoftheMasterinSoundArtoftheUniversityofBarcelonaanddirectorofOrquestradel Caos.FounderofCôcleawithClaraGarí-wherehedirectedtheMusica13Festivalformore thanadecade-andalsoofOrquestradelCaos,collaboratoroftheInstitutInternationalde MusiqueElectroacoustiquedeBourges,wasthedesignerandthefirstpersoninchargefromthe SoundandMusicLaboratoryoftheCIEJoftheFundaciólaCaixadePensions,aswellas ProfessorofElectroacousticMusicattheConservatoryofBourges.FormerPresidentofthe ElectroacousticMusicAssociationofSpain,heiscurrentlyPresidentofHonourofthe InternationalConferenceofElectroacousticMusicoftheCIM/UNESCO,PresidentofQuantum ArtLab,memberoftheAcadémieInternationaledeMusiqueElectroacoustique/Bourgesand oftheBoardofTrusteesofthePhonosFoundation.

Website:sonoscop.net

D’EcoaSyringa hasthesupportof"Barcelona 2020Awards"grantsfromBarcelonaCityCouncil andDepertamentdeCulturadelaGeneralitat

AnnaCarreras

Arrels

Keywords:Generativeart,Complexity

Arrels connectsdrawing,codeandthe landscapethroughacycleofgrowthand decay.WhileAnnalookstonatureforthe sourceofherwork,sheinterpretsand transformsherexperienceintocarefully choreographedgenerativeanimation.In Arrels, growingtendrilsthecolorofearth andskycollideinavibrantdance.

AnnaCarreras’workhasastrongrelationshipto theSpanishlandscapewhereshespendsher time,andherpieceinSocialCodes, Arrels, connectsdrawing,code,andtheenvironment throughacycleofgrowthanddecay.While Annalookstonatureforthesourceofherwork, sheinterpretsandtransformsherexperience intocarefullychoreographedgenerative animation.In Arrels, growingtendrilsthecolor ofearthandskycollideinavibrantdance.New growthinthearidsoilovertakestheold,andthe cyclecontinues.

TextbyCaseyReas.

AnnaCarreras isagenerativeartistandcreativecoderbasedinBarcelona,Spain.Shefocuses herworkontheuseofgenerativealgorithms,codeandinteractivetechnologyasameansof communicationandanexperiencegenerator.

Sheisinterestedincomplexitythatemergesfromsmallsimplebehaviors,fromthebalance betweenorder,patternsandrandomnessandtherulesbehind.Shetriestocapturethediversity andrichnessofcomplexityworkingwithgenerativealgorithmsandvisualsinspiredby Mediterraneancolorsandculture.

ShehasdevelopedandexhibiteddigitalinstallationsandgenerativeartpiecesatFeralFile,Art Blockscurated,EndlessWays,MedialabPradoMadrid,ForumBarcelona2004,SónarFestival, MIRAVisualArtsFestival,AbandonNormalDevicesLiverpoolandIgniteSanFranciscoamong others.

Website:annacarreras.com

EspeciesI,IIyIII Mónica Rikić

Keywords:Speculativephilosophy,Electronicart,Postsingularity,Technodiversity,Artificialintelligence

“EspeciesI,IIyIII”, focusesonimagining thepossibilitiesfortheevolutionof artificialintelligence,aswellasthe consequencesforthehumancondition. Theprojectwillbeformalizedthroughaset ofroboticdevices,builtfromalgorithmic structuresinspiredbyphilosophical principles,whichrepresentasmall inorganicecosystem

Thisartworkisframedinthelinethoughtof technodiversity,promotedbythe philosopherYukHui,whichinvitesusto breakwiththemonolithicvisionof technologicaldevelopmentandacceptthat thereisamultiplicityoftechnologiesand notauniversalone.

Withinthiscontext, EspeciesI,IIyIII focusesonimaginingthepossibilitiesof evolutionoftechnologiesinanalternative way.Believingintheexistenceof technodiversitiesimpliesthattechnology becomespartoftheculturalplaneandthat inthefuture,perhaps,itwillbeconsidered partofthebiodiversityofeachcommunity. Startingfromthisspeculativeassumption, thisprojectquestionswhetherwewillbe

abletoincludeartificialcognitivesystemsaspart oftheconfigurationoftheworld,acceptingthem asanindependentspeciesofconsciousand sentientorganisms.

Beyondquestioningthetechnologicalresources necessarytodevelopartificialconsciousness, thisprojectwantstoarguethatitspossibilitiesof existencealsolieinamatterofphilosophical attribution.Todoso,thesetofthreerobotic devicesthatconfigurethisartworkarebuiltfrom algorithmicstructuresinspiredbyphilosophical principlesthatdefinepossibleexistential, evolutionary,consciousandsensitiveprocesses throughthecreativecoding.Theyrepresent processesfarfromthesimulationofthehuman, insearchofthemachinicconditionitself.

Thissmallinorganicecosystemsimulate,through physical-digitalbehaviors,processesthatinvite ustoidentifythemasconsciousorganisms.They aredramaturgicaldevicesstagingapossible evolutionofAI,imaginingapossibleintegration ofthesesystemsinthefuture.Thesetis accompaniedbyafictionalaudiostorythat narratestheprocessofevolutionofthedevices.

Thisprojecthasbeenawardedwiththe ISEA2022BarcelonaGrantbyDKVwithinthe DKVArteriaprogramme

MónicaRikić, Barcelona1986.ElectronicartistandcreativecoderfromBarcelona.She focusesherpracticeincode,electronicsandnon-digitalobjectsforcreatinginteractiveprojects oftenframedasexperimentalgames.Herinterestliesinthesocialimpactoftechnology, human-machinecoexistenceandthereappropriationoftechnologicalsystemsanddevices,to manipulateandrethinkthemthroughart.Fromeducationalapproachestosociological experimentation,herprojectsproposealternativewaysofthinkingabouttechnology,robotics andartificialintelligence.

ShehasparticipatedindifferentfestivalsaroundtheworldsuchArsElectronicainLinz,Creative TechWeekinNewYork,RobotronicainAustraliaorFILEinBrazil,amongothers,andhasalso exhibitedherworksatlocalinstitutionssuchastheCCCB,ArtsSantaMónicaorCaixaforum.

ShehasbeenawardedwiththeCatalanNationalCultureAward2021,andalsoattheJapan MediaArtsFestival,AMAZEBerlin,theMargaretGuthmanMusicalCompetitioninAtlantaand withaBBVAFoundationLeonardogrant.ShehasparticipatedinartisticresidenciesatTAGin Montreal,EMAREinAustralia,MedialabPradoinMadridandEtopíainZaragoza.

Website:monicarikic.com

RocParés

WaterDropViewer Indoorversion,2022

Keywords:Climatechange,Hypernatural,Global warming,Speculativedesign,Philosophicaltoy

Analoginteractiveindoorinstallationthat useshumanenergytocreateanintimate relationshipbetweenthevieweranda modest,beautiful,uniqueandfragile dropofwater.Theanalogybetweenthe filmframeandthewaterdropallowsme torethinkmyownrelationtomediaand nature,tomediationandexperience.

OriginalconceptbyRocParés

CADbyÉtienneBaillargeon

ProductionAssistant:MarcParés

Waterdropviewer isananaloginteractive indoorinstallationthatuseshumanenergyto createanintimaterelationshipbetweenthe viewerandamodest,beautiful,uniqueand fragiledropofwater.Theinstallationaimsto promoteadeepcontemplativestatethatallows youtoconnectwithadropofwaterasan essentialelementoflifeandasaworldinitself. Afterthirtyyearsofdedicationtoelectronicart, withthisworkIamforcedtorethinkmyown relationshipwiththemediaandnature,with mediationandexperience.

Interaction:Whenlookingthroughtheeye piece,theviewerseeswhatsheperceivesasa suspendedwobblingwaterdrop.Infact,sheis alwayslookingatdifferentdropsofwaterinthe sameposition,revealedbytheflashinglight cominginintermittentlythroughtheshutter. Themechanismdrawsananalogybetweenthe frameofafilmandthedropinastreamof water.Theinstallationworksthankstothe physicalinteractionofvisitors,whocanoperate thewaterpumpandthebicyclelight(dynamo) usingthepedalofacentury-oldsewing machine.Ibelievethatbyincorporatinga treadlemechanism,Icaninvolvevisitorsina physicalrepetitiveactionthatcanpotentiate themeditativestatethatIamwillingtoconvey.

RocParés (MexicoCity,1968).Interactivecommunicationartistandresearcher.Doctorin AudiovisualCommunication(UPF,2001)andgraduateinFineArts(UB,1992).Associate ProfessorandResearcheroftheDepartmentofCommunicationofPompeuFabraUniversity, Barcelona.Hehascollaboratedwithdozensofartists,scientists,engineers,institutionsand groupswithwhomhehaspromotedsomepioneeringplatformsinelectronicart.Parés’works arecharacterizedbypoeticandcriticalexperimentationwithdigitalmedia.Hisinteractive installations,roboticandtelematicperformanceshavebeenpresentedandexhibited internationallyattheCCCB,FundacióJoanMiró,MuseoNacionalCentrodeArteReinaSofia, CentroCulturaldeBelém,TateGallery,ArtGalleryofOntario(AGO)NationalMuseumof Photography,FilmandTelevision,CentroCulturaldeEspañaenMéxico,ExTeresaArteActual, LaboratoireParagrapheUniversitéPARIS8,BrandtsDanmarksMediemuseum,Centrale Montemartini,LaChambreBlancheQuébec,BòlitCentred’ArtContemporanideGirona,among others.

Website:roc-pares.net

YolandaUrizElizalde

ChemicalEcosystem

Keywords:Olfactorycommunication;Airsonification, Sono-olfactorysynesthesia,Volatileorganic components,Volatileorganiccompounds

Olfactorycommunicationisaconstant amonglivingbeings,howeveritismore evidentinplantsandanimals.Between humanbeings,theexchangeof audiovisualinformationisgrowing exponentially,evenactivitieswhere chemistryis(orwas)essential,suchas flirtingorseducing,arebeingreplacedby virtualdatingapplications.Intherecent digitizationofouractivities,isthereroom forothertypesofstimuliand communicationthatarenotexclusively audiovisual?

ChemicalEcosystem reflectsonthefunctionof smelltoday,drawinginspirationfrominterspeciesolfactorycommunication.Itinvitesthe publictoobservehowitspresenceinfluences theenvironmentandaffectsthebeingsthat inhabitit,listeningtotheolfactorymessages thattheseinhabitantsemit.

Tensyntheticorganismshangfromacircular cover.Theyhavefansthatdiffuseodors,small speakersemittingsounds,andgassensors capturingthecompositionofthesurrounding air.Thesoundsvarydynamicallyaccordingto thedataofthecompositionoftheair,affected bythehumanpresence..

Thisprojecthasbeenawardedwiththe ISEA2022BarcelonaGrantbyFundación ErnestoVentós/InternationalNasevoPrize

YolandaUrizElizalde. FormedattheArtSciencedepartmentoftheKABK(NL)whereshe developedherpassionformergingscienceandartthroughperception,YolandaUrizcreates multi-sensoryexperiences.Withaparticularinterestintheproximitysenses(smell,tasteand touch),sheconcentratesherresearchonthesynestheticconnectionsbetweensoundandsmell. SheusesdigitaltoolslikePureDatatogeneratesoundorArduinotointeractwiththeanalog world,combinedwithDIYperfumeryormessingaroundintheFab-Lab.Herworkhasbeen presentedatfestivalslikeSonicActs(NL),WROMedia-ArtBiennale(PL),STRP(NL),SPARK (USA),TodaysArt(NL/RU),Transmediale(GR),NovemberMusic(NL),In-Sonora(ES),etc.

Website:yolandaruiz.info

Artworksfrom BarcelonaProducció

Epiphany

AriadnaParreu

Epiphany isaprojectthatspreadslike wildfire.Theappofthesamenamedeeply toucheswhatwearealwaystouching.The sculpturalpiecesaremadeofmaterials relatedtothescreensofmobiledevices, mirrorsandcostumesthatweretheplastic researchforInstagramfilters. Plasmaasamutableandtransitionalstate. Ghostlikeanectoplasmicsheet,between mucusandappearance,andcellphone screensareoftengreasy.

AriadnaParreu (Reus,1982)hasbeen selectedindifferentcallssuchasBarcelona Producció(projectedeslocalitzat,2016), INJUVE(visualarts,2011,2010and2008) ortheAmpostaArtBiennial(2020,2016 and2012).Shehasbeenaresidentof Hangar(2012-2014).Shehasexhibited individuallyatBha-Phanein(SalaMuncunill, Terrassa,2018)andcollectivelyatMercury Splash(FundacióJoanMiró,Barcelona, 2015)orFactotum(FundacióAntoniTàpies, Barcelona,2014).Shehasco-authoredthe inauguralMassanaSchoolexhibition,Amorf etern(2017).Shehasbeenajurorin variouscompetitions:LaEscocesa(2017), Salad’ArtJove(2019),theCiutatde BarcelonaPrize(2019)andtheADICultura Awards(2020).

Instagram:@ariadnaparreu

ZENZ(A)I

AnnaPascó

Thesayingsofthetimerepresentthecultural heritageofachanginglandscapeandtime, andalsoexemplifythesearchformodels,for generations,tounderstandnatural phenomenaandthuspredictthefuture.

Predictionsthatarebasedonprobability theories,butalsoonimaginativeability.

ZENZ(A)I isaneuralnetworkthatprocesses informationfromtheoutsideworldand learnsfromit.Artificialintelligencecreates meteorologicalsayingsfromexisting meteorologicaldataandsayings,andthus confrontsprinciplessuchasfailure,vagrancy, andopen,untargeteddiscovery.Theproject addressesissuesrelatedtotheconfiguration andfunctioningofcommonsenseandthe sensesofartificialintelligenceinvolvedinthe perceptionandunderstandingofreality.

AnnaPascó (Barcelona,1990)hasadegreeinFineArtsfromtheUniversityofBarcelonaandthe AkademiederBildendenKünsteMünchen,intheclassofOlafNicolai.Shehasexhibitedatthe KunsthalleKempten,theBrittavonRettbergGallery,theKunstarkadenMünchenMuseum,the KunstvereinMünchenandtheEingen+ArtLabBerlin,amongothers.In2020shepublishes StickerswiththepublishinghouseBomdiaBerlin.ShehasreceivedtheHans-Rudolf-Stiftung scholarship,hasbeenabeneficiaryoftheAmbartgentprojectandhasbeenawardedthe WindmannKunstpreis,15HOCH2ortheLandeshauptstadtMünchenvisualartsprize,aswellas beingawardedattheXXIBiennialofCatalanContemporaryArt.ThepieceispartoftheStaff StiftungcollectionandtheStadtmuseumMünchen.

Instagram:@ariadnaparreu

Artworksfrom BarcelonaProducció

Pwned

MaríoSantamaría

Pwned isanartisticresearchprojectthat startsfromthenotionofabodyofdatato wonderhowourtechnicalmemory (everythingthatisstoredandregisteredin databases)participatesintheconstruction ofdesireandtheprojectionofthefuture. Basedonthecreationofanartificial intelligencetrainedthroughthemovements oftheartistinrecentyears,Santamaría asksthemachineaboutitsfuture movements.Itsresponsewillproducea seriesofroutesandbehaviorsthatwillbe reproducedbyahumanbody.

Theartisticpracticeof MarioSantamaría (Burgos,Spain,1985)studiesthe phenomenonofthecontemporaryobserver, payingattentiontotwoprocesses,the representationalpracticesandthe machinesvisionormediation.Using differenttacticssuchasappropiation, remakeorassembly,hisworkinvolves differentfieldsliketheconflict,thememory, thevirtualityorthesurveillance.Hehas beenaresidentartistatHangar(Barcelona, 2015),KunststiftungBaden-Württemberg (Stuttgart,Germany,2015)andFlaxArt Studios(Belfast,NorthernIreland,2014), amongothers.

Website: mariosantamaria.net

Imatgeshostes.Parasitologia delavisióialtressimbiosis/ Auspicis

Estampa

Estampacollectivepresentedtwoworks. First, Imatgeshostes.Parasitologiadela visióialtressimbiosis, ananalysisofthe formsofartificialvisionanditscharacteras aparasiteofimages.Inthissense,whata cameranowcapturesisnolongeran image,butaclusteroflayersof information.Thesetofscreensallowseach oftheselayerstobeseenseparated,which putstheiroperationandusesincrisis.

Secondly,theexhibitionalsoshows Auspicis,aprojectinwhichEstampa fantasizeswiththenotionofprediction.An ADSBdevicepicksupradiofrequency signalsfromaircraftandcrossesthemwith commercialaviationdata.Everytimethe machinedetectsanunusualflight(private jets,luxurycharterflightsormilitary),the productionofanauspiceissetinmotion. Thus,anenigmaticmessageappearson theLEDscreen.

Estampa isacollectiveofprogrammers,filmmakersandresearchersworkinginthefieldsof audiovisualanddigitalenvironments.Ourpracticeisbasedonacriticalandarchaeological approachtoaudiovisualtechnologies,theresearchonthetoolsandideologiesofartificial intelligenceandtheresourcesofexperimentalanimation.

Website: talleresestampa.com

CALMASSÓ,REUS

Exhibition BEEPCOLLECTION:ORIGINS

CalMassó(Reus)hostedthisoutstanding exhibition,underthenameofBEEP COLLECTION:ORIGINS.

CuratedbyRobertaBoscoandStefano Caldana,theexhibitionbrought togetherthelatestdigitalartworks incorporatedintothe.BEEP{collection;} andshowedtheresultofoneofthe productiongrantsawardedby ISEA2022Barcelona, Rainbeats by JosecarlosBloom.

Originsreferstotheconceptofbirth.Infact, theexhibitionalsofeaturedsomeofthefirst workswithwhichthispioneeringelectronic artcollectionbeganitscareerthroughthe ARCOMadrid/BEEPAcquisitionAward.

Inaddition,overtheyearstheBeep Collectionhasbeenrescuingsomeofthe fundamentalworksforthedevelopmentof electronicartinourcountry,valuingthe legacyofpioneeringcreatorsinthesector, whoarealreadypartofthehistoryof contemporaryartsuchasPeterWeibel, Marcel·líAntúnezandAntoniAbad. .

Artworks

Ego–Spanglish

AntoniAbad

TryNotToThinkSoMuch

EugenioAmpudia

Alfabeto

Marcel·líAntúnez

Vestibular_1

AlbertBarqué-DuranandMarcMarzenit

RAINBEATS

JosecarlosFlores

Prosopagnosia

JoanFontcubertaandPilarRosado

Neuronnection

AnaisaFranco

Tycho:TestOne

PaulFriedlander

IndependentRoboticCommunity

RicardoIglesiasandGeraldKogler

TimeCapsule

EduardoKac

RedundantAssembly

RafaelLozano-Hemmer

StillLifeTornadoes&StillLifeSwell MarinaNúñez

Aurelia1+Hz/protovivagenerator RobertinaŠebjanič

TH50PH10EKWALL

StefanTiefengraber

DeNotreNature

EricVernhes

DasTangibleBild

PeterWeibel

AntoniAbad

Ego–Spanglish

1999

AhistoricpiecebyaCatalanartistwho pioneeredthedigitalandelectronicart scene.Flieshavebeenaninspiration throughoutAntoniAbad'sartisticcareer, sincehisunforgettablepiecesfortheweb includingZ.exe,aswellasotherprojects thatanticipatedconceptssuchassocial networksandonlineinteractionbetween users.

Hispioneering Ego–Spanglish isagenerative animationworkwhichusesdrawingsoftwareto enablethecomputertocreateandproject swarmsofhouseflieswhichbuzzandflutter aroundinrandompatterns.Everyfewminutes, severaldozenfliesgathertospellout–in EnglishorSpanish–avariantofthefirstperson singular:"I","Me"or"Yo".Oncethewordis legible,thefliesthenscattertotheedgesofthe projectionwall,beforegatheringtogetheronce again.Thispiecewaspresentedbythefamous curatorDanCameronattheNewMuseumin NewYorkin2001.

Computer-generatedvideoinstallation BEEPCollectionacquisition

PhotobyDadosNegros

AntoniAbad(bornLleida,1956)

Comingfromafamilyofartists,AntoniAbadgraduatedinArtHistoryattheUniversitatde Barcelonain1979.Duringthe1980sandearlyninetieshemademobilesculptureswith industrialmaterials,suchasrubberfoamandMecalux,which,accompaniedbyphotographic sequences,reflectonthedynamismofformsandtheinfinitecombinationsthatderivefrom them.Hencetheartist’sinterestinmeasurementsystems.

Website:antoniabad.info

TryNotToThinkSoMuch

2018

Interactivesoundinstallation

2018ARCOmadrid/BEEPElectronicArtAward

With TryNotToThinkTooMuch, Eugenio Ampudiafollowsonfromprevious worksemphasizingartasaneffective meansofcommunication,butonthis occasiontheartisthighlightsthe paradoxinvolvedinbreakingthisflow usingcommunicationalnoise.Whenwe applytheterm"noise"to communication,wearenotonlytalking aboutannoyingsounds,butany interferenceintheprocess.Thiswork thereforealludestothetypeof communicationnoisewhichwelive with,whichsurroundsusandwhich

becomesasilentmethodofinfluenceinour everydaysurroundings.

Theartisthighlightsthiscommunication, whichtendstobeendogamousandselfreferentialintheworldofart,while proclaimingdiscoursesthatsupposedlyaim tomakeculturemoreaccessibletotheviewer. Thefactthatthenoiseinthepieceismadeby appropriatingandsuperimposingtheoriesand conferencesrelatedtotheartworldwhichare barelyintelligibleisanironicnodtothe theoreticalapparatusandthecodesthat sustainthesystemofart.

Asamultidisciplinaryartist,hisworkapproachestheartisticprocessesfromacriticalpointof view;theartistasapromoterofideas,thepoliticalroleofcreators,themeaningofartpieces, thestrategiesthatallowtobringthemtolife,theirmechanismsofproduction,promotionand consumption,theefficiencyofspacesassignedtoart,aswellastheanalysisandexperienceof thosewhowatchandinterpretsthem.

HisworkhasbeeninternationallyexhibitedinplacesasZKM,Karlsruhe,Germany;Jordan NationalGalleryofFineArts,Amman,Jordan;MuseodeArteCarrilloGil,MexicoDF,Centrode lasArtesdeMonterreyandMuseodeArteContemporáneodeOaxaca,Mexico;BostonCenter fortheArts,Boston(MA),USA;AyalaMuseum,Manila,Philippines;TheWhitechapelGalleryin London;AbiertoXObras,MataderoMadrid,Spain;MACGasNaturalFenosa,LaCoruña,Spain; andinBiennialssuchasSingaporeandHavana’sTheEndoftheWorldBiennial.Anditisalso heldincollectionsofmuseumsasMNCARS,MUSAC,ARTIUM,IVAM,andLaCaixa,among others.

Website:eugenioampudia.net

PhotobyArsElectronica

EugenioAmpudia(bornMelgar,1958)

Alfabeto

1999 Interactiveinstallation BEEPCollectionacquisition

Alfabeto isanemotionalprosthesisthat moansandwhispers.Withthisresponse, itinvitesvisitorstodistancethemselves fromtheirroleasapassiverecipientand tobecomeanemotionalinstrumentalist. Aradarmechanismrecognizespeople's presenceintheroom,andthesculpture attractstheirattentionbyemittinga moan.Whentheviewercaressesorhugs thecylinder,itmakesanoise,asits surfaceisequippedwithsensors,which emitsoundsassociatedwithdifferent moods,suchasanxiety,pleasure,joyand pain.

Antúneztalkstousabouthumanrelationships andtheirorigins,coveringthebirthof communication,gesturalsignsandsocial reactions,playandinteractionbetweenpeople. Thispioneeringworkofinteractivearthasbeen abenchmarkforeverythinglinkedto participationandtheviewer'snewrolein relationtotheworkofart.

Marcel·líAntúnez(bornMoià,1959)

Marcel·líAntúnezstudiedFineArtsattheUniversitatdeBarcelona.Amultidisciplinary practitioner,heisoneoftheleadingfiguresinthefieldofelectronicartandexperimental scenography.Intheeighties,hewasthefounderandleaderofthecompanyLaFuradelsBaus, whichpopularisedactiontheatre.Inthenineties,hebegantofocusonthevisualartsandvideo, andtheirinteractionwithtechnology.

Sincethen,hehascreatedauniqueiconoclasticuniversebasedontheincorporationof computationalandelectronicsystems.Hismechatronicperformancesandinteractive installationsincorporaterobotsandallkindsofelectronicsystems.Oftenappliedtothehuman body,theyaredescribedasSistematurgia.Hisgraphicworkproductionfeaturesunusual materialssuchashumanfluids,foodstuffs,textualandvisualelements,usingthetechniqueof collageandimprovisation.

Website:marceliantunez.com

PhotobyCarlesRodriguez

Vestibular_1

2020

Immersiveaudiovisualinstallation

2020BEEPCollectionproduction

Vestibular_1 isanimmersiveaudiovisual installation,whichinspiresillusory sensationsoftheviewer'sownmovement incompletedarknessbytemporarily shuttingdowntheirvestibularsystem.The vestibularsystemisrelatedtobalanceand spatialcontrol,andislocatedinthe humanbeing'sinnerear.Theseillusory sensationsofmotionareachievedby meansofspecificpowerfulpatternsand configurationsoflightandsoundstimuli whichremainintheretinaandthehearing systeminthedark.Thepieceisbasedon researchbytheUniversityofLondon's VestibularMultisensoryRealization(VeME) Laboratory.

Vestibular_1 isanin-depthexaminationof thelinksbetweenelectronicworksofart andthevieweratatimeofchange,when societyisnotyetusedtothisnewformof art.Itisinterestingtoconsiderhow MarshallMcLuhanhimselfevidencesthese sensoryalterationsinhisessayThe GutenbergGalaxy(1963):"When technologyextendsoneofoursenses,a newtranslationofcultureoccursasswiftly asthenewtechnologyisinteriorized.Ifa technologyisintroducedeitherfromwithin orfromwithoutaculture,andifitgives

newstressorascendancytooneoranotherofour senses,theratioamongallofoursensesis altered.Wenolongerfeelthesame,nordoour eyesandearsandothersensesremainthesame. Theinterplayamongoursensesisperpetualsave inconditionsofanesthesia.Butanysensewhen steppeduptohighintensitycanactasan anestheticforothersenses."

AlbertBarqué-DuranandMarcMarzenit(born Lleida,1989andBarcelona,1983)

AlbertBarqué-Duran (1989),PhD,isanartist andaresearcherinCreativeTechnologiesand DigitalArt,currentlybasedinBarcelona.Albert earnedhisPhDandPostdocinCognitiveScience fromCity,UniversityofLondon(UK)andhave beenaVisitingPostgraduateResearcherat HarvardUniversity(USA)andUniversityofOxford (UK).Albert’sartisticresearchfocuseson:(1) human-machineinteractionduringartisticand creativeprocesses,(2)ArtificialIntelligence’s(AI) aestheticartifacts,(3)perceptionandaesthetics undersensoryconflicts,vestibularmanipulation oralteredgravityconditions,and(4)experimental formatsandaestheticsinvirtualenvironments usinggameengines.

Precociousnessintechnohasitsbestandlatest representativeinMarcMarzenit.

AlbertBarqué-DuranandMarcMarzenit

Despitehisyoungage, MarcMarzenit hasbeenaprominentpartofthesceneforovera decade;hisinternationalbreakthroughcamein2006withtheanthem"TrozitosdeNavidad"on hisownimprintParadigmaMusik.ArtistsincludingSvenVäth,JohnDigweed,HernanCattaneo, DaveSeamanandevenTiësto,noticedhistalentandwerequicktoincludehistracksonsome oftheyear’smostprestigiousmixcompilations.ShortlyafterwardsMarcbeganreleasingon influentiallabelssuchasBedrock,Cocoon,Tronic,NaturaSonoris,Sudbeat,etc.

Website:albertbarque.com

Website:marzenit.com

PhotobyRobertaBosco

JosecarlosFlórez

RAINBEATS

2022

Wearelivinginatimewhenlarge amountsofdataareproducedbysensors, wearabledevicesandmobilephones. Thisinformationiscollected,analysed andusedbycompaniesandgovernments inanattempttomanageandcontrolthe cityinadecentralizedandcentralized way.Whilethismanagementandcontrol issupposedtocontributetocitizens'wellbeingandsafety,citizensareinmost casesleftoutsidethiscircuit.Infact,they oftendonotparticipateinthegeneration, analysisoruseofthedata,becausethey lackeitheraccessortherequisite knowledge.

RAINBEATS, aprojectthatseekstotransform dataintosensoryexperiences,isanattemptto designnewdatavisualizationinterfacesandto presentbigdatatoviewersinacreativeway.It isanaudiovisualinstallationwhichis connectedtotheinternet,andobtainsand processesatmosphericdata(bigdata)and transformsthemintodigitalmusicalscores thatarethentransformedintosound.Itisan intelligentmachinethatprocessesdata obtainedfromthesatellitesthatareconstantly monitoringtheearth,deconstructingthe environmentintonumbers,anditusesthedata asrawmaterialforthecreationof soundscapes. RAINBEATS couldbedescribed asamachinethatcreatesandinterprets "musicmadebytheforcesofnature."

Audiovisualinstallation

ReddisFoundationgrantproduction

JosecarlosFlórez(bornLima,1978)

JosecarlosFlórez,isaPeruviannewmediaartistandindependentresearcher,wholivesand worksinBarcelona.Hisresearchareafocusesonthefusionofartandopensourcetechnologies.

Heworksonprojectsinvolvingcreativeprogramming,sound,robotics,expressivelighting, generativevisuals,datavisualization,digitalmanufacturing,IoT(internetofthings),VR(virtual reality)andAR(augmentedreality),andAI(artificialintelligence).).Hisworkhasbeenexhibited inPeru,SpainandtheUnitedStates,atartfairssuchasARCO(Madrid)andSwabArtFair (Barcelona)andfestivalssuchasSonar+D(Barcelona)andARSELECTRONICA(Linz).

Website:josecarlosflorez.com

JoanFontcubertaandPilarRosado

Prosopagnosia

2019

Hybridinstallation:photographs,softwareandbook. 2020ARCOmadrid/BEEPElectronicArtAward

Prosopagnosia isahybridworkbyartists workingintheareasofpost-photography andresearchrelatedtotheimageinthe digitalage.Theworkconsistsofasetof photographs,thesoftwarethatgenerated them,andanobjectbookaboutthe complexityofcontemporaryportraiture.

Prosopagnosia (amemorydisorderthat preventssufferersfromrecognizingfaces, alsoknownasfaceblindness)isaproject basedonthehistoricalphotographic archiveofalocalSpanishnewspaperfrom

the1930s,featuringpublicfiguresofthetime. Thiscollectionoffacesisthestartingpointat whichanalgorithmcalledGenerative AdversarialNetwork(GAN)undertakesa processtoautomaticallygenerateacollection ofnewfaces–photorealisticimagesofpeople whodonotexist.Theresultingimagesare photographicallystriking,butthepagesofthe bookalsoshowthewonderfulsequenceof failedattemptsthatprovideareferencepoint forreviewingsomeoftheimportantmilestones inthehistoryofart:Expressionism,Cubism, Surrealism,Picasso,Bacon,Abstraction,etc.

JoanFontcubertaandPilarRosado(bornBarcelona,1955andSantBoidelLlobregat, 1965)

JoanFontcubertaisoneofthemostinternationallyrenownedCatalanphotographers.Heis alsoatheoreticianofthephotographicimageandphotographyeditor,andhastakenpartin numerousevents,debatesandexhibitionsofcontemporaryphotography.Hewasoneofthe foundersofPhotoVision(1980),abilingualpublicationinSpanishandEnglishdedicatedto photography.Hismultifacetedproductionfocusesontheauthenticityoftheimageandits capacitytorepresentandsupplanttherealworld.

PilarRosadoRodrigohasaPhDinfineartsandamaster’sdegreeinbiology.Herinterestis focusedonhownewtechnologiescanmodifythewaywelookattheworldandonthecreative possibilitiesthatareplacedwithinourreach.

Website:es.wikipedia.org/wiki/Joan_Fontcuberta

Website:pilarrosado.eu

Neuronnection

Interactiveinstallation

BEEPCollection,InstitutRamonLlull,NewArtFoundation, Hangarproductiongrants

Neuronnection isaninteractive installationthatallowstheviewertoplay withandcontrolthereactionsoflight withinasculpture,usingtheirown thoughts.Thepiecetellsusaboutlifeand theneuralinterconnectionsthatunderlie thethoughts,emotionsandchemical processesthatcontrolhumanlife,and aboutthepossibilitiesthatcanemerge whentheyarehybridizedwithelectronic devices.

Theinstallationcreatesaninterfacewiththe brainthatenablestheusertoplaywiththeir mind.Theformalizationofthepieceisinspired bythecreationofthoughtsthatcomesfromthe activityofneurotransmitters.Theseproduce electricalsignals(synapses)intheneighbouring neurons,whichspreadlikeawavetothousands ofneurons,therebycreatingthought.Theuser caninteractwiththepieceusingtheNextmind device.Themainideabehindthepieceisfor humanbeingstobeimmersedandreflected withintheirownthoughtsandtoenablethemto controlandplaywiththeirownimagination.

AnaisaFranco(bornUberlândia,1981)

AnaisaFrancocreatesinterfacesthatartisticallyelaboratean“affective”situationwherepeople expandtheirsensesthroughtheinteractionwiththesculptures,creatingnewforms, relationshipsandexperiencesbetweenpeople,thesubjectschosenandthetechnological materialthatwehaveavailableinthemarket.

ShehasaMasterofAdvancedArchitectureatIAACInstituteforAdvancedArchitectureof CataloniainBarcelona.OneyearofM-Arch1atSCI-ArcinLosAngeles,amaster’sdegreeMAin DigitalArtandTechnologyfromtheUniversityofPlymouthinEnglandandaBABachelorofArts inVisualArtsfromFAAPinSãoPaulo.

Inthelastyearsshehasbeendevelopingresponsivepublicartinstallationsandnewmedia artworksformuseums,publicspaces,galleries,medialabs,residenciesandcommissionssuch asShanghaiCityLifeFestival,AnnecyPaysages,MedialabPrado,Mecad,MIS,Hangar,Taipei ArtistVillage,ChinaAcademyofPublicArtResearchCenter,Mediaestruch,CitedesArts,ZKU, SP_Urban,MACFenosa,VIVIDSydney,EXPERIMENTABiennaleMelbourne,RUMOSItaú

Cultural,URBE,andmanyothers.

Website:anaisafranco.com

PhotobyAnaJimenez

Tycho:TestOne

2015

Kineticaudiovisualinstallation

FirstATANewArtFoundationandBEEPCollectionGrant(2015)

Tycho:TestOne isapieceofkineticart byanartistpioneeringtheresearch betweenart,scienceandtechnology. Thepieceiscompletedwitha translucentandluminousconcrete monolithwhichhasbeenconceivedasa studyinthedevelopmentofintegrated

lightapplicationsinarchitecturalspaces. Finally,despitethefactthatthemonolithhas notbeenincludedinOrigins,Friedlander's piece,like Vestibular_1 byAlbertBarqué-Duran andMarcMarzenit,isaworkthatuseslightto focusontheviewer'sexperiencebeforethe workandalterationsofsensoryperceptions.

PaulFriedlander(bornManchester,1951)

PaulFriedlanderhasspentmorethantwodecadesinvestigatingallkindsoftechnologiesand procedureswiththegoalofmakinglightamalleableandflexiblematerialthatcantakeonany shapeorvolume.

Friedlander’s“kineticlightsculptures”owemuchtotheworkofothergreatnamesthat precededhiminthefieldoflightorkineticart,fromLászlóMoholy-NagytoFlavinorTurrell, usingcomputerlightingcontrolsystemstoenhancetheimpressionofincorporeityand dynamismthathissculpturesgive.

AlthoughworkslikeTheWaveEquationorTheEnergyCorearenotstrictlyholograms,whatthe observerdiscoverswhenstandingbeforethemarelargeincorporealshapesinmotion, suspendedinmid-air,andwhentheyspinaroundtheygivelightathree-dimensionalityweare unaccustomedtoseeingintheproximatephysicalspace

Website:paulfriedlander.com

IndependentRobotic Community

2005

Interactiveroboticinstallation

2006ARCOmadrid/BEEPElectronicArtAward)

IndependentRoboticCommunity isarobotic installationthatconsidersthemessuchas artificialintelligence,lifeandinterpersonal relationshipsandfocusesonhuman relationshipsfromanironicperspective. Theinstallationisbasedonourstudiesand concernsintheresearchandpresentation ofnewformsofinteractionand communicationbetweenmechanical elements(robots)andcarbon representations(humans).Itaimstoshow howcommunication,evenbetweenrobots, leadstogreaterunderstandingandgreater socialization.Itinvolvesasmall-format robotcommunitydividedintotwogroups. Eachgroupstartsfromaprimarylevelof socializationandasetofsounds,which formitsownvocabulary.Thisinitialstate consistsofaverysimplemovement,within alimitedspatialenvironment.Whenit meetsotherrobots,itexchanges informationaboutitsstatusandsounds, anditsdegreeofsociabilityincreases.Each incrementleadstoadevelopmentofthe complexityofthemovements,whichmeans thatitcanextenditsexplorationofspace furtherwhileatthesametimeenablingnew encounters,repeatingthecycle. ItwonthefirstARCOmadrid/BEEP AcquisitionAward.

RicardoIglesiasandGeraldKogler(born Madrid,1965andLinz,1974)

After20yearsworkingintheFacultyofFine ArtsoftheUniversityofBarcelona,Ricardo Iglesiasiscurrentlyprofessoratthe CompluenseUniversity.Iglesiasworkedas webmasterandseveralindividualprojectsfor theMACBAContemporaryArtMuseum Barcelona:Antagonisms,Remote ConnectionandOnTranslation:TheWeb(bythe artistMuntadas).Hehasbeeninvitedtogive lecturesonNet.Art,robotics,artandnew technologiesindifferentUniversitiesand ResearchCentersasCEDIM-EducationDesign Center(Monterrey,Mexico),EuropeanUniversity (CEES),CarlosIIIUniversity,Alicante University,BarcelonaUniversity,Cuenca University,SalamancaUniversityandValencia University,amongothers.

GeraldKoglerisacomputerengineer specializedindigitalcartography.Hiswork focusesontherelationshipsbetween technologyandsocialtransformationthrough freesoftwareandhardware,opendataanddata visualization.HeworkedinAEC’sFutureLab, waspartofseveralhacklabsofBCNandcofoundedZZZINC.Hismediaartworkshave beenexhibitedatFILE,ARCOandArs Electronica.

RicardoIglesiasandGeraldKogler

Website:ricardoiglesias.net

Website:https://independent.academia.edu/GeraldKogler

PhotobyStefanoCaldana

EduardoKac

TimeCapsule

1997

Photography,videoandperformancememory

2006ARCOmadrid/BEEPElectronicArtAward

TimeCapsule bringstogetherthe memoryoftheeponymous performanceindifferentmedia, performedbyEduardoKacatthe CasadasRosasculturalcentreinSao Paulo(Brazil),andbroadcastliveon televisionandontheinternet.The artist,aleadingexponentofbioart, becamethefirsthumanbeingto wearamicrochipimplant,by implantingadigitalmicrochipinhis leg,whichstoresdocuments,digital filesandthememoryofthelifeofhis familyinEuropeintheyearsbefore theSecondWorldWar.

EduardoKacisinternationallyrecognizedforhis groundbreakingworkincontemporaryartandpoetry. Intheearly1980s,Kaccreateddigital,holographic andonlineworksthatanticipatedtheglobalculture weliveintoday,composedofever-changing informationinconstantflux.In1997theartistcoined theterm"BioArt,"ignitingthedevelopmentofthis newartformwithworkssuchashistransgenicrabbit GFPBunny(2000)andNaturalHistoryoftheEnigma (2009),whichearnedhimtheGoldenNica,themost prestigiousawardinthefieldofmediaart.

GFPBunnyhasbecomeaglobalphenomenon,having beenappropriatedbymajorpopularculture franchisessuchasSherlock,BigBangTheoryand Simpsons,andbywriterssuchasMargaretAtwood andMichaelCrichton.In2017,KaccreatedInner Telescope,aworkconceivedforandrealizedinouter spacewiththecooperationofFrenchastronaut ThomasPesquet.Kac’ssingularandhighlyinfluential careerspanspoetry,performance,drawing, printmaking,photography,artist'sbooks,earlydigital andonlineworks,holography,telepresence,bioart, andspaceart.Kachasalsoauthoredoreditedseveral books,includingTelepresenceandBioArt-NetworkingHumans,RabbitsandRobots(University ofMichiganPress,2005).

Website:www.ekac.org

EduardoKac(bornRiodeJaneiro,1962)

RafaelLozano-Hemmer

RedundantAssembly

2015

Interactiveinstallation

BEEPCollectionacquisition

Apioneerofelectronicart,and undoubtedlyoneoftheartistswhohas hadthemostsuccessinstrikinga balancebetweenresearchandthe circuitsoftheartmarket.Hisprimary interestliesincreatingplatformsfor publicparticipation,robotics, computerizedsurveillanceandtelematic networks.Hisworkstellusabouttheuse wemakeoftechnology,andhowcontrol systemstransformandmanipulateus.

In RedundantAssembly severalcameras composealiveportraitofthevisitor simultaneouslyfromsixperspectives, alignedusingfacedetectionsystems.

Theresultingimageismysterious,anddivorced fromthelawsofsymmetryandtheperceptionof depthinbinocularvision.Ifseveralvisitorsstand infrontofthework,acompositeportraitoftheir differentfacialfeaturesisproducedinrealtime, creatingahybrid"selfie".Aversionofthework forpublicspaceincludesatimefactorthat mergesfaces,bymixingthepresentandthe past.Facialrecognitionisatechniqueoftenused bythepolice,militaryandcorporateinstitutions to searchforandfindsuspiciouspeopleora particularindividual.Herethesametechnology isusedtoconfusetheportraitsandhighlightthe artificialityandarbitrarynatureofidentification.

RafaelLozano-Hemmer(bornMexicoCity,1967)

RafaelLozano-HemmerwasborninMexicoCityin1967.In1989hereceivedaB.Sc.inPhysical ChemistryfromConcordiaUniversityinMontréal,Canada.Mediaartistworkingatthe intersectionofarchitectureandperformanceart.Hecreatesplatformsforpublicparticipation usingtechnologiessuchasroboticlights,digitalfountains,computerizedsurveillance,media walls,andtelematicnetworks.Inspiredbyphantasmagoria,carnival,andanimatronics,hislight andshadowworksare"antimonumentsforalienagency".

HewasthefirstartisttorepresentMexicoattheVeniceBiennalewithanexhibitionatPalazzo VanAxelin2007.HehasalsoshownatBiennialsinCuenca,Havana,Istanbul,Kochi,Liverpool, MelbourneNGV,Moscow,NewOrleans,NewYorkICP,Seoul,Seville,Shanghai,Singapore, Sydney,andWuzhen.HispublicarthasbeencommissionedfortheMillenniumCelebrationsin MexicoCity(1999),theExpansionoftheEuropeanUnioninDublin(2004),theStudent MassacreMemorialinTlatelolco(2008),theVancouverOlympics(2010),thepre-opening exhibitionoftheGuggenheiminAbuDhabi(2015),andtheactivationoftheRauricaRoman TheatreinBasel(2018).

Website:lozano-hemmer.com

KenMatsubara

MoonBowl

2016

Audiovisualinstallation

BEEPCollectionacquisition

Thisintimateinstallationonthesubjects ofrecallandmemoriesisbasedonthe EasterntraditionofZenmeditation,and takestheviewertowardsthetransitory realmandthefragilityofexistence.Like handsthatgatherwater,thebowlactsas avesselofacceptance,inwhichimages sinkintothedepthsofthebowlas memories.Asthewaterreflectstheeverchangingpresenceofthemoon,we embraceitsfragilestateasthebeautyof impermanence,anddiscoverfuturehopes suchasrestoration.Thestatueofthe

Bodhisattva,theplasterstatuette,the glassbottle,thecorpseofthebird–they areallbrokendown,seekingmeansof restorationinacontinuousstateof repetition.

"Hojoki"(Kamo-no-Chomei)Thecurrent neverstops,buttherivernevercarriesthe samewater.Thefoamthatfloatsin canyonssometimesdisappears, sometimesforms,butneverlastsforlong. Inthisworld,thesameistrueofpeople andtheirhomes.

KenMatsubara(bornTokyo,1949)

JapaneseartistKenMatsubaralivesandworksinTokyo.Hisworks,halfwaybetweenvideoand installation,aremadeupofdifferentelementssuchasphotographs,videosandallkindsof objectsrootedinourindividualandcollectivememory.Withthesecreations,Matsubaratriesto exploreasetofmemoriesthattendtofadeintothedepthsofhumanconsciousness.Infact, althoughheoftenuseshispersonalexperiencestodevelopthethemesofhisworks,hisinterest usuallygoesastepbeyondhisownmemories,sinceheisattractedbythepointsincommon thatexistbetweendifferentculturesandgenerations.

Intheartist'sownwords:“Ibelievethatanimatedimageshavethepowertoinvokeandtransmit memoriesthatareever-changing.IsupposethatthesearegeneticallyinherentinourDNAand thattheycontainexhaustiveknowledgeofthepastsinceancienttimes.Inaddition,theysharea certaincollectivememorythattranscendstheindividual,alternatingbetweenpastandpresent ages.IfwecanrecallsuchmemoriesthenIbelieveourfuturehasthepotentialtoovercomethe limitsofcultural,historicalandsocialnotionsofindividuality.Inthiswaywewillfindourselves oscillatingbetweenthepastandthefutureinastateofconstantrepetition,incessantlyinquiring aboutitsmeanswithoutthesebeingnecessarilyjustifiedbyanend.

Website:kenmatsubara.com

MarinaNúñez

StillLifeTornadoesand StillLifeSwell

2021

Audiovisualinstallation

2021ARCOmadrid/BEEPElectronicArtAward

Thesevideosreformulatethegenreofstill lifeinaneo-Baroquestyle,allegorizing issuesthatarerelatedtobothhuman existenceandourrelationshipwith nature.Endowedwithahighly sophisticatedpictorialtonality,and providingakindoffascinatinghyperreality,theypresenttheviewerwith uniquedetails,suchasthemovementofa fabric,orliquidspillingfromaglassasa resultofinexplicableturbulence.Drama andbeautyareinterlinkedinthese pieces,whichconfirmthisartist's maturity.

MarinaNúñez(bornPalencia,1966)

MarinaNúñez(born1966)isaSpanishartist, andaprofessorattheUniversityofVigo.

Herworkisincludedinthecollections ofMuseoNacionalCentrodeArteReina SofíainMadrid,ArtiuminVitoria,MUSACin Leon,PatioHerrerianoinValladolid,TEAin Tenerife,FundaciónLaCaixa,Fundación Botín,CorcoranGalleryofArtinWashington, DC,NationalMuseumofWomenintheArtsin WashingtonDC,MintMuseumofArtin Charlotte,NorthCarolina,KatzenArts Center,AmericanUniversityMuseum,in WashingtonDC,Fondsrégionald'art contemporaininCorsica,France.

Herworkwasfirstexhibitedintheearly 1990s.Herdepictionsofmadwomenand femalemonstersrevealedaninterestin genderdiscourses-indeconstructionsand propositionsaboutwomen'sidentities,inthe wakeofwhatwasoneofthegreatdiscursive achievementsoffeminismofthe60th-70th andlater.

Heroilpainting,narrativeandconceptual, progressivelycombined,fromthefirstdecade of2000,withdigitaltechniquesin2Dand3D,

bothstillimageandvideo.Simultaneously,newiconographies,relatedtothe territoryofsciencefictionandhorror-withoutleavingbehindreferencesofthe clinicalimaginaryandinfluencesofcertainmomentsinArtHistoryastheBaroqueor Surrealism-wereconsolidatedinherimages.

MarinaNúñezrepresentsposthumanidentitiesthroughimagesofmutant,mestizo, multiplebodies.InphilosopherJoséJimenez´swords,"thequestionofidentity openstotheexperienceofmetamorphosis:Iammyselfandmyother.Bodyand image.Maleandfemale.Rationalandinsane.Normalandmonster.Nativeand foreign.Humanbeingandmachine.Earthlingandalien."

Website:marinanunez.net

StefanTiefengraber

TH-50PH10EKWALL

2021

Kineticaudiovisualinstallation

2021BEEPCollectionproduction

TH-50PH10EKWALL isapiecethatdeals withourrelationshipwithtechnology,its evolutionandtheunstoppable obsolescenceofalltheelectronicdevices thatfillourlives.Thepiececonsistsofa plasmascreen–adevicethatbeen extensivelyusedformanyyearsinthe contextofexhibitionsandevents.A monitor,obsoletetodayduetorecent technologicalbreakthroughs,goesfrom beingamediumforarttobeingthework ofartitself.

Installedasifitwereapendulum,the screenswingsfreelyonthewall.Whenthe monitorstops,itispulledbacktoitsinitial

positionwiththehelpofawinch,andmade toswingagainbypullingastring,ina performativeactthatcannottakeplace withouthumanintervention.Eachcycle endswhenthemonitorstopsandthe motionproducesnosoundorvideo.The soundiscreatedbyamplifyingthefriction ofthebackofthemonitoragainstthewall. Thedisplayonthescreenisadirecttransfer oftheanalogueaudiosignalintoan analoguevideosignal.Theartist,whose worksarebasedonthesynergybetween oldandnewtechnologies,playswiththe meaningofthefunctionofdevices,and movesawayfromtheirpredetermineduses andchangesthem.

StefanTiefengraber(bornBadenbeiWien,1981)

Hisworkrangesfromkineticsoundinstallationstoaudio-videonoiseperformances. Tiefengraberexperimentswiththemodificationofdevices,whichareoriginallymanufacturedfor differentpurposes.Combinedwiththeperceptionoftheaudience,thisexperimentalattemptof exploringoldandnewmaterialsleadshimtonewandunpredictableresults.

Theartist’sworkhasbeenexhibitedatJapanMediaArtsFestival2021(Tokyo/Japan),Galerie gerken(Berlin/Germany),ArsElectronicaFestival(Linz/Austria),TodaysArt2014(DenHaag/ Netherlands),NewMediaGallery(Vancouver/Canada),16thMediaArtBiennaleWRO2015 (Wroclaw/Poland),BlauesRauschen(Bochum/Germany)

Website:stefantiefengraber.com

DeNotreNature

EricVernhes 2013

Interactiveinstallation BEEPCollectionacquisition

DeNotreNature isinspiredbythesecond bookof Dererumnatura,byLucretius. ThispoemwritteninLatin,datingfrom thefirstcenturyBC,isatranslationofthe atomistdoctrinedevelopedbyEpicurus aroundtwocenturiesearlier.BookII discussesatomicphysicsandthe constitutionofbodies:accordingto Epicureandoctrine,matteriscomposed ofindivisibleparticlescalled"atoms", whichmoverandomlyinavacuum,and cancombinetoformcombinationsof matterthatcancreatebothalivingbeing andanyobject.

Inthismaterialistframework,Lucretius postulatestheconceptofthe"clinamen", inwhichatomsspontaneouslyand randomlyswerveintheirverticalfallinto thevoid,whichenablesthemtocollide andgeneratematter.Basedonthis atomicmechanics,Epicurusdeducesthe absenceofdivinedeterminismandthe proofoftheexistenceofourfreewill.

EricVernhesrepresentsthiscosmogonic visionbymeansofaninstallationwhich consistsofacolumntoppedbyagolden tray,containingballsandamirrorscreen

afewstepsfromthecolumn.Astheviewer approaches,thetraycontainingtheballs representingtheatomsofEpicureandoctrine beginstooscillate.Theballsrollandhiteachother, creatinga"soundwave".Afragileimageofthe viewersimultaneouslyappearsonthescreen,asif ithasbeengeneratedbythemovementofthe "particles"inthetray.

EricVernhes(bornParis,1966)

EricVernhescreateskinetic,visualandsound devicesandinstallationswhosebehaviourhe programsaccordingtoself-generative,interactive orhybridlogic.Initiallyanarchitect,andlatera scriptwriter,filmmakerandmusician,Vernheshas developedacareerasamultidisciplinaryartist witharesolutelyhumanistapproach.

Thedigitalprocessesheusesareextractedfrom theirtechnicalcontexttoserveatimeless discourseinspiredbyliteratureandphilosophy. Thedemandingaesthetics,aswellastheuseof noblematerials,moveusawayfromthe manufacturingprocessesofengineeringtobringus closertothehumanityofthegesture.Vernhesthus lendsexistencetoanthropoidcreations:theproper movementoftheworks,bymarryingthatofour conscience,alsoseemstoembraceourown.

Website:ericvernhes.com

RobertinaŠebjanič

Aurelia1+Hz/protoviva generator

2019

Generativeinteractiveinstallationwithalivingsystem

ABEEPCollectionandSektorInstituteofLjubljanaproduction

Jellyfishareorganismsthatarevery simpleandancient,butatthesametime extremelyadvanced.Theyappearedin theCambrianperiodmorethan500 millionyearsago,whenlifeonEarthhad notyetemergedfromthewater.Theyare highlyspecializedspecies,despitetheir simplicity.Theyareoftenreferredtoas beingimmortalandcapableoftransiting infinitelyfromanadultstageto rejuvenation,bymeansofaprocess knownastransdifferentiation,which transformstheircellsandtissues.

Theinteractiveinstallation Aurelia1+Hz/ protovivageneratortakesusintothis fascinatinguniverse,andlooksatthepotential forcoexistencebetweenanimalsand machines.Unlikerobotspoweredbydigital artificialintelligence,theprojectusesaliving organismtoprocessthevitalityofasimple machine.Theinstallationfocusesontwo separateentities(jellyfishandrobots),butif theymergeintoonetheyleadtothe emergenceofanewbiocyberneticorganism: woulditbeabletoliveforever?

RobertinaŠebjanič(bornMurskaSobota,1975)

RobertinaŠebjaničisanartistwhoseworkexploresthebiological,chemical,politicalandcultural realitiesofaquaticenvironmentsandtheimpactofhumanityonotherorganisms.Herprojects callforthedevelopmentofempatheticstrategiesaimedatrecognisingtherightsofother(nonhuman)species.InheranalysisoftheAnthropoceneanditstheoreticalframework,theartist usestheterms“aquatocene”and“aquaforming”torefertothehumanimpactonaquatic environments.

HerworksreceivedawardsandnominationsatPrixArsElectronica,StartsPrize,FallingWalls. HerartworkAurelia1+Hz/protovivagenerator(artistproof)issince2019partofthe.BEEP {collection;}_ElectronicArtCollection,Spain.

Sheexhibited/performedatsoloandgroupexhibitionsaswellasingalleriesandfestivals:Ars electronicaLinz,Kosmicafestival_LaboratorioArteAlameda_MexicoCity,Matadero_Madrid,La GaîtéLyrique_Paris,LeCube_Paris,MONOM_CTMBerlin,ArtLaboratoryBerlin,ZKM_Karlsruhe, re:publica_Berlin,MladiLevi_Ljubljana,CentrodeCulturaDigita_MexicoCity,Piksel_Bergen, OSMO/ZA_Ljubljana,Deviceart5.015atKlovičevidvori_Zagreb,EasternBloc_Montreal, Eyebeam_NewYork,PORTIZMIR#3_Izmir,Kiblixfestival_Maribor,Spektrum_Berlin,KIKK festival_Namur,+MSUM(MuseumofContemporaryArtMetelkova)_Ljubljanaandmore.

Website:robertina.net

PhotobyMihaGodec

DasTangibleBild

1991/2019 Interactiveaudiovisualinstallation BEEPCollectionacquisition

DasTangibleBild(TheTangibleImage) is anessentialpieceandacreationbya pioneeringartistinelectronicanddigital art,whichhighlightsthecreative possibilitiesofinteractiveart.Thepiece tellsusabouttheroleoftheviewerin relationtoaworkofart,andinabroader sense,abouttheroleweplayinaworld thatisincreasinglypermeatedby technology.

Isourworldsimplytheproductofa technologicalinterface?Inthisinteractive installation,thevisitorisfacedwithagrid ofCartesiancoordinates.Acamerafilms us,andtheimageisprojectedonthe oppositewall.Theimageprojectedis distortedwhenwetouchtherubber screenofthemonitor,whichisona pedestalinthemiddleoftheroom.The installationtherebyenablesthevisitorto interactinrealtimewiththeirownimage, bymeansofathree-dimensionaltouch screen.

PeterWeibelisaconceptualartistandart theoreticianofreferenceinthesphereof Europeanculture.Formanyyearshehasbeena professorattheUniversityofAppliedArts ViennaanddirectoroftheLaboratoryforDigital ArtsattheStateUniversityofNewYorkin Buffalo.

Hehasalsobeenartisticdirectorofthe InternationalBiennialofContemporaryArtof SevilleandcuratoroftheAustrianPavilionatthe VeniceBiennale.Heispresentlychairmanofthe ZKM|CenterforArtandMediaKarlsruhe.Hehas recentlyco-editedwithSiegfriedZielinskithe bookFlusseriana:AnIntellectualToolbox,a collectionofarticlesontheworkofthe philosopherofimageandlanguageVilém Flusser.

Website:peter-weibel.at

PeterWeibel(bornOdessa,1944)

PhotobyFernandoFerreira

PhotobyRobertaBosco

OtherExhibition Venues

DïaloG

Keywords:Installation,Strangeness,Immigration

Theworkpresentstwopiecesthatareat thesametimeartworksandaliens.They areconfrontedwithanewenvironment wheretheydon’tbelongto…yet.They willhavetoadapttheirlanguage,build commonknowledge,integratingallnew artifactsandnaturalphenomenathat constitutenowtheirenvironment.This includestheotherlivingbeingsmoving aroundthem,and,eventually,theywill havetounderstandeachother.Whilewe usetheconceptoflanguageverybroadly toincludespeech,performance,gesture, utterance,andevendata,wefocuson strangenessfromanontological

perspective,tryingtomarkaterrainof possibilitiesfortheintersectionof interpersonalanddigitalexperiencesinthe urbansphere.MoBenandRefikAnadoltake thenotionof“dia-logos”(through-word, throughspeech)embeddedintheetymological rootsoftheword“dialogue”,moreunderstood asaninformationalthreadprocessedthrough aniterativefeedbackloopbetweenperception, andexpression,andpushittoalevelof transactionalcomplexityactivatingthe potentialdifferencebetweenvirtualityand visuality.Inthisway,weaimtocreateaunique, site-specificlanguagebetweeneachofboth workswearepresentingaslivingentitiesand theirunknownpublic,andalso,betweenour worksthatareinitiallyalientoeachother–a languageofunexpectedandindefinable machineexpressionsthatadaptthemselvesto theconstantflowofdatarepresentingrealtimeenvironmental,societal,andhuman actions.

DïaloG isaninteractiveurbanmediaart installationexploringthethemesof alterity,strangeness,andimmigration,ina performativeway.

RefikAnadol (b.1985,Istanbul,Turkey)isamediaartist,director,andpioneerintheaestheticsof machineintelligence.HecurrentlyresidesinLosAngeles,California,whereheownsandoperates RefikAnadolStudioandRASLAB,theStudio’sresearchpracticecenteredarounddiscoveringand developingtrailblazingapproachestodatanarrativesandartificialintelligence.Anadolisalsoa lecturerforUCLA’sDepartmentofDesignMediaArtsfromwhichheobtainedhissecondMasterof FineArts.

Website: refikanadol.com

MauriceBenayoun (akaMoBenor 莫奔)(born29March1957inMascara,Algeria)isaFrench pioneer,contemporarynew-mediaartist,curatorandtheoristbasedinParisandHongKong.His workemploysvariousmedia,including(andoftencombining)video,computergraphics,immersive virtualreality,theInternet,performance,EEG,3DPrinting,large-scaleurbanmediaartinstallations andinteractiveexhibitions.Oftenconceptual,MauriceBenayoun’sworkconstitutesacritical investigationofthemutationsinthecontemporarysocietyinducedbytheemergingorrecently adoptedtechnologies.

Website: benayoun.com

RNEProject

Keywords:Robotic,Alien,Drawing,Performance

Whatifaportraitdrawingrobotobserved uswithadifferentperceptualsystem? Whatwillitlearnfromus?Woulditaffect ourexperienceduringtosketching session?Howwillitdraw?extraordinary complexities.

Ihavebeenresearchingaforthcomingseries ofinstallationsforthepastthreeyears, includingdevelopinganewrobot(RNR). Insteadofbeingstronglyinfluencedbyhuman behaviourthatisperceivedasfamiliarlikethe humanstudy#1robots,Iamexploringwaysto makeit[RNR]perceivedasalien,unfamiliar, andforeign.

Intheaward-winningHumanStudy#1 seriesofperformativeinstallations,a humanisdrawnlivebyseveralrobots duringa20-minutesession,Both audiencesandparticipantsoften mentiontherobot’sattentionasa strikingelement.Itisconceivedassuch, acameramountedonthepanandtilt systemenablestherobottoobservethe sitterwithtinysaccades,occasionally comparingwiththedrawing,andmostof thetimefollowingthepen’smovements. Althoughthesemovementsare theatrical,theyeffectivelyconveya characterandgivetheimpressionofthe systempayingattentiontothehumanin ananimalmammal-likeway. Furthermore,therobot’seyefollowing thepen’smovementgivesthe impressionthatitislookingatwhatitis doing.

The RNR isanintermediarywork,whereIwill specificallyexplorehowhavingarobotlooking atuswithadifferentunfamiliarperceptual systemaffectsourperceptionofit.Asan animal,ifattentionisdirectedtowardus,it needstobeevaluatedinstantly:canweeatit? Isitgoingtoeatus?Ashumans,thewaywe areobservedtriggersawealthofemotions. Whatifwecan’tdecodetheintentionofthe observer?Andwhatwilltherobotdrawifit seesdifferently?

Theaimforthefinalinstallationwouldbefor theemotionsinthehumanbeingdrawnduring ten-minuteperformancestoprogressively movefromunsettledtointrigued,reassured, captivated,andcharmed.

Thisprojecthasbeenawardedwiththe ISEA2022BarcelonaGrantby.Beep CollectionandNewArtFoundation

PatrickTresset isaBrussels-basedartistwho,inhiswork,exploreshumantraitsandtheaspectsof humanexperience.Heisbestknownforhisperformativeinstallationsusingroboticagentsas stylizedactorsthatmakemarksandforhisexplorationofthedrawingpracticeusingcomputational systemsandrobots.

Afterworkingasapainterfor15years,heattendedGoldsmithsCollege,London,foramaster’s degreeandthenanMPhilinartsandcomputationaltechnologies.Asidefromhisartisticpractice,in 2013,hewasaseniorvisitingresearchfellowatKonstanzUniversityandiscurrentlyanadjunct assistantprofessorattheUniversityofCanberra.

Since2011,hisworkhasbeenexhibitedinsoloandgroupshows,includinginassociationwith majormuseumssuchas;ThePompidouCenter(Paris),PradaFoundation(Milan),TateModern (London),V&A,MMCA(Seoul),TheGrandPalais(Paris),BOZAR(Brussels),TAM(Beijing),Mcam (Shanghai),MoriMuseum(Tokyo).

Website:patricktresset.com

KristaCaballeroandFrankEkeberg

BirdingtheFuture

Keywords:Birds,Imaginery,Poetry,Data,installation

Humansonceperceivedoceansas boundless,andthusimpossibleto pollute—untilwecreatedtheGreatPacific GarbagePatch.Thesamepatternisnow repeatinginouterspace.VastWasteisa data-driven,VirtualRealityandprojection artinstallationthatilluminatesthe parallelsandinterplaybetweenmarine pollutionandspacedebris.

Birdsprovideauniquewindowintothe culturalandecologicalentanglementsof ourtime.Unrestrictedbyhumanimposedborders,approximatelyfive billionbirdsmigrateyearly,linking cultures,countries,andecologies,and revealingissuescollectivelyshared. Decliningbirdpopulationsinpractically allhabitattypessignalprofoundchanges overourentireplanet.BirdingtheFuture posesthreequestionsinresponsetothis crisis:Whatdoesitmeanthatwecan onlyseeandhearextinctspecies throughtechnology?Whatmighthappen asthemessagesofbirdsareincreasingly beingsilenced?Howmightwebridge knowledgesystemsusingtraditionaland emergingtechnologiestodevelopa cross-culturalpraxisforecological futuresrootedinkinshipwiththeworld?

BirdingtheFuture isanongoingartworkthat explorescurrentextinctionratesbyfocusingon thewarningabilitiesofbirdsasbioindicatorsof environmentalchange.Theinstallationinvites visitorstolistentoendangeredandextinctbird callsandviewvisionaryavianlandscapes throughstereographsandvideo.

Callsofendangeredbirdsareextractedto createMorsecodemessagesbasedupontales, stories,andpoetryinwhichbirdsspeakto humans.Thesearecombinedwithcallsof extinctbirds,whichactasamemoryofthepast andunderscoretechnologicalreproductionas theonlymeanstohearcertainspecies.Arealtimealgorithmscalestheextinctionratetothe durationoftheexhibition—thelongeryoustay thefewerbirdsyouhear.Thesoundscapeis pairedwithaseriesofstereographs,which explorethelandscapeofhuman-bird encountersviaimagery,poetry,dataand research.VideofootagefromtheGollerLab explorestheethicsandtechnologicalimpactof researchconductedinamore-than-human world.

Todatetherearefiveregion-specificiterations oftheproject:QueenslandAustralia,Arabian Peninsula,Norway,Mid-AtlanticUSA,RheinMain Germanyandaseriesfocusedonlaboratory birds.

KristaCaballero and FrankEkeberg startedcollaboratingonBirdingtheFuturein2013 wantingtoexploretheimplicationsofspeciesextinctionandenvironmentalchangeandwaysin whichtechnologymediatesinterspeciesencounters.Theprojecthasbeenpresented internationallyinexhibitions,festivalsandconferencessuchastheInternationalSymposiumon ElectronicArt(ISEA)inDubai;Balance-UnbalanceInternationalConferenceinAustralia;the NorthAmericanOrnithologicalConference;RAY2018inGermany;FoggyBottomOutdoor SculptureBiennialinWashingtonD.C.;andFuturescapesSymposiuminNorway.

Website:birdingthefuture.org

VastWaste ÖzgeSamancı

Keywords:VirtualReality,Artinstallation

Humansonceperceivedoceansas boundless,andthusimpossibleto pollute—untilwecreatedtheGreatPacific GarbagePatch.Thesamepatternisnow repeatinginouterspace. VastWaste isa data-driven,VirtualRealityandprojection artinstallationthatilluminatesthe parallelsandinterplaybetweenmarine pollutionandspacedebris.

Humanactivitieshavescatteredmillions ofobjectsintoEarth’sorbit.Sincethereis nofriction,debristravelat18,000mph. Eventinypaintfleckscancreate explosivecrashes.

Approximately4,000operational satellitesarecurrentlyinEarth’sorbit andtheamountofspacedebrisis alreadyatacriticalpoint.USand EuropeanSpaceAgenciestrackspace debrisandmaneuverspacecrafttoavoid collisions.

SpaceX’sStarlinkplanstoadd40,000 satellitesinthenextdecade.Thereisno knownsolutionformitigatingthespace debris.

Iftheamountofspacedebrispassesa criticalmass,eachcollisionwillleadto morecollisionsinachainreaction, knownastheKesslerEffect.Ultimately,

futurespacecraftlaunchesfromEarthmay becomeimpossible.

VastWaste generatesaneverchangingKessler Effectinconjunctionwithadata-driven soundtrack.

Inthisinstallation,satellitesspinbasedonthe speedofmarinedebris.Thisiscalculatedby usingoceancurrentsandoceanwinds.

Thenumberoffragmentsfallingintotheocean istiedtohumanuseofsatellites,symbolizedby numberoftweetspersecond.

Generativemusicvariesineachplaybasedon collisions,numberoffragments,theircontact withthesurfaceoftheoceanandtheirdescent intotheocean.

Humansobservemarinepollutionwith satellites,andweburydeadsatellitesintoour oceans.Thefutureoftwovastspacesis entangled.fromunsettledtointrigued, reassured,captivated,andcharmed.

CreativeLead:ÖzgeSamancı

ComputerProgrammingLeads:

JenniHutson

JonathanDavid

WrenGottschalk

JackBurkhardt

DataResearch:RachelKantor

SoundDesign:StephanMoore

3DModeling:LizaSalvi

DocumentationVideo:IanBertorelli

ÖzgeSamanci, mediaartistandgraphicnovelist,isanassociateprofessorinNorthwestern University’sSchoolofCommunication.Herinteractiveinstallationshavebeenexhibited internationally,includingSiggraphArtGallery,FILEfestival,CurrentsNewMedia,TheTechMuseum ofInnovation,WROMediaArtBiennial,AthensInternationalFestivalofDigitalArtsandNewMedia, PikselElectronicArtsFestival,ISEAamongothers.HerautobiographicalgraphicnovelDareto Disappoint(FarrarStrausGiroux,2015)receivedinternationalpressattentionandwaspositively reviewedinTheNewYorkTimes,TheGuardian,Slatealongwithmanyothermediaoutlets.Dareto Disappointhasbeentranslatedintofivelanguages.HerdrawingsappearedinTheNewYorker,The WallStreetJournal,SlateMagazine,TheHuffingtonPost,Airmail,Guernica,TheRumpus.In2017, shereceivedtheBerlinPrizeandshewastheHoltzbrinckVisualArtsFellowattheAmerican AcademyinBerlin.

Website:ozgesamanci.com

L'artesanianumèrica deCasaNavàs

Keywords:Mapping,Sound,Light, Publicart,Generativeart

CasaNavàs isabuildingdesignedbythe architectLluísDomènechiMontanerand locatedinPlaçaMercadalinReus. Integratingherselfasoneoftheartisans whoworkedontheconstructionofthis uniquebuilding,theartisthasgivenanew digitalskintothefaçade,intimatelytelling itsstory.

CasaNavàs isthegreatmodernistjewel ofReus.Modernismisatransversal movementthatintegratesall kindsofcreatorsandtradesinorderto maketheirproposalsareality.

Inthe21stcentury,technologicalart reflectstransversalitybyunitingartists, scientistsandtechnologistsinproposals

wherethealgorithmisthebasisofthe ecosystem.Focusingonthisidea,theartistAlba G.Corralcreatedamapping,addinganewskin onthefacadeofthisbuilding,joiningthebest artisansofthetimewhotogethercreatedthis emblematicconstructionofthecityofReus.

ArtisticDirection:AlbaCorral 2DVisualDesign:AlbaCorral

3DVisualDesign:CarlosPadial&AlbaCorral TechnicalDirection:CarlosPadial Machinelearningtransferstyle:MartinNadal Compositionandsoundproduction:AlbaCorral Soundmastering:ClaraBrea

AlbaG.Corral Madrid1977,isavisualartistmusician,andcreativecoder.Withabackgroundin computerengineering,shehasbeencreatinggenerativeartusingsoftwareandcoding.Herpractice spansacrossliveperformance,video,digitalmediaandinstallation,exploringabstractnarratives andexpressingsensitivityandtasteforcolour.

Bycombininggenerativesystemswithimproviseddrawingtechniques,herdigitallanguage becomesorganic,creatingmesmerisingdigitallandscapes.Sheisknownforherstunningliveaudiovisualperformanceswheresheintegratesreal-timecodinganddrawingwithmusic

Website:blog.albagcorral.com

Performances

TortuousDrift

Keywords:MediterraneanSea,Art&Science,Environment, Data,Drift

TortuousDrift isalivecinemaaboutthe experienceofsensingtheMediterranean Sea.It’samixofvideos,sounds, animations,anddatavisualization,an outcomeofmonthscollectingdataand storiesindifferentpartsofthe Mediterranean.Someprotagonistsofthis narrativeareenvironmentalpolice, fishermen,divers,rowers,waterworkers, lifeguards,andswimmers.

Datavisualizationsofsalinity,conductivity, temperature,andpHofthewatercollected duringthefieldtripsaremixedinthe performanceasanimatedgraphs,moleculesand numbers.Thesevisualizationsraisequestionsof acidificationoftheseaandglobalwarming. Anotherdateusedintheperformanceisthe statisticsofdrownedpersonstryingtocrossthe seainsearchofabetterlife.Thesedata–social andenvironmental-areplayedtogetherwith imagesandsoundscollectedinthefieldtrips.

Movingimagesandsoundsrecordedin selectedlocationsoftheMediterraneanas Ceuta,Gibraltar,Valencia,Ebro’sDelta, Formentera,Ibiza,Malta,Sardinia,Sicilia, andCypruscreate TortuousDrift.Each placehasaparticularity,whether geographical,subjective,social,or environmental.Forexample,Ceutaand GibraltararetheentrancegatetotheSea astheyareaveryregulatedfrontier betweenEuropeandAfrica.Islandsonthe centralMediterraneanaretheentrance gatetothemajorityoftheattemptsto arriveinEuropeanditstatesthegreater numberofdeathsbydrowning.Western Mediterraneanhasthesaltiestseaand Ebro’sDeltaisoneoftheareasatgreat riskofbeingfloodedwithglobalwarming.

Inthisperformance,layersofmaterialsentangle togethertoconstructanarrativewithvisualsand sounds.Thelivecinemaperformanceise phemeral;atime-basedeventthatrecreatesthe experienceofsensingtheMediterraneanSea. TortuousDrift createsastatementofthisjourney. It'snotadriftinastraightforwardway,it’s complex,sinuous,andtangledlikethefeelings andstorieslivedinthesea.

Direction/LivePerformancebyKarlaBrunet VideosandaudiobyKarlaBrunet SounddesignbyRodrigoRamos

AnimationsbyFloraBenedito,ThaianeCerqueira, BrisaBrasileiro

DatavisualizationbyFloraBenedito,Thaiane Cerqueira,KarlaBrunet MoleculesbyDr.SabrinaT.Martinez

KarlaBrunet isanartistand researcher,holdsaPh.D.in AudiovisualCommunication(UPF, Spain-CAPESScholarship)anda MFA(AcademyofArtUniversity,USA -CAPESScholarship).In20092011,Karlacoordinatedthe Labdebug,alaboratoryfocusedon womenandfreetechnologies.In 2012shewascuratorofFACMIL/ LabMAM,amediaartlabatMAM Bahia.In2014,Karlacarriedout postdoctoralresearchatUDK,Berlin. Currently,sheisavisitingresearcher atUPV,Spain.Karlaisaprofessorat IHAC/UFBAandcoordinatesEcoarte, aninterdisciplinarygrouponart, technology,andtheenvironment. Herartisticpracticesinvolve photography,videoart,data visualization,sensoryenvironment, hybridart,audiovisualperformance, webart,artisticmapping,andgame, alwaysfocusingonexperiencesin nature.

Website:karlabru.net

JoanaChicauandJonathanReus

AnatomiesofIntelligence

Keywords:Performance,Livecoding,Knowledgesystems, Machinelearning,AI

AnatomiesofIntelligence(AoI) isan artisticresearchprojectbetweenJoana ChicauandJonathanReus,whotogether worktomakeconnectionsbetweenthe formatsandcollectionsofanatomical knowledgeandinvestigationsintothe “anatomy”ofcomputationallearningand predictionprocesses,datasetsand machinelearningmodels.

Inthe AnatomiesofIntelligence performance wecreateanintricateand intimateexperiencethatcentersarounda demonstration/dissectionofasingle unsupervisedlearningalgorithm,"Kmeans".Inspiredbytheanatomicaltheatre oftheearly-Enlightenment,the performanceunfoldsinauniquesetting wherebythetwoartistssitarounda circulartablewiththeirlaptops,sending javascriptcommandstoaserverwhich relaysthosecommandstoabespoke audio-visualperformance“theatre”based inthewebbrowserthatisaccessibletoa globalaudienceduringtheperformance.

Simultaneously,in-personthesame distributedplatformisusedasthecore audio-visualmaterialtocreatean

immersiveexperiencefortheaudienceonsite whereeachstepofthealgorithmissloweddown, madevisible,audibleandfelt.

Amongstourfocuspointsarethosethatrelateto tacitknowledgeandarelianceonthesenses whenaccumulatingknowledgeaboutbodiesand body-likestructures.Theconceptof“aesthesis” hasbeenespeciallyusefulinshapingourwork; aesthesisisasomewhatobscuretermoccurring ineighteenth-centuryEuropeanmedicaland philosophicaldictionariesdescribing“thefaculty orpowerofsensation”(1)inscientificpractice. Ourconceptofaesthesisshapesamethodology forthisprojectthatlooksatthe“sensorypower” displayedbymachinelearningalgorithms,their representationsandsetsoftrainingdata.

Ourresearchhasbeenfeedingagrowingdataset andonlinerepository(2)whichgathers terminologiesandtechniquesforacritical examinationofthe“anatomy”oflearningand predictionprocessesandmodelsofmachine learningalgorithms.Thesameplatformisusedto explore,throughaperformancepractice combininglive-coding,voiceandmeditative reflection,howsuchacollectionandanartisanal algorithmictoolkitcanconfronttheidealized bodiesofartificialintelligence—its representationalstructuresandsense-making processes.

(1)Hendriksen,M.M.A.,2012,DoctoralThesis,LeidenUniversity.

(2)Link:https://anatomiesofintelligence.github.io/catalogue.html

Websiteandsocialmedialinks: anatomiesofintelligence.github.io

JoanaChicau [PT/UK]isadesignerandresearcher—withabackgroundindance.Inherpractice sheresearchestheintersectionofthebodywiththeconstructed,designed,programmed environment,aimingatwideningthewaysinwhichdigitalsciencesispresentedandmade accessibletothepublic.Shehasbeenactivelyparticipatingandorganizingeventswith performancesinvolvingmulti-locationcollaborativecoding,algorithmicimprovisation,open discussionsongenderequalityandactivism.

Website:joanachicau.com

JonathanChaimReus [US/NL]isamusicianandartistwhoexploresexpandedformsofmusicmakingandimprovisationalperformancethroughacritical,embodiedengagementwith technologicalartefacts.Hispracticeiscross-disciplinaryandresearch-based,involvingopen anditerativeprocessesofcollaborationwithpractitionersfromacrossthearts,sciencesand humanities.Increasinglyhisartisticworkhasusedperformancetoprobetherepresentational qualitiesofcomputingsystems,algorithms,andinfrastructures.

Website:jonathanreus.com

SashaKleinplatz,NavidNavab, OdessaDobbieandAngieCheng

WeMoveTogether orNotatAll

Keywords:Consent,Care,Choreography,Multi-species

WeMoveTogetherorNotAtAll isa choreographicinstallationthatplaces consent,multi-sensoryperformance archive,andspeciesinter-dependency inconversation.

PullinginspirationfromDonna Haraway’swritingonmulti-species care,JoséEstebanMuñoz’stheoryof the“minortrace”,andNatashaMyer’s provocationsonengagementwith excitablemattersofprocesswithinthe Planthropocene.Theformofthework isanexcitableplant-filledgreenhouse withadancermovinginitscentre. Choreographer,dancer,and interdisciplinaryartistswork collaborativelytobuildperformance scoresmeanttoraisethetemperature, moisture,scent,andbacteriainthe greenhouseandco-orchestratestates ofsensoryaccesstotheparticipants gestures,humanornone.Throughthis

practicethesweatofthedancerbecomesa sourceofheatandhumiditythatsupports theplantlife.Weframethissweatandheat, andtheplantlifethattheysupportasthe barelyvisible,archivaltraceofperformance, asemergentformationstraversing condensation,movement,sound,andaffect. Theperformersareaugmentedwithsensors thatrespondtotorque,horizontality, verticality,andpercussivity.Aresponsive scenographytranscodesqualitative variablesoftheperformanceintosound, vibrationandcondensation,asmultimodal gesturestowardsanon-linear understandingofhowtheplantsmay experiencetheeventswithinspace. Questionsattheforefrontofthisresearch are:Howtheplantscanconsenttobeing partofthework?Howwecanbecome sensors,expansivelyattunedtoother temporalitiesandtobetterengagewith plants,andanticipatetheirneeds?What mightconsentfeelorlooklikebetween differentbeings?

SashaKleinplatz isadanceartistinTiohtià:ke,commonlyknownasMontréal,Canada.Sheis theco-founder(alongwithpartnerAndrewTay)ofWants&Needsdanse-acollectivefocusedon creatingnon-traditionalcontextsforchoreographerstomakework,andforaudiencestoengage withapluralityofcontemporaryperformancepractices.Sasha’smastersresearchattheSchool forInteractiveArtsandTechnologyatSimonFraserUniversitywassupportedbytheSocial SciencesandHumanitiesResearchCouncil.Herthesisfocusedonconsentindancepedagogy, andpracticinginterspeciescarethroughmodesofscored,collaborative,performance.Sheis abouttobeginaPhDatConcordiaUniversityfocusedonwritingapluralistic,choreographic toolboxforstudentsattheundergraduatelevel.Sasha’snewworksMiracle’ing,andWeMove TogetherorNotatAllwillpremiereatMontreal,artsinterculturalinFall2022.

Website:wantsandneeds.ca

JocelynHo,MargaretSchedel,Robert Cosgrove.OmkarBhattandMatthewBlessing

Women’sLabor

Keywords:Feminist,NIME,Musicalinstrument,Machine learning,Spectroscopy

Afeminist-activistproject, Women’sLabor repurposesdomestictoolstobecomenew musicalinstruments.Usingspectroscopy, LIDAR,Ultrasonictechnology,andmachine learning,thefirstinstrumentEmbedded Iron‘sees’thecolorofanyfabrictoplay differenttimbres.Traditionallyrelegatedto theprivatesphere,weinterrogate domesticitythroughinteractiveinstallation andperformance.

basedonanearly-20th centurywoodenironing boardandantiqueiron.Boththepublicand musicianscan“iron”fabrics,includingtheir ownpiecesofclothing,tomakemusic.Using spectroscopy,theEmbeddedIronhasacolorsensingability—‘seeing’thecolorofthefabric toplaydifferenttimbres.Usingmachine learningWekinator,theIroncaninterpolate uniquesoundsforanygivenfabric.Theiron’s placementontheXY-axisoftheironingboard determinespitchusingLIDARandultrasonic technology.

Winnerofthe2021InternationalAllianceof WomeninMusicRuthAndersonPrize, Women’sLabor isafeminist-activistproject thatrepurposesdomestictoolstobecome newmusicalinstruments.Usingembedded technologies,thesehousehold-devices-turned instrumentsareexploredininteractive installations,commissionedcompositions,and performances.Traditionallyrelegatedtothe privatesphere,weinterrogatedomesticity throughpublicengagementandperformative spectacle.

Thenewinstrumentsarebasedonlaundering toolsthathighlightgenderperformativity throughclothing.Thefirstinstrumentfeatured ininstallation/performanceisEmbeddedIron,

TheIronplayssoundsofresistance, combiningtwosoundmodulesinPureData: physicalmodelingofaviolin—aninstrument onwhichwomenwerediscouragedtobe playedinthenineteenth-century—andelectric guitar-pedallikeaudioFX.Bothofthese modulesevokesoundsthatarehistorically associatedwithmalemusicians—putonan irontosubverttheseveryassociations.

Twotextschosenfromanoppressive19thcenturymarriagemanualaremappedtoa special“whiteapron”forironingontheleft andrightsideoftheboard,usinggranular synthesis.Whilethetextmayseemludicrously outdated,theintentionsbehindthetextare, ironically,stilleerielyprevalenttoday.

JocelynHo,creativedirectorofWomen’sLabor,directs,composes,andperformsininterdisciplinaryperformanceprojectsinvolvingcollaboratorsfromvastlydifferentfields.Sheisa SteinwayartistandanAssistantProfessorofPerformanceStudiesatUCLA.

Facebook:piano.jocelynho

MargaretSchedel hasadiversecreativeoutputwithworksspanninginteractivemultimedia operas,virtual-realityexperiences,soundart,videogames,andcomposition.SheisaProfessor ofMusicandChairofArtatStonyBrookUniversity.

Website:chedel.net

RobertCosgrove isapercussionist,composer,andtechnologist,currentlyArtist-In-Residenceat PracticeGalleryandTechnicalDirectorforYarn/WireandEnsembleDecipher.HehasaDoctorate ofMusicalArtsfromStonyBrookUniversity.

Website:robsgrove.com

OmkarBhatt isacomputerscientistfocusingonmachinelearning,datascience,visualization andHCI.BhattholdsaMasterdegreeinComputerScienceatStonyBrookUniversity.

MatthewBlessing ismusictechnologistandcomposerwithaPhDinExperimentalMusicand DigitalMediafromLouisianaStateUniversity.

PatriciaCadavidHinojosa

Tawa (LiveSoundPerformance)

Keywords:Soundperformance,Decolonialaesthetics,khipu, Ancestralandeantechnologies,Soundtangibleinterfaces.

Thesoundperformance Tawa_ isan homagetothepre-colonialAndean technologies.Inadifferentexperienceof tangiblelivecodingandcomputermusic withtheElectronic_Khipu_,asound instrumentinspiredbyAndeanKhipus (firsttextilecomputers),theinterrupted legacyofancestralpracticestakenaway bycolonizationisbeingcontinued.

"walkingtowardthefuturealwayswiththepast ahead.” *

IntheAndeancosmogony,"Tawa"(fourin Quechua)symbolizestwoopposite balancesthatcomplementeachotherand reachharmony.Dichotomyand contradiction,stillness,andchaos,thatin theyearthatsummedupfour(2020) knottedacceptanceamonguncertainty. TheAndeanKhipuisaninformation processingandtransmissiontechnology usedsincepre-colonialtimes.This tangibleinterfaceisoneofthefirsttextile computersknown,consistingofacentral woolorcottoncordtowhichotherstrings areattachedwithknotsofdifferent shapes,colors,andsizes,encrypting differentinformation.Thesystemwas widelyuseduntiltheSpanishcolonization,

whichbannedanddestroyedmanyofthese devices.

IntheperformanceisplayedtheElectronic_ Khipu_aninstrumentinspiredbythetraditional Khipusmadefortheinteractionandgeneration ofliveexperimentalsoundbyweavingknots withconductiverubbercords.Theirsoundsare embracedwithtexturesreminiscingaboutthe Andesfromapreparedcharangoandimmersive rhythmsthatbringbackthepresentmoment. Fromadecolonialperspective, Tawa_ isan homagetotheAndeantechnologies,continuing theinterruptedlegacyofthisancestralpractice inadifferentexperienceoftangiblelivecoding andcomputermusic.Theartisttakestheplace ofacontemporary*khipukamayuq*(Khipu knotter),weavingfoursoundAbstractionsthat knotthepastwiththepresent,creatingthe balancetofacethefuture.

Tawa istheliveperformanceoftheeponymous albumreleasedinJanuary2021byViennabasednetlabelSmallforms.

*TheQuipNayra(future-past)notioncomesfromanAymara aphorismdivulgedbytheTallerdeHistoriaOralAndina(THOA) referingtothere-actualizationofthepastasfuturethroughthe presentactions.

Rivera,S.(2015).SociologíadelaimagenMiradasch´ixidesdela historiaandina.TintaLimón.

PatriciaCadavid isanimmigrant,artist,andresearcherborninColombia.Herworklooksatthe relationshipsandeffectsofcolonialityinnewmediafromthemigratoryexperienceand decolonial&anti-colonialthinking.

SheworksonthevindicationofthememorycontainedintheancestralinterfacesoftheAndes takenawaybycolonizationandtheirconnectionswithart,science,andtechnology,reusing theminnewartisticprocessesrelatedtosound,NIMEs,tangiblelivecoding,andmultimedia performance.

StudentattheInterfaceCultureLab(KunstuniversitätLinz),shereceivedherBFAfromthe UniversidaddeCastilla-LaManchaandherMAfromtheUniversitatPolitècnicadeValència, multimedia&Visualartsprogram.HerworkhasbeenexhibitedindifferentfestivalssuchasArs Electronica(Austria),ADAF(Greece),theNIMEandSEAMUSconferences,andseveralspacesin Chile,Mexico,Spain,Germany,andColombia.

Website:patriciacadavid.net

MichaelCenturyandShawnLawson

Liveware

Keywords:Liveware,Livecoding,Machinelearning, Performance

Liveware isanaudiovisualduo combininglive-codedanimation (Lawson)withmusicalperformance (Century).“Liveness”foreachmodalityis understoodasafluidinterplaybetween pre-composedandimprovised processes.Livewareextendsthe traditionsofsynaestheticsyntaxwith expandedperformancepractices drawingonmachinelearningandcrossmodalimprovisation.

Liveware isanaudio-visualduo combininglive-codedanimationand musicalperformance.“Liveness”for eachmodalityisunderstoodasafluid interplaybetweenpre-composedand improviseddynamicprocesses.Similarly, thecorrespondencebetweenimageand soundexhibitschanginglevelsofcontrol andindeterminacy.Takentogetheras mattersofdegreenotkind,these dimensionsgenerateaconstellationof changingprocessualintensities. Liveware extendsthetraditionsof synaestheticsyntaxgoingbacktoearly experimentalfilmwithrecentadvances inartificialintelligencetogeneratereal timeanimationusingalgorithmstrained

withmachinelearning(ML).“Latent Cartographies“(2021)usesaMLalgorithm trainedonimagesfrom100,000historicalmaps. [1].Extendedtechniquesonacousticpianoare processedtocorrespondwiththeimages [2]An imagenoisegeneratornavigatesthroughthe latentspaceoftheneuralnet,modulatedby soundintensitiesfromthemusic.Thetitleof “TheIsleisFullofNoises”(2019)evokesa passagefromShakespeare’splayTheTempest. An8-channelsoundscapeusestextsfrom charactersMirandaandCalibanoverlaidwith phonemicparticlesofhumanspeech,animal andnaturesounds.Theimagesaregenerated usinganauto-visualsystembuiltwithaML trainedoncontrastingfeature films:VideodromeandPlanetoftheApes.During theperformancetheMLutilizesitshyperdimensionalspaceoflearntimagerytocreate real-timeanimationfromaudiospectraand audiofeaturedata.Post-colonialandfeminist criticshaveposedthequestionwhyCalibanand Miranda,bothvictimsofimperialistoppression, nonethelessareunabletotruly“see”one another.Here,theirencounterisre-stagedand spatializedthroughsonicmeans.

1TopiTjukanov,Mapdreamer(2020)pre-trainednetwork–CC01.0 Universal–https://archive.org/details/mapdreamer 2TheExpandedInstrumentSystem,designedbyPaulineOliveros,is usedwithspecialpermissionofthePaulineOliverosTrustand MinistryofMaat.

ShawnLawson isanartistandresearchercreatingthecomputationalsublime.Performingas Obi-WanCodenobihelive-codesreal-timecomputergraphicswithhisopen-sourcesoftware. Shawnhasperformed,exhibited,orscreenedinmuseums,galleries,festivals,andpublicspaces onfivecontinents.LawsonstudiedatCarnegieMellonUniversity,EcoleNationaleSupèrieuredes Beaux-Arts,andTheSchooloftheArtInstituteofChicago.HeisanAssociateProfessorand AnimationProgramDirectoratArizonaStateUniversity.

MichaelCentury,composerandculturaltheorist,isProfessorofNewMediaandMusicinthe ArtsDepartmentatRensselaerPolytechnicInstitute.Centuryhasworkedasanacademic universityteacher,newmediaresearcher,inter-artsproducer,andartspolicymaker(Banff CentrefortheArts(1979-93),McGillUniversity(1998-2002),GovernmentofCanada(199398)).Hisbook NorthernSparks:Innovation,TechnologyPolicyandtheArtsinCanadafrom Expo67totheInternetAge appearedin2022withTheMITPress.

Website:shawnlawson.com

JoãoDiasandIgorC.Silva

Zone#1,Installation

Keywords:Liveware,Livecoding,Machinelearning, Performance

Zone#1 isaninstallationwith performancewheretheperformerisin chargeofcontrollingallaudiovisual aspects,creatingalinkbetweenmusical discourseandvideoelements.Themain topicarethecollaborativepractice behindandhowitincreasesoutthe developmentoftheoutputsandboth composingandperformancepractices.

Collaborationisacommonpracticein differentartisticfieldsduringthecreative processofthework,andaseveralartistic formatscouldemergefroma collaboration.Thereareseveral examplesthatwecanfindandmention inthehistoryofart,andtheexisting reportsofthecollaborativeprocesses haveincommontheexposureofthe mutualcontributions,notonlyforthe creationoftheproposedwork,butfor theadvancementoftheartitself,andthe eachoneinvolvedintheprocess.The composer’screativitycanbeamplifiedby adialogueandinteractionwiththe performer,whichhadimpactinthe creativeprocess,theinterpretationofthe

work,andeveninthesoundresultrepresented intheperceptionoftheworkbytheaudience.A processofclosecollaborationbetween performerandcomposerincreationallows constantlytriggeringdifferentpathsof knowledgeanddiscovery,transcendinglimits inthewayofplayingandcomposing,mutually enrichingthetwopositionsinvolved.

Thestartingpointofthecompositionalprocess of Zone#1 wastheideathatthispiece/ installationshouldenabletheperformerto haveabsolutereal-timecontrolofwhole musicalandvisualdiscourse,musicaltiming andelements,thuscreatingacomposedimprovisationenvironmentinwhichthe audiovisualcontentisdefinedbythecomposer (bothonscore,sounddesignandMax programming),butthetimingandnarrative choicesaretakenbytheperformer.Toachieve thislevelofcontrolledfreedom,adetailed electronicsetupwascreatedtoserveanideal improvisationsituation,wheretheaudiovisual materialispre-organizedandprogrammedinto ahybridacoustic/digitalsetup,thatprovidesa user-friendlysystemtoreactandinteracttothe artisticchoicesoftheperformer,withinasetof rulesdefinedbythescore.

JoãoDias. Percussionist,graduatedbyESMAE(BA&MA)withMiquelBernat,ManuelCampos andNunoArosoastutors.Currently,heisattendingaPhdPrograminMusicalArtsatFCSH/UNof Lisbon.HeisaresearcherattheResearchGrouponContemporaryMusicatCESEM,whereheis particularlyinterestedinmediationbetweencomposerandperformerinthecreationofnew musicforpercussion.HewonaPhDgrantfromFoundationforScienceandTechnology(FCT).He hasbeendevelopingisworkasaperformermainlyinthefieldofcontemporaryrepertoire,from ensembletosoloworks.ArtisticDirectorandMemberofSupernovaEnsemble,memberof DrummingPercussionGroupandSond’Ar-teElectricEnsemble,andcollaboratesregularlywith SonoscopiaAssociação,RemixEnsemble,OrquestraSinfónicadoPortoandCoro/Casada Música,GulbenkianOrchestra,amongothers.HeisaprofessorattheUniversityofAveiro.

IgorC.Silva. BorninPortoandcurrentlylivinginAmsterdam,IgorCSilvaisacomposerdevoted toelectronicsandnewmediamusic,creatingprojectswhereperformers,computersandmany noisyandpsychedelicthingshappenonstage,creatingamulti-sensorialexperience.Silvaworks regularlywithensembles,performersandorchestras,receivingseveralcommissionsfrom ensemblesandfestivals,andpublishingrecordingsofhismusic.IgorCSilvaalsocollaborates regularlywithsoloists,ensemblesandjazzgroups,devotingpartofhismusicalandcomposing activitytoimprovisationandinteractiveperformanceswithelectronicsandmultimediatools.On upcomingprojectsstandsouta33hoursinstallationmultimedia-installationforLucillinUnited InstrumentsandmanyotherconcertsandpremieresinNetherlands,Belgium,Spain,USA, Portugal,Germany,Luxembourg,France,Japan,UK,Finland,Argentina,etc..IgorCSilvais currentlyaPhDcandidateatVUB(Brussels)andKoninklijkConservatoriumBrussel,wherehe alsoteachesattheLiveElectronicsCourse.

Website: igorcsilva.com

Thisworkwasdriventhroughacloseprocessof collaborativeworkbycomposerandperformer.

AlexandreSaunier andMarc-AndréCossette

Fragments: TheShapeofThings

Keywords: Machineagency,Liveperformance, Photogrammetry,Generativemusic,Video-gameengine

Fragments:TheShapeofThings isan audiovisualperformanceinwhich2 humanperformersactliveonArtificial IntelligenceandArtificialLifealgorithms togenerateandmodulateapoetic immersiveexperience.

The35minutesperformanceisdivided intoactsthatformanimmersivejourney fromsilenceanddarknesstoan explosionoflight,sound,andfrenetic images.Thepieceusestheconceptof fragments,smallelementsthatare transformedandreconfigured,toexplore technologicallymediatedhuman connections,perceptions,andmemories. Thesefragmentsconsistofsounds, videos,andphotogrammetricobjects thatarescavengedfromthenews,

createdbytheartists,orgeneratedby algorithms.Duringtheperformance,those fragmentsareanalyzedandmodulatedlivebya setofMarkovchains,SpikingNeuralNetworks, MachineLearning,opticalflow,andotherAI& A-Lifetechniques.Infrontoftheaudience,the artistsorchestratetheactionofthose algorithmsandguidethepublicintoajourney thatmovesfromdarknessandabsenceintoa growingtorrentofsonicandvisualstimuli. Theworkexplorestheaestheticexperience emergingfromthe“human/non-human” collaborationandhowcomplexsystems algorithmscangeneratenewimprovisational triggersforhumanperformers.Furthermore, Fragments:TheShapeofThings intendsto explorehowartificialintelligencetechnology transformshumanexperiencebyrecombining andreconfiguringreal-worlddatasuchas photosandvideosintovirtualtelematic experiences.

ALMA(AlexandreSaunier&Marc-AndréCossette) mixestogethercutting-edgeAI&A-Life algorithmswithdrummachines,analogandvirtualsynthesizers,photogrammetry,procedural graphics,andvideo-gameenginestoinvokememoriesofinaccessibleplaces,thesensationsof thematerialworld,andthefeelingofbeingtogether.

AlexandreSaunierisamultimediaartistandPhDCandidateatConcordiaUniversity.Hisresearch addressestheintersectionbetweenartisticcreationwithlight,autonomoussystems,and sensoryperception.HisartisticworkisregularlypresentedininternationalfestivalsuchasMutek, Bcn_Llum,Impakt,andFestivaldelaImagen.

Marc-AndréCossetteisatransdisciplinaryartistandPhDCandidateatConcordiaUniversity workingontherelationbetweentechnologyandperformingartsusingsound,visual,interaction designandArtificial.HisworkhasbeenpresentedbothinCanadaandinternationally,notablyat TangenteDanse(Canada),ArsElectronicaFestival(Austria),ElMatadero(Spain)andCMMAS (Mexico).

Websites:

alexandresaunier.com

fortheloveofsound.ca

VentriloquistOntology

Keywords: Performance,MachineLearning,NaturalLanguage Processing,Robotics,Wearables

VentriloquistOntology isamedia performancethatexploresthecontrol andhybridizationbetweenhumanand machinethroughtherelationshipofa performerandawearableentity.This entityarticulatestextgeneratedusingthe GPT-2languagemodel,andmanifests itselfbyproducinginvoluntarymovement throughaseriesoflinearactuators.

VentriloquistOntology isamedia performancethatconceptuallystemsout ofphilosophicalideasthatarerootedin therealmsofPosthumanism,Actor NetworkTheoryandObject-Oriented Ontology.InspiredbyAlejandro

Jodorowsky'sdystopiantheatricalplay TheSchoolofVentriloquists,it encompassesthecreationofamodular wearable,trainedusingNaturalLanguage Processingtocreateitsownlanguage thatmanifestsintheformofspeechand movementactuation.Itexplorestheidea ofsoftcontrolandpointsofhybridization betweenhumanandmachinethrough therelationshipofaperformeranda wearableentity.Thissoftmodularentity

speaksthroughtextgeneratedusingtheGPT-2 languagemodel,trainedonadatasetoftexts aroundbiopolitics,algo-governance,the surveillancedbody,andqueertheory.The softnessaspectofitscontrolreferstothe plasticityoftheinterface,themalleabilityofits hardwareconnections,thesuggestivenature thattheGPT-2generatedtextpertainsto,and theindicativenatureofthemovementofthe actuators.Sequentially,itbringsforththesoft dataofthebodyinextricablylinkedtoideasof careandintimacy,aswellastothepliabilityof thedifferentlevelsofinterpretationbetween thehumanandthemachine.Theaspectof controlistiedtothecyberneticideaofsteering thebodytoitsoptimalmovementthrougha feedbackloopbetweenmachiniclanguage,and humanassimilation.Italsodealswiththe hardnessofthelinearactuatorsandthe microcontrollerthatmanipulatesthem,tothe dominationofthesemechanicalcomponents overthesoftnessandvulnerabilityofthe humanflesh.Ultimately,theideaof ventriloquismisusedtogiveagencytoan ontologicalentitycomprisedofsubtle suggestivewearablemodules,humanfleshand cognitivemotorabilities,born-digital,ableto producenovellanguage,butalsoconditioned toreproducethebiasesofitsalgorithmicparts.

AfroditiPsarra isatransdisciplinaryartistandanAssociateProfessorofDigitalArtsand ExperimentalMedia(DXARTS)attheUniversityofWashington.SheholdsaPhDinImage, Technology,andDesignfromtheComplutenseUniversityofMadrid.Herresearchfocusesonthe artandscienceinteractionwithacriticaldiscourseinthecreationofartifacts.Herpractice buildsonandextendstheworkofCyberandTechno-Feminism(s)andtheideaoffemale(and feminized)bodiesasmatricesofinformation.Herworkhasbeenpresentedatinternational mediaartfestivalssuchasArsElectronica,TransmedialeandCTM,Eyeo,Piksel,andWRO Biennalebetweenothers,venueslikeBozar,OnassisStegi,EMST(GreekMuseumof ContemporaryArt),WalkerArtCenter,andpublishedatconferenceslikeSiggraph,ISWC (InternationalSymposiumofWearableComputers),DIS(DesigningInteractiveSystems),C&C (CreativityandCognition),andEVA(ElectronicVisualizationandtheArts).

Website:afroditipsarra.com

TingyiJiang isavisualartistandperformerbasedinTheHague.Shecomposesdifferentmedia, material,spaceandherselftocreatecertainsituations,self-directingenvironments,which triggeraudience'sactions.Shechallengestheart-and-spectatorrelationshipsbycreatinga viewing-in-actionexperiencethatexploresthedynamicbetweentheindividual,itsenvironment, itscollectiveanditssocialsystem.

Website: ingyijiang.com

SebastianSeifertandSantiagoBartolomé

FractalListening

Keywords:Fractal,Ambient,Music,Electronic,Performance

Named"Fractal"bythePolishscientist Mandelbrotin1975,theseelementsof naturecanbedigitallyrecreatedfrom mathematicalfunctions.ForArgentine artistsSebastiánSeifertandSantiago Bartolomé,theFractaluniverseisthe conceptualtriggerforacollaborative live/AVmultimediaperformanceproject fromwhichamusicalbumalsoemerges.

Thereisinnature,amysteriousand complexmathematicalsystemthat repeatsitselfoverandoveragain,an underlyinggeometricpatterninformsas disparateasclouds,mountains,treesor ourowncirculatorysystem.Itsdistinctive featureisself-similarity,thesame configurationthatisrepeatedatdifferent scales,branchingoutinfinitely.Thereare thosewhobelievethatitis"God's fingerprint","theabsolutetruthofthe universe".

In FractalListening,anyattemptatstylistic corsetingisdilutedinthehybridizationof artisticlanguages.Thus,thefractalimages dialoguewithacousticandelectronic soundsinaninterweavingofinfinite kinestheticnotes.Inthisway,abstract

figuresinstridentcolorsoutlinemandalasand enigmaticportals,piercingthevirtualcanvas withthree-dimensionalshapesthatevoke sacredgeometry.Thisincessantalgorithmic repetitiongeneratedbypre-establishedcodes, sometimesfollowsavisualchoreographyand othertimes-alteredbythefrequenciesoflive sound-itimprovisesanorganicdance, introducingvariationstotheoriginalpattern. Simultaneously,thesounddimensionis embodiedinlayersandloops,intertwiningthe electronicbasesofIDM,ambientand experimentalwiththelivechordsofaguitar. Interveningthework,atrumpetinterprets vibrantandmovingjazzmelodieswith harmonicsthatgeneratesensationsofbodyand spirit,closingthevirtuouscirclewithasensory, immersiveandenvelopingatmosphere.

In2019,Microfeel&SantiagoBartolomébegan theircollaborativeworkwiththeaimof furtheringtheirrespectivecreativepursuits. Thispathofexperimentationmaterializedin differentartisticproposals.In2021they createdtheliveshowAV FractalListening,the workcombinesdigitalart,electronicmusicand theguitarofthemultimediaartistMicrofeel (SebastiánSeifert)withthetrumpetand processesofthemusicianandcomposer SantiagoBartolomé.

SebastiánSeifert isamultimediaartist,designerandmusicproducer.Hehaslivedandworked inBarcelonasince2002.Hiscareerhasdevelopedatinterdisciplinarypointsofconvergence, maintainingdigitalelectronicpoeticsasthesupport,conceptandformatofhisproductions.He hasanInternationalMaster'sDegreeinMediaandInteractiveSystemsattheAutonomous UniversityofBarcelonaandESDI(2002)andtheDesign,ImageandSoundCareeratthe UniversityofBuenosAires(UBA).

Inthefieldofmediaart,hehasdevelopednet-artprojects,interactiveinstallationsand multimediaperformances,servingascuratoroftheselanguagesatthe«laCaixa»Foundation (Barcelona)from2003to2011.Withtheaudiovisualproject“Microfeel”,theartisthighlightshis transdisciplinaryvocation,creatingworldsthatcombinevisualsandsound.Hehastakenhis audiovisualconcerttofestivalslikeMUTEK(ES/AR/MX),SONAR,SZIGET,CTM,FILEand AMURAL,amongothers.

Website:sebastianseifert.net

SantiagoBartolomé isaproducer,curator,composerandtrumpetermusicianfromCórdoba, Argentina.Fromthisscaffoldingheapproacheshisartisticexplorationstobuild,inhisown language,asoundcartographyinwhichacousticvibrationandelectronicscoexist.Histrumpetis theinstrumenttoexperiencedifferentatmospheresbyerasingborderlines,atoolthathe considersessentialasanagentoftransformationofreality.Hiswork,irreverentandenigmatic,is affirmedin"thesearchforsound"asaconstant,versatileandpossiblefuture.Since2001,he hasbeenamemberoftheCórdobaSymphonyOrchestraandBand(Argentina).

Likewise,heiscollaboratingwithdifferentprojects,favoringhisinterestintheintersection betweenartisticlanguages:LeonardoPrakash(Mexico,WorldMusic),EduardoCastillo(Mexico, electronicmusic)andwiththeaudiovisualcollective"RealitySoup"(Mexico,AugmentedReality andVR).Since2021hehasbeenco-directorandartisticdirectorofthe"CórdobaMusicBiennial

Website: santiagobartolome

WeasWaves

Keywords:Biofeedbackart,Feminism,Affectivecomputing, ASMR,Electroacoustic

Performanceforvoice,electroacoustic music,andsonifiedphysiologicalmarkers ofaffect(heartbeat,skinconductance,and respiration).Usingtechniqueslikeguided meditation,hypnosis,andAutonomous SensoryMeridianResponse(ASMR),Gee useshervoicetotriggerphysiological responseintenperformerswearingherDIY biofeedbackhardware,thus,structuring musicthroughaffectiveengagement.

Atwo-partperformanceforvoice, electroacousticmusic,andsonified physiologicalmarkersofaffect(heartbeat, skinconductance,andrespiration).Using guidedmeditation,hypnosis,and AutonomousSensoryMeridianResponse (ASMR),Geetriggersphysiological responseinlistenerswearingDIY biofeedbackhardware,transforming physiologicalsignalsintosynthesized sound.Throughpsychosomaticcontextsof grouplistening,Geecomposesmusicto enactphenomenologicalpositionsthatare post-subjective,leaky,andaffective, drawinguponfeministepistemologiesto emphasizethetransductiveandnonreductivequalitiesofsound.Thegoal:to connectourbodiesandmindsto perspectivesnormallybeyondhuman representation,beingbothwitnessto

measurement,andbeingwithinthe measurement.

Usingsecondpersontospeak“directly”tothe audience,Geecomposesaffectiveexperienceas groundsforcomposingbiofeedbackmusic, speakingdirectlytotheunconsciousmindofthe listenerwhilespeculatinganon-humanist intimacyongroundsofexperimentalphysics. Inpartone,Geeworkedwithqueerplaywright JenaMcLeantotranslateTaraRodgers’feminist epistemologyofsoundtoinducetransductive thought,drawingassociationsbetweensound waves,oceanicwaves,andfemininity.Through Rodgers’workshereferenceslogicsofnon-linear time,contingency,andalternativerelationsto noiseandsound,eventuallyhintingata departurefromthehumaninthelastlineby invokingCatherineKeller’squeertheology:“We aredropsofanoceanicimpersonality.Wearch likewaves:Likeporpoises.”

Inparttwo,Geeinvitesaudiencemembersto donwearable,non-invasivebiosensors,to becomesensitiveandsensibletotheiraffective physiologiesaswavesofsound.Usingclicksand synthesizedtones,therespiration,heartbeats andskinconductanceoftheaudienceare sonifiedinrealtime,offeringawindowintothe emotionalengagementoflisteners.Thissecond sectionisinspiredbythewaythatinformationis shared(andcreated)inquantumsystems,andis createdincollaborationwithcyberpunkauthor AndrewWenaus.

ErinGee isanartistandcomposerbasedinTIO'TIA:KE–MONTREAL.Throughherwork,Gee hybridizesnewmedia,art-scienceandperformancepractice,usingfeministepistemologiesto foregroundunconsciousandaffect-drivenexperience.Inspiredbythehumanvoiceasa conceptualobject,shelikensthevibrationofvocalfoldstoelectricityanddataacrosssystems,or vibrationsacrossmatter.SheisaDIYexpertinaffectivebiofeedback,usingsensorstoimplicate thebodyofthelisteneraspartofhercyberneticsystemsinplace.Hervocalcompositions, networkedperformance,ASMR,VR,AIandroboticshavebeenshowninternationally.ErinGeeis currentlyadoctoralstudentinthemusicdepartmentoftheUniversitédeMontréal,studyingwith DrNicolasBernierandDrJonathanSterne(McGillUniversity)onthetopicoffeministframeworks forbiofeedbackmusic.Gee’sresearchisgenerouslysupportedbytheSocialSciencesand HumanitiesResearchCouncilofCanada.

Website:eringee.net

LucaForcucciandBrunoHerbelin

The RoomAbove

Keywords:Electroacusticmusic,Organ,Resonances, Neuroscienceexperiment,Hallucination

TheorganoftheHelveticCircle’churchin Genoawasrecorded,sampledand reworkedwithitsresonancesinthe architecturalspaceandleadingtoa sonicmoiré,apolyphonyofspaces.Also, anexperimentallaboratoryworkin cognitivesciencesiscombinedwiththe concertintheperformancespace.

TheRoomAbove isanelectroacoustic piecedevelopedduringanartresidencyin Genoainthesecondpandemiclockdown. Thecentralelementofthecompositionis anorgansituatedinthechurchabovethe residence.Theworkwasconceivedinthe momentwithoutawrittenscore,andafter longwalksinthesurroundingnature.The churchcontainsanintrinsicarchitectural sonicspatialidentity.Therecordingsofthe organanditsreverberationsinthe architecturalspacewerethensampledand reworked.Theadditionofthesonicspaces, thoseinitiallyrecorded,thoseofthefuture concertvenues,andthosepresentinthe mentalimageryofthelistenerduringthe

concert,shallleadtoasonicmoiré,apolyphony ofspaces.Theconceptualideaofthesonic moiréisanauditoryperceptionofseverallayers ofspaceandcomparabletothatwhichemerges visuallyfromMarcelDuchamp'srotoreliefs. Suchperceptionexistsbetweentheworkand thespectator,andherebetweentheworkand thelistener.Thesonicmoiréchangesaccording tothetypologiesofeachconcertvenue,andits ultimategoalistoproduceanillusionof cinematicexperienceforthemindofthe listener.Theartisticresearchprocesscombines ourexperienceinthesonicartsandour scientificexpertiseinthecognitive neuroscienceofperceptiontoexplorethe mutualinteractionsbetweenvisualandauditory stimulationsforthementalelaborationof illusoryorhallucinatoryprecepts.Theobjective istoaccompanytheaudiencetoreachastateof dedicatedlistening,leadingtoafocused attentiontotheexperiencedsensationsand perceptions,inordertomagnifymental imageries.Toleaveroomforsuch‘auralization’, visualsshouldthusnotentirelycapturethe attentionoftheaudience.Weexplorewaysto mergeoralternatethestimuliandspecifically addresstheroleofritualsforthisgoal.

LucaForcucci,artist,scholarandguestprofessor,observesperceptivepropertiesofthefirst personexperiencethroughlargescaleinstallations,compositions,video,photographyand writing.Theresearchinvestigatesmentalimageryofsonicarchitectures.Theworkswereheldat ArsElectronicaLinz,BiennaledelMediterraneoPalermo,MuseoReinaSofiaMadrid,CentroHélio OiticicaRiodeJaneiro,TheLabSanFrancisco,RockbundMuseumShanghai,MAXXIRome,or AkademiederKünsteBerlin.HisplateformUBQTLAB.ORGdevelopsartandscienceencounters.

Website:linktr.ee/Lucaforcucci

BrunoHerbelin isseniorresearcherinvirtualrealityandcognitiveneuroscienceinthelaboratory ofProf.O.BlankeatÉcolePolytechniqueFédéraledeLausanne(EPFL),Switzerland.Hewas deputydirectoroftheEPFLCenterforNeuroprosthetics(2012-2019),andAssistantProfessorat theMedialogyDepartmentofAalborgUniversity,Denmark(2005-2009).HeobtainedhisPhDat EPFLSchoolofComputerandCommunicationsin2005forhisresearchworkonvirtualreality exposuretherapy.

Website:brunoherbelin.github.io/vimix/

IceisWaterisIceis KenSteen,GeneGortandMegumiMasaki

Keywords:Piano,Multimedia,Interactiva,Climate,Migration

IceisWaterisIceis isamultimedia performanceforpiano,multi-channel sound,andinteractivevideo.Itis inspiredbytheemigrationofNordic peoplestoCanadainthe1880sdueto economicdepressionandwar,andthe currentimpactonclimatechange

Inconsideringvariousquestions embodyingthepossible,wefind resonance.“Howtofightclimatecrisisand globalwarming?”Performanceofthiswork servesasatime-basedcontemplation.It providesaspacetoconsiderhowtoslow, stabilize,orevenreversetheeffectsof humanbehavioronclimateconditionsand theconsequences.Astheworkrepresents shiftingstatesofwaterandthelanguage weusetonamenaturalphenomena,we areaskedtoconsidertheinterdependence ofouractionstotheconditionsofnatureas natureourselves.

Howmightwerelatewithnatureinorderto transformourworldsoastosupport continuanceofitsinhabitability?Inrelation tothewitnessedrealitiesofclimate change,foregrounding“thepossible unfinishedrealinfrontofus”asdistinct

fromfosteringingraineddoubtordisbelief,the workencouragestheperceptionofcurrent environmentalchallengesthroughrigorously focusedconsciousness,awareness,and iconography.Putmoredirectly:ifwedon’t changewewillperish;ifwedon’tpayattention, we’redoomed!

Consideringourcurrentcircumstances,the possibleoffersanopportunitytocultivatean understandingofdata-drivenscientific approachesonlyifwesensitizeourselvestothe consequences.Forcedhumanmigration,plant andanimaldisplacement,extinction,and culturalcollapsearerealitiesweface.Dataand persuasivewritingmayinspireintellectual engagementandartisticproduction,orelse, at theotherendofthespectrum,bringinto questionwhatmany(most?)witnessand experiencetobenormative.

Thecreationandperformanceofthiswork foregroundsbothaestheticandlivedobservation withanopennesstoexperientialunderstanding. Itattemptstountetherusfromstrictlydatadrivenarguments,fromstubbornpoliticaland contrarianopining,fromself-defeating impossibilitythinking,toapositivepossiblewe canembrace.

KenSteen’smusicandsoundartarerecognizedinternationallyfortheirauthenticvitality, remarkablerange,anddistinctivepersonalvision.Whetheracoustic,electronicorsome multimediacombination,Steen’smultifariousworksfeaturesumptuoustexturesofgradualyet unpredictableevolution.

Website:vimeo.com/kensteen

GeneGort isavisualartist,videoproducer,andmediaprogrammer.Primarilyworkinginmoving imagemedia,heincorporatesvideo,digitalimaging,andsoundininstallations,fixedmediaand newmediaperformances.

Website:genegort.com

MegumiMasaki hasbeenactiveasapianist,multimediaartist,educator,conductorandcurator. Herinnovativeperformanceshaveearnedherareputationasaleadinginterpreterofnewmusic andmultimediaworks.Megumispecializesinexploringhowsound,image,textandmovement canbeintegratedandinteractiveinmultimediaworks.

Together,theycreateandperformasmultimediachamberensemble:SlingshotTrio,with featuredperformancesinsuchdiverselocationsasReykjavík,Iceland;Brandon,Manitoba, Canada;Belfast,NorthernIreland;andNYC,USA.

Website: megumimasaki.com

Screenings

Session1

Session1ofthescreening’s programincludesvideo experimentalartworksthatdeal sharplywithavarietyoftopics relevanttothemaintopicof ISEA2022Barcelonaintermsof futurepossibilitiesregarding gender,environment,human rightsandmachines.

DeepReckonings(14min22s)

StephanieLepp

SwarmRaid:aninterspeciesdanceand musicfilm(4min25s)

AnnaLindemann

Unforgotten,apoetic3Danimation abouttheviolationofwomen’shuman rightsinatimeofwar(8min31s)

SujinKim

Glacier’sLament(2min49s)

JiabaoLi

ExperimentalMicroscopicMediaArt:Inner Essence(4min30s)

EmilyKim

Code_red(1min49s)

LianLoke

LavoroMacchinine(3min29s)

AlexisGreyHildreth,OraCogan

DanceCubesII,human-non-humanCoCreationartwork(2min15s)

JosephAyerle

WalkingonSol(7min01s)

NimaBahrehmand

13Eyes(2min43s)

Jean-PhilippeCôté

FutureMemoriesofDeepWater(2min 32s)

IndiaraDiBenedetto Untitled(ANewLandscape)(2min12s)

MichelleL.Herman

ANewDawn(3min09s)

MaxSchleser

TheErectionofPhygitalGraveyard(5min 26s)

InmiLee,YunmiHer

Session2

Session2includespiecesthatusea documentaryapproacheithertoexplore conceptsrelatedtohumans, technologiesandenvironmentortoshow relevantinitiativesthatdealwiththese topics,includingdemonstrationsof appliedprojectsinthisfield.

Session3

Session3includespieces thatthoroughlyreflectonthe relationsofhumansand natureusingdifferent techniquesandvisual poetics.

ModelsforEnvironmentalLiteracy (36min52s)

Microplot:genomictechnologiesasapotential toolofrevelationfordeliberateterraforming (15min41s)

AllaSemenovskaya

Ener-geyser(8min21s)

TaraKarpinski

Cybersyn1973/2023(15min31s)

GrupoSynco

TheBlueDot(19min09s)

JuanPabloPachecoBejarano

Greenbefore“Green”(10min35s)

PaulEcheverria

TivonRice

TheUnreal(13min47s)

GloriaLópezCleries

DeepReckonings

Keywords:Deepfake,Syntheticmedia,Artificial intelligence,Machinelearning,Truth

DeepReckonings isaseriesofexplicitlymarkeddeepfakevideosthatimagine morallycourageousversionsofour publicfigures.Forexample,ifMark Zuckerberghadareckoning,whatwould hesay?Theprojectseeksnottodeceive nordemean,buttoimagineandinspire. Inthisspirit,DeepReckoningsasks:how mightweuseoursyntheticselvestoelicit ourbetterangels?

divisivewayherespondedtothesexual allegationsagainsthim,andafakeDonald Trumpconcedeshisliesaboutthe2020 election.Theprojectisanexerciseinsteelmanningwhereweoftenstraw-man.

DeepReckonings isaseriesofexplicitlymarkeddeepfakevideosthatimagine morallycourageousversionsofour publicfigures.WeseeMarkZuckerberg confrontthedisastrousconsequencesof histechno-utopianism.WewatchAlex Jonesgrapplewithhisspreadof deceitfulconspiracies.Animaginary BrettKavanaughwrestleswiththe

DeepReckonings explorestheethicaland epistemologicalimplicationsofsynethicmedia. Italsointerrogateshowwemightusesynthetic mediainethicalandevenbenevolentways. Theprojectseeksnottodeceivenordemean, buttoimagineandinspire.Inthisspirit,Deep Reckoningsexploresthequestion:howmight weuseoursyntheticselvestoelicitourbetter angels?Ormoresimply:howmightwe deepfakeit‘tilwemakeit?

DeepReckonings wontwoWebbyAwardsin 2021.Theprojectseekstobecomeanongoing series,indialoguewiththenewscycleasit evolves.

StephanieLepp isaproducerwhoseworkstrivestoholdupamirror—invitingustogrowfrom whatwesee.

StephanieistheExecutiveProducerattheCenterforHumaneTechnology—theorganizationat theheartoftheNetflixdocumentaryTheSocialDilemma.Sheleadstheproductionofthe podcastYourUndividedAttention,amemberoftheTEDAudioCollectivewhichhasgarnered almost12milliondownloads.

Stephanieisalsoanindependentproducerandfuturist.HelatestworkisDeepReckonings,a seriesofexplicitly-markeddeepfakevideosthatimaginemorallycourageousversionsofour publicfigures.DeepReckoningswontwoWebbyAwardsin2021.

StephanieisamemberoftheGuildofFutureArchitects.Herworkhasbeencoveredbyoutlets suchasNPRandtheMITTechnologyReview,andsupportedbyinstitutionsincludingtheMozilla FoundationandtheSundanceInstitute.

Twitter:@stephlepp

Unforgotten

Keywords:HumanRights,ComfortWomen,WorldWarII, Women,HistoricalTestimony,3DAnimation

Anexperimental3Danimationthat weavestogetherthetestimoniesoffour lateKoreanwomenwhosufferedfrom sexualslaveryatsocalledComfort StationsfortheJapaneseImperial militaryduringtheWorldWarII.

Theanimation Unforgotten tellsa traumatichistoricaleventthathappened tothemostvulnerablegroupofwomen duringawartimeandhadbeenforgotten forahalf-century.Theanimationshines alightonthevictims’voicesandtheir willingnesstogivetestimoniesthat deliverthehistoricaltruthrejectedand deniedbymainstreamhistory.The womenwhogivethetestimoniesinthe

animationspentthelastmomentsoftheirlives fightingforwomen’shumanrightssothat womenwillneverbesexuallysacrificedagain duringwartime.

Unforgotten tellstheatrociouswartimesexual violencethroughfairy-likevisualsthatare metaphoricalandpoeticsoasnotto perpetuateviolentimageryandretraumatize thevictims.Thisapproachisforchanginghow weconceivevictimsofwartimesexual violence,whowerecommonlyconsideredfilthy womenbytheircommunityandretraumatized inmediabyrepeatedlyreproducingsexual sensations.Theanimationultimatelyintendsto changethewayweconceiveourpastand historicaltraumaand,mostimportantly,pursue ourfuturetoembracethehistoryof marginalizedpeople.

SujinKim isananimationartist,filmmaker,andassistantprofessorof3DAnimationinthe SchoolofArtatHerbergerInstituteforDesignandtheArtsatArizonaStateUniversity.She studiedFineArtsatEwhaWomansUniversityinSouthKoreaandreceivedherMFAin ExperimentalAnimationatCaliforniaInstituteoftheArtsintheUSwithaconcentrationinCGI. Kimimplementsabroadrangeofvisuallanguagerangingfrom2DtraditionaltoCGtechniques foranimatedfilmmaking.Herfilmshavebeenselectedandscreenedatmanyfilmfestivals worldwideincludingtheAnnecyInternationalAnimatedFilmFestival.

Kim’sMFAthesisreceivedtheGoldMedalatthe48thStudentAcademyAwardsinthe Animationcategory.SheisarecipientoftheASIFA-HollywoodAnimationEducator’sForum Scholarshipfor2019-2020,ExperimentalAnimationNamedAward:JulesEngelScholarship, LillianDisneyScholarship,VisionEwhaArtistAward,andAdobePrizeatthe2019EwhaMedia Website: sujinart.com

AnnaLindemann,RyanGlistaand EmmaKomlos-Hrobsky

SwarmRaid

Keywords:Video,Opera,Generativemusic,BioArt,Ants

Themusicanddancefilm SwarmRaid is asurrealtriptothegrocerystore inspiredbyarmyantswarmraids.The filmdrawsconnectionsbetweenthe waysthathumansandarmyantsfind foodandreflectsoncollectivebehavior andsocialhierarchyinbothantsand humans.

ballet.”Meanwhile,humansdanceinand aroundshoppingcartsandcircleislandsof produceinBusbyBerkeley-inspired formations.Ultimately,distortionsinthespeed ofthefilmrevealamanic,ant-likequalitytothe humans’searchforfood.Inall,thefilmdraws connectionsbetweenthewaysthathumans andantscommunicateandfindfood,and, moreimportantly,reflectsoncollective behaviorandsocialhierarchyinantsand humans.

SwarmRaid actsasaninterspecies meditationonsociallife.Inthismusic anddancefilm,twoofthemostsocial creaturesonearth—antsandhumans— convergeinasurrealtriptothegrocery storeinspiredbythehighlycoordinated foodgatheringmissionsofthearmyant speciesEcitonburchellii.Thecentral characterinthefilmexperiencesakind offeverdreamborneofsocialanxietyin whichshewitnessescrowdsofhumans becomingant-likeworkersbringing offeringsoffoodtotheir“antqueen,” performedbyavirtuosicsoprano.The antqueeninvokestherefined choreographyofthearmyantsasshe sings“Pheromones,showtheway!

Coordinatethecorps,ofourEciton

SwarmRaid wasinspiredbytheCarland MarianRettenmeyerArmyAntGuestCollection housedattheUniversityofConnecticut,a world-classnaturalhistorycollectionofmore than2millionspecimens.Themusicfor “SwarmRaid”isscoredforsopranoand customdigitalinstrumentsandcombines traditionalthrough-composedmusicwith musicaltexturesdevelopedusingagenerative approachtomusiccompositionmodeledon biologicalprocesses.

ThefilmisdirectedbyAnnaLindemannand RyanGlista.MusicbyLindemann;lyricsby EmmaKomlos-Hrobsky;performanceby sopranoLucyFitzGibbon,Lindemann,andfifty swarmingmembersofthecommunity.

AnnaLindemann (co-director,composer,performer)callsherselfanEvoDevoartist.Herwork combinesanimation,music,video,andperformancetoexploretheemergingfieldof EvolutionaryDevelopmentalBiology(EvoDevo).HerEvoDevoArt,includingtheanimatedshort BeetleBluffsandtheart-scienceperformancesTheoryofFlightandTheColony,hasbeen featuredinternationallyatblackboxtheaters,planetariums,galleries,concerthalls,biology conferences,filmfestivals,digitalartconferences,andnaturalhistorymuseums.Anna graduatedfromYalewithaBSinBiologybeforereceivinganMFAinIntegratedElectronicArts fromRensselaerPolytechnicInstitute.SheisanAssistantProfessorintheDigitalMedia& DesigndepartmentattheUniversityofConnecticutwhereshehaspioneeredcourses integratingartandscience.

Website:annalindemann.com

RyanGlista (co-director,editor)isafilmmakeranddigitalproducerwithaFilmBAandDigital MediaandDesignMFAfromtheUniversityofConnecticut.Hisaward-winningshortfilmshave screenednationallyandinternationally.Heisaskilleddirector,photographer,musicproducer andmulti-disciplinarydigitalartist,workingattheintersectionofperformingartsandnewmedia. RyancurrentlyworksatTheBushnellCenterforPerformingArts,directingimmersivevideo installations.

Website:.ryanglista.com

EmmaKomlos-Hrobsky (librettist)isawriter,illustrator,andeditorwhotellsstoriesatthe intersectionofthehumanandthefantastic.HerwritinghasappearedinGuernica,Hunger Mountain,Conjunctions,Bookforum,TinHouse,Hobart,andtheStoryCollider.Emmareceived herBAfromWesleyanandherMFAinfictionwritingfromTheNewSchool,whereshelater taughtasaprofessorintheRiggioHonorsProgram:WritingandDemocracy.PreviouslyEmma servedasaneditoratTinHousemagazineandTinHouseBooks;sheiscurrentlysenioreditorat Poets&WritersMagazine.ShealsovolunteersasamentorforCreatureConserve,anonprofit organizationwhichfostersarts-sciencecollaborationstotellurgentstoriesaboutconservation. WiththesupportofafellowshipfromtheElizabethGeorgeFoundation,sheisatworkonanovel aboutparticlephysics,family,andtheAlps.

Website:emmakomloshrobsky.com

Glacier’sLament

Keywords:Climatechange,Glacier,Datasonification,Data art,PerformanceWomen,HistoricalTestimony,3DAnimation

Glaciersaresentinelsofclimatechange. Theyarethemostvisibleevidenceof globalwarmingtoday.Thisseriesof worksembodiesthestunningbeauty, rapidchange,fragility,destructivepower, andmagnificenceofglaciers.Atthe sametime,theychallengetheaudience withthedramatic,irreversibleecological damagesfromclimatechange.

In Glacier’sLament, weuseddatafrom glaciermeltinginthepast60yearsto composemusicanddancewithlocal musicianswhohavewitnessedthe recessionoftheMendenhallglacierover theirlifetimesinJuneau,Alaska.Each noteisoneseasoninayear.Inthe

winter,theglacierisfrozen,sothepitchislow. Inthesummer,themeltingraterises,sothe pitchishigh.Towardstheend,themelting overflowsintospringandautumn,andthe meltinginthesummerbecomesfaster.We filmedtheartistsperformingthepieceonthe glacier,collaboratingwiththeglacier’sown sounds.

TherearefourcolorcardsinPANTONEfor glacierblue.However,inrealglaciers,thisblue colorisvariableanddynamic.Asglaciersare disappearing,thisuniqueblueisalso disappearing.Wesampledandblendedthe bluecolorfromglaciersinAlaskaandhung theminrecycledglassvials.Whenoneglacier calvinghappened,onecolorvialfelldown.At theendoftheexhibition,all60vialsfelldown, formingapaintingonthecanvasbeneath.

JiabaoLi createsworksaddressingclimatechange,interspeciesworldsharing,humane technology,andajust,sustainablefuture.InJiabao’sTEDTalk,sheuncoveredhowtechnology mediatesthewayweperceivereality.AtApple,sheinventsandexploresnewtechnologiesfor futureproducts.JiabaoholdsmultiplepatentsandawardsincludingFallingWalls,iF,AACYF30 Under30,FastCo,Core77,A’Design.Herworkhasbeenexhibitedinternationally,atArs Electronica,SIGGRAPH,MilanandDubaiDesignWeek,McaM,ISEA,AnchorageMuseum,OCAT, CHI,DonghuShanArtMuseum,MOODMuseumofDesign,AlaskaStateMuseum.Herworkhas beenfeaturedonYahoo,TechCrunch,Domus,YankoDesign,FastCompany,HarvardPolitical Review,TheNational,BusinessInsider,Bloomberg,andLeonardo.Currently,Jiabaoisan AssistantProfessoratUTAustinandamemberofNEWINCattheNewMuseum.Sheholdsa MasterofDesignTechnologywithDistinctionatHarvardGSD.

Website:jiabaoli.org/glacier

ExperimentalMicroscopic MediaArt:InnerEssence

Keywords:Artandscience,Videoart,BioArt, Experimentaldesign

The InnerEssence isanexperimental videothatdepictstheessenceofnature throughvariousmicroscopicstructures, ultimatelyillustratingthetotalityof

Mybodyofworkpresentstheessenceof naturefromvariousmicroscopic structures,illustratingthesubstanceof theworld.Adigitalmicroscopewasused tocapturethesecomplexformsof variousplantsandobjectsrevealingthe naturalstateofanorganicsystemand visualmovementsthatcouldnotbeseen

withthenakedeye. TheInnerEssence isan experimentalvideothatdepictstheessenceof naturethroughvariousmicroscopicstructures, ultimatelyillustratingthetotalityofnature’s beautybeyondthesurface.Thisexploration highlightsthejuxtapositionbetweenthe outsider’sperspectiveuponnatureandthe essenceofnatureitselfthroughthelensofa microscope.Iwasfascinatedbythe manipulationofopticfocusesandtheabilityto travelthroughwhatappearstobethe underlyingtrueworlds.Thisexperimentation allowsmetoobserveincontemplationand speculationofnature’smysteriousness.

EmilyKim isaProfessorofGraphicDesignintheDepartmentofArtatSamHoustonState UniversityinTexas.Sheisadigitalmediaartistandexperimentaldesigner,exploresart,science, andtechnology.Duringthepastyears,Kimhasexhibitedherworknationallyandinternationally. HerworkswereexhibitedintheArtGalleryatSIGGRAPH,GraphicDesignUSA,SMart MultimediaArtFestival,FloridaInternational,LongBeachIslandFoundationoftheArtsand Sciences,108contemporary,WestVirginiaMountaineerShortFilmFestival,Farmington Museum,andAlexandriaMuseumofArtinUSA.Also,Kim’sworkswereincludedintentionallyin the10thSeoulInternationalNewMediaFestivalinSeoulandGwangJuInternationalExhibition atAsiaCultureCenterinGwangju,SouthKorea,LEDMediaFaçadeinSelangor,Malaysia,9th InternationalConferenceComputerGraphicsinHsinchu,Taiwan,and3rdInternationalFestival ofNanoArtinIasi,Romania.

Video:vimeo

Code_red

Keywords:Human-robotinteraction,Disruptivefeminine, Lipstick,Trust

Theritualofawomanwearinglipstickis anindividualactofidentity,yetcommon acrosscultures.Whatdoesitmeanfora robottoreplacethehumanhandinsuch anact?Agencyandtrustare reconfiguredintheintimatezoneofclose contactbetweenhumanandmachine.

Code_red isavideoartworkthatportraysa solitaryfemalefigureawaitingthepaintingof herlipsinredbyarobot.Inwhatseemslikea simple,perfunctoryactionsequencebythe robot,throughaseriesofimagesthatare deliberatelyintenseandambiguous,weaimto unsettletheviewerandcallintoquestionthe integrationofarobotinculturalritualsof femininegroomingandpresentation.

Weapplyafeministapproachto investigatinghowrobotscancollaborate withhumansinpersonalgroomingand bodilycaretowardsafuturewhere robotsareubiquitousindailylife.Our workaddressesethicalissuesofidentity, agency,vulnerabilityandtrustinhumanrobotrelations.Weexploretheseissues throughcinematicfilm-makingas provocationsandspeculativenarratives.

Introducingarobotintothishighlypersonal ritualinvitesacritiqueofhowbiologicaland machinebodiescouldbereconfiguredinthe intimatezoneofclosecontact.Deployingan industrialroboticarmisadefamiliarisingtactic, intendedtodisruptandopenupthinkingon howweweaverobotsintoourdailylivesand private,intimateacts.Itisalsopartofour arsenalofcreativepracticeofthedisruptive feminine,aquestioningoftheconstructionof theuniversalfemale,withitsculturally entrenchedfemininemodesofpresentation.

reinhardtloke are LianLoke and DagmarReinhardt:wedevelopprojectsattheintersectionof art,design,architecture,choreographyandhuman-machineinteractionsince2012.Lokeisan artist,dancerandinteractiondesignresearcher.Herpracticequestionstheroleofthebodyin contemporarysociety,andhowournotionsofselfareopentotransformationthroughintercultural,inter-speciesandinter-mediarelationsandrituals.Reinhardtisanarchitect,designer andresearcherandextendsdesignresearchforarchitecturalperformanceattheintersectionof architecture,acoustics,structure,robotics,fabrication,materialandconstructionconstraints intomulti-disciplinarycollaborations.Ourworkisacriticalspeculationonthefutureofhuman versusmachineagency,combinedwithacreativeexperimentalapproachtomaterialitythrough digitalfabrication,softwareprogrammingandrobotics.Weexplorenewmodesofnon/human performativityandhumanexperiencethroughprototypes,installation,exhibitionand performance.

Instagram:@reinhardtloke

AlexisGreyHildrethandOraCogan

LavoroMacchinine

Keywords:Cinematypography,Kinetictypography,Experim entalanimation,Videocollage,Soundcollage

LavoroMacchinine isacollaborative movingimageandsoundworkthat deconstructstheopeningcreditsand reimaginesthemusicalovertureinthe titlesequencefromtheItalianperiod drama IlGatopardo (1963).

replication,andassimilation; Lavoro Macchinine discoversitsownalienproperties offormandbehaviour,whilesimultaneously exploringtheboundariesofitscinematic environment.

LavoroMacchinine isacollaboration betweenAlexisGreyHildreth(moving image)andOraCogan(sound)that deconstructstheopeningcreditsand reimaginesthemusicalovertureinthe titlesequencefromtheItalianperiod drama IlGattopardo (1963).

LavoroMacchinine occultsthefilm’s originalstatictextwithamercurial, kinetictypography,builtfromthevery glyphsitisatpainstoobfuscate. Throughgestation,approximation,

Thelivingwordproducedby LavoroMacchinine ispropelledandpropagatedbyahungerfor andthedigestionof, IlGatopardo‘sdiegetic space.Itlongstohidewithinit;tobecomepart ofit.Thebuildingblocksoflanguageare hijacked:letterformsbifurcateinanimitationof manorgates,logographselongateintofragile towers,conveyorbeltscomposedof graphemesdisseminateacrossthelaneway, ligaturesrolloutofideogramstoscrutinize Romanbusts,alienmarginaliabreachthe balustrade,cedillascrupulouslyscalethevilla walls,extraterrestrialdingbatslodge themselvesintotheruinsofaworldthatno longerexists,ogonekladenemissariesprobe thecinemascapeinordertobecomeit;to becomeus.

AlexisGreyHildreth isamulti-disciplinaryartistbasedontheWestCoastofCanada.In2014 hereceivedaBFAfromEmilyCarrUniversityofArtandDesignandin2017completedanMFA attheUniversityofWaterloo.Alexis’workrevolvesaroundboundaries,barriers,andthresholds. Heisinvestedintherelationshipbetweeninternalandexternalgeography,thebalanceofterror andawe,andintrackingthemovementofconsciousnessthroughculturalartifacts.Alexishas heldaplethoraofjobs;frominnkeepertonightwatchmen,fromshepherdtosecurityguard, fromgrocertogardener,fromplowmantopictureframer.Heiscuriousaboutthewaysinwhich thecreativeimaginationisbothenlightenedandimpoverishedbypopularculture.

OraCogan isamulti-disciplinaryartistandsinger-songwriterbasedontheWestCoastof Canada.Sheisknownforhersingularvoiceandcinematiccompositions.Coganhasreleased sevenalbumstodatewhilecollaboratingwithamultitudeofartistsandtouringextensively throughoutEuropeandNorthAmerica.ShehasperformedatLeGuessWhoFestivalinthe Netherlands,PickathonFestivalinPortland,Oregonandhassharedthestagewiththelikesof Grouper,MazzyStarandLidoPimienta.HernewalbumBellsintheRuinswasreleasedJuly13, 2020onPrismTongueRecords.

Website:gozertoast.com

DanceCubesII

Keywords:Glitch,OrnellaMuti,Random,Non-humancocreation

DanceCubesII consistsofalgorithmbasedimagesof80’sfilmstarOrnella Muti,madewiththeself-codedcocreationtoolcode9.Therhythmofthe videoisdominatedbyasuperimposed danceperformanceoftheItalian actress,anartifactofanoldSpanishB movie.Theresultisradical,andan unseenkindofvisualart.

In2022Imade DanceCubesII. Thevisualpart of DanceCubesII consistsofalgorithm-based imagesof80’sfilmstarOrnellaMuti,createdby anuncontrolledprocesswithouthuman influence.ForthisprocessIusedtheselfcoded softwareCode9asnon-humanco-creation tool.Buttheartworksrhythmisdominatedbya halfvisiblesuperimposeddanceperformance oftheyoungItalianactress:anartifactofa SpanishBmovie,publishedin1974,twoyears beforetheendoffascisminSpain.Theresultof bothimagestreamsconsistsofanunseen visuallanguage.

InSeptember2018KaterinaCizek invitedmetoaMITconferencein CambridgeaboutCo-creation:Thiswas thefirsttimeInoticedthatthereisa theoreticdiscourseaboutco-creation.

Theusageofnon-humancreationisnot new.Analograndom-basedprocesses, suchasGerhardRichter’scolour-coatscratching(“Rakeltechnik”)orJackson Pollock’s“driptechnique”creatediconic landmarks.HaroldCohenusedfix algorithmstocreateart,VeraMolnar usedfixalgorithmsasatooltoexplore art.

Whilethemainideawasahumancreationand themixofthevisualelementswasdonebyme, theradicalcolorsandtheunusualaesthetics camefromtheuncontrollednon-humancocreationprocess.

Allthisisverytechnical:Asanartist,myfeeling wasthatIhadtocreatesomethingwhichis lessrepresentationalartthanmypastworks. Myfeelingwasthattheblurbetweenabstract andrepresentationalartwillconductinto somethingmoreintense.Myshiptonavigate therewasnon-humanco-creation.

JosephAyerle isanartistofEurope’sdigitalgenerationandexploresartinthefieldsof photography,artificialintelligence,videoart,NFTs.AstudyconductedatMassachusettsInstitute ofTechnologycalledJosepha“newgenerationartistandphotographer”,theRoyal PhotographicSociety(UK)describedJosephasan“experimentalcontemporaryartist”.

Joseph’sthematiccyclesandmovingimageprojectsseemtorejectanykindofclassification anddefyoftenconventionalcolourschema.Usingdigitalartifactsofadvertisingandfilmsin additiontohisownphotography,Josephdistortsinhisoevrethecoordinatesoftime,spaceand conventions.

JosephisregularlyinvitedbyuniversitiesandArt-Meets-Techfestivalstoeventssuchas “ROMBAK”oftheMultimediaUniversityofMalaysia,“AudiovisualFrontiers”oftheUniversityof California,Riversideorthe“RebootFest”oftheUniversitiesofPortoandLisbon(NOVA).Joseph wasfinalistoftheexhibitionConcorsoNazionalediArteAttualeeBiennaleperleAccademiedi BelleArtidiFirenzeeCarrara”inFlorence,2017.

Website:joseph-ayerle.com

WalkingonSol

Keywords:Myth,Memory,Immersive,Repressed,Desert

Byusingdigitaltransportationand reconstruction,thevideoisan apocalypticvisionoftheworldseen throughthePersianmythofanancient fortressandagiantgluttonousworm. AccordingtothemythofHaftvādand Ardeshir,thedestructionofthewormis believedtohavesealedapermanent curseonthecitybycausingdroughtand desertification.Eventually,thecitywould

condition,theproductoferosionandhuman disregard,thisprojectasks:Towhatextent doesthefortress’shistory,andthemythsand legendssurroundingit,foreshadow contemporaryhumanimpact—development anddevastation—onthefutureoftheworld?

Inthecentralcoreoftheancientcityof Kermanisafortressbelongingtothe Persianempirethat,overtime,hasworn outandturnedintoagiantdune.In WalkingonSol,Iusedigitaltoolsto createanaestheticformtoinvestigate andinterweavethepossibleimpactof thefortress’shistoryandmythonthe regionandtheworld.

Thecurrentviewofthefortressdoesnot relatemuchtothegloriousPersian empire.Nowitisapileofdust.By lookingatthefortress’scurrent

Incontrasttothebeliefofmanyyoung residentsoftheregion,whoconsiderthe fortressagiantdune,theeldersandgreat grandparentsbelievethatitisthegraveofa worm-likemonsterwhosehatredhascaused thecity’scurrentsituationofdroughtand scarcity.Throughadigitalizedspeculative aesthetic—asanalternativenarrative—Walking onSolasks:whathappenswhendisregarded beliefsandrepressedregionsarerecalledand thoughtofindifferentways?Canthese forgottenremnantsofthepastbewhisperings ofthefuture?Andbysimulatinganabstract3D environmentthroughdigitalsoftware,thework asks:whataspectsofthefuturecanbe imaginedandconstructedbytechnology?By juxtaposingthedigitalandphysicalstructureof theregion, WalkingonSol intertwinesan aestheticformforthefutureofthePastwith theimaginedFuture.

NimaBahrehmand isanartistwhocreatesvideoinstallations,performances,andtechnological outcomes.Hisartpracticedealswiththehumanizedworld’saftermath.Nimainvestigatesthe capitaldesertifyingoperationthatgeneratestherepressionsthatwilleruptinthefutureand impactthecreationofthenew.Hisartworkshavebeenincludedinexhibitionsandvenues includingDigitalNativeaspartofTbilisiOxygenBiennial,Tbilisi;xCoAx,Graz;AaranGallery, Tehran;KunstraumPotsdam,Berlin;Marres,Maastricht;Kiosk,Ghent;VAC,AustinandAG Gallery,Tehran;amongothers.NimareceivedhisBFAfromtheUniversityofKerman,Iran;MA fromSchoolofArt,Ghent,Belgium;andMFAinstudioart,transmediafromtheUniversityof TexasatAustin.NimaiscurrentlyaPh.D.candidateattheDepartmentofCriticalMedia PracticesattheUniversityofColoradoBoulder.

Website:joseph-ayerle.com/button

13Eyes

Keywords:Self-representation,Obsolescence,Alterity, Mediation,Technology

13Eyes isasculpturalinteractive artworkbuiltaround13obsolete,yet fullyworking,iPhones.Byassembling fragmentsofvisitors’facesinto monumentalportraits,itconjuresup imaginarybeingsattheintersectionof familiarityandalterity.Theinstallation invitesareflectionaboutthemediation ofself-representationbytechnologyand societyandbyourownvanityandfear.

controlledbyahiddenmasterchargedwith surreptitiouslytakingpictures,remotely manipulatingthem,anddisplayingtheresults. Byinvokingtheubiquityandcultural significanceoftheiPhone,theinstallation questionsourrelationtostatusand obsolescence,butalsotosurveillanceandselfrepresentation.

13Eyes isaninteractiveinstallationthat dynamicallyassemblesmonumental portraitsofvisitorsbyfusingtogether fragmentsoftheirrespectivefaces.The resultingtriptychconjuresupimaginary beingsattheintersectionoffamiliarity andalterity.Bysharingthemicrosocial spaceoftheinstallation,(v)users’selfrepresentationsblurwithothersinan uncannyfashion.Thus,theinstallationis aninvitationtodiscussthemediationof ourself-imagebytechnologyandsociety andbyourownvanityandfear.

Theinstallationitselfisasculptural assemblyof13obsolete,butfully working,iPhones.Thedevicesare

Thisartworkcreatesdynamiccomposite visualsthatareneitherfullygenerativenor entirelyrepresentative.Instead,thedynamic hybridportraitsinhabitaliminalspacebetween familiarityandalterity.Visitorscanrecognize portionsoftheirowncorporalityforciblybeing mergedwiththatofothers.Thiscreatesa malaisethatinvitesthemtoconsiderthe humanbeingsaroundthemandthewaysby whichtheyarebeingcollectively (mis)represented.

WhoisitthatIamsharingafacewith?This performativequalityoftheinstallationextends theactualartworkbeyondtheinteractive devicetoincludethewholephysicalspaceand, moretothepoint,thevisitorsinsideit.This createsaforumfortheinteractorstoconsider thewaysthroughwhichtechnologymediates boththerepresentationofselfandofothers.

Byusingaculturaliconsuchas theiPhone,Ihopetokickstarta necessarydiscussionabout technology,abouthowit surreptitiouslypermeatesand overtakesourhumaninteractions andabouthowwehastilydispose ofitwhenfashionablyobsolete. Inotherwords,thisartwork’s strengthnotonlyliesinits aestheticqualitiesbutperhaps evenmoreinitsabilitytobring aboutashareddiscursivespace.

Jean-PhilippeCôté createsinteractiveartfrom technologicaltrash.Hisinstallationshavebeenbuiltfrom obsoleteATMscreens,antiquatedpenplotters,discarded laptops,archaicsecuritycamerasandoutmodediPhones. Byde-scriptingtechnicalartifacts,hisworkimagines alternatefuturesforthee-wasteoursocietiesleave behind.Despitethisdramaticundertone,hisinstallations areinteractedwithinaplayfulandpoeticway.

Arecurringthemeinhisworkisthemirroringofthe visitor’sbody.Byexhibitingdistorted,hybrid,blendedand liminalrepresentationsoftheself,hisartworksare underliningthedislocationbetweenwhoweareandthe waysinwhichwepresentourselvesinaworldheavily mediatedbytechnology.

Whileheisahardwaretinkerer,itisthroughsoftwarethat hetransmutesolddevicesintoart.Heisarespected contributoroftheopensourcecommunity,especiallyin thefieldsofcreativecoding,networkedmusicand physicalcomputing.Inshort,hisartisticapproachallows himtoreshaperealitythroughacombinationoftechnical appropriation,softwareremediationandalgorithmic serendipity.

Website:djip.co

FutureMemoriesof DeepWater

Keywords:Speculativearchaeology,Plasticpollution,

FutureMemoriesofDeepWater researchesthepossibilitiesofthe algorithmforpredictingnew entanglementsbetweenunderwater artifactsandtheenvironmentwherethey arediscovered.Consistingofgenerated imagesbythealgorithmandaphysical object,itquestionshowunderwater heritagecouldlooklikeinthefuture, facinghumanactivitiesaffectingthe environment.

humanactivitiesandpollutionsundermine thesenaturalenvironments?Whatwillour underwaterheritagebelikeinthefuture?

Theproject: FutureMemoriesofDeepWater exploreshowalgorithmscanbeusedfor predictingnewentanglementsbetween underwaterartifactsandthechanging environmentwheretheyarediscovered.We reflectoncurrentproblemsanddangersfor marineenvironments,suchas“plasticrust”and plasticpollution.

Whatarethechangingconditionsfor Archaeologyinunderwaterecosystems?

Canchallengesbepredictedand solutionsimaginedusingMachine Learning?

Withthepassageoftime,underwater artifactsareencrustedwithcoral,algae orothermarineorganisms.Howdo

Builtuponexperimentalspeculation, Future MemoriesofDeepWater callsfortheprotection ofthreatenedmarineecosystemsandaimsto createawarenessandencouragepreservation ofculturalheritage.

Credits:

concept,research,visualdesign:IndiaraDi Benedetto

sculptureproduction:GiuliaBerrettoni projectmentorship2021:AlexiaAchilleos

Underwaterecosystem,Futureheritagepredictions

IndiaraDiBenedetto (*1994,IT)isanexperimentalmediaartistwithabackgroundinvideo art,digitalphotographyandvisualdesign.

Throughentanglementsbetweenart,organicmatterandobservationsofarchaeology,her recentartisticresearchinvestigatesthestorytellingpossibilitiesoftechnologyabout contemporarynarrativesandfutureimaginariesfocusedonhuman–object–socialand environmentalcontextconnections.

Herartworkshavebeenexhibitedinseveralvenues:ArsElectronicaFestival(AT),Ars ElectronicaCenterandDeepSpace8KAEC(AT),Castellod’AlbertisMuseodelleCulturedel Mondo(IT),CYENSCentreofExcellenceNicosia(CY),SpeculumArtium(SI)andmore.

Website:indiaradibenedetto.com

MichelleL.Herman

Untitled (ANewLandscape)

Keywords:Speculativefuture,Meaning,Consumerism,Reality

Untitled(ANewLandscape) exploresa possiblespeculativefutureofthequickstopconvenienceofCapitalism

Theworkisinspiredbyanactual neoclassicalbuildinginWashington,DC whichoutliveditsformerpurposeand

wastransformedintoagasstationsnackshop. Insomeways,thetransformationofthisgrand buildingintosomethingsomundaneisa metaphorforthepost-capitalistsocietyin whichweareliving.Setto“themostfamous holdmusicintheworld”(Cisco’s“Opus#1”by TimCarletonandDarrickDeel),thepiece providesapauseforcontemplation.

MichelleL.Herman isamultidisciplinaryartistwhocreatessculpture,video,andinstallations toinitiateconversationsaboutagencywithininvisiblesystemsofpower.Drawingfrom theoreticalandphilosophicalresearch,feministanddisabilitypolitics,comedy,and conceptualism,Hermanexploresthemessuchastheperformativityofeverydaylifein technologicallymediatedsociety,valueproduction,andhowagencynavigateslargersystemsof power.

HermanhasexhibitedinternationallyinsoloandgroupexhibitionsatGallerieLaBox(Bourges, France,2022);HFKUniversityoftheArts(Bremen,Germany,2022);TheCorcoranMuseumof Art(Washington,DC,2010);TheSmithsonianInstitution(Washington,DC,2019,2017,2010, 2009);TheKennedyCenter(Washington,DC,2008),TheWashingtonProjectfortheArts (Washington,DC,2015);ArlingtonArtCenter(Arlington,VA,2017);HillyerArtSpace (Washington,DC,2016);andVisarts(Rockville,MD,2021,2018).

Herman’sworkhasbeenwrittenaboutandfeaturedinHyperallergic,NewAmericanPaintings, TheWashingtonPost,NPR,andEastCityArts.HermanholdsbothanMFAandBFAfromThe MarylandInstituteCollegeofArt(MFA2020;BFA2008). Website:michellelisaherman.com

MaxSchleser

ANewDawn

Keywords:Moving-imageArts,Experimentalscreen production,Memory-scape,Nature

Themoving-imageartworkisan explorationofaformerGerman industrialcoalandsteelproductionsite, whichtransformedintoapublicparkin 1994.Theironworksarenotonlya symbolof‘Wertewandel’,thechangeof values,butalsosymbolisesour addictiontoartificialenergyandits transformationintowealth.

ANewDawn isamemoryscape,which takesacriticalapproachandusesthe AuroraBorealisasanaudio-visual representationoflifeoutofbalance. Imaginethemagneticfieldshaveshifted throughclimatechangeandthecollision ofelectronicallychargedparticleswould happeninourproximity.TheAurora’s symboliseageomagneticstormcaused bynature’sexclamationoftheecological crises.

Thelastshiftwasworkedonthe4April 1985andtheformer ‘Wirtschaftswunder’turnedintoan industrialwasteland.Theironworksare notonlyasymbolof‘Wertewandel’,the

changeofvalues,butalsosymbolisesour addictiontoartificialenergyandits transformationintowealth.Asasideproductof thelastcentury’sheavyindustry,wearenow facedwithaclimatecrisis.

SimultaneouslytheinterpretationofAurora’sin dreamssignifiesapositiveoutlook.Adream withanAurorameansimportantthingswill happenand‘magnetic’outcomesareaboutto appearonthehorizon.Whileclimatechange appearstobeanightmareoftheindustrial past,thisexperiencehopestorecalibrateour outlook.InGreekmythologyAurorarefersto dawn,combiningpasteandpresentthis memory-scapetakesapositiontomakean argumentaboutaninnovativeplanetandthat wemustactnowinaholisticmanneronthe climatecrises.

Theaffordancesandaestheticofthis experimentalscreenproductionareutilised throughtheviewerspresenceinahybridspace; partlydreamobjectandpartlyarchitectural requiem.Thevisualsareinteractingwithan originalsoundscape.Themoving-image artworkconceptualisedspatialisedstorytelling basedonacombinationofsoundscapeand abstractfilmmaking.Thisoriginalmethodis

supportedbyexperimentationwith motionscapes.Onlocationan accelerometermicrophonewas utilizedtorecordthesoundofthe fabric.Usingintellectualmontage, thefactorywaspersonifiedand ‘reactivated’throughthe placementofvisualandaudio effectsinthefilmicspaceto demonstratehownaturereclaims thisarchitecturalrequiem.

Fieldrecording:SimonLongo. Soundtrack:PauloHartmann, AndreNamurandDanielSasso.

MaxSchleser isanaward-winningfilmmakerwith expertiseinImmersiveMediaandCreativeArts4.0.Heis AssociateProfessorinFilmandTelevisionand ResearcherintheCentreforTransformativeMedia Technologies(CTMT)atSwinburneUniversityof Technology(Melbourne,Australia).

Hisexperimentalfilms,moving-imageartsandcinematic VRprojectsarescreenedatfilmfestivals,ingalleriesand museumsincludingFLEFFFilmFestival(USA),Festival deLaImagen(Columbia),MuseudaImagemedoSom–MuseumofMovingImage(Brazil),LondonGalleryWest, SouthLondonGallery(bothUK),NgāTaongaSound& Vision–NewZealandFilmArchive,TePapaTongarewa–MuseumofNewZealand(bothAotearoa/NewZealand), PocketFilmFestivalandVideoscope(bothFrance).His mobilefeaturefilmMaxwithaKeitai(2007)isincluded inthepublicfilmarchiveintheForumdesImagesin Paris(France)andthesmartphonedocumentaryfeature Frankenstorm(2014)broadcastedonCTV,Canterbury Television(Aotearoa/NewZealand).

Website:schleser.nz

TheErectionofPhygital Graveyard

Keywords:Autogeneratedreal-timeanimation,Phygital heritage,Onlinerelics,Machinelearning

TheErectionofPhygitalGraveyard isan auto-generatedreal-timeanimation whichspeculatestheheritageofthe phygitalenvironmentwheretheonline worldandthephysicalworldare intertwinedandquestionsthe assessmentsystemwhichweuseto determinevalueforthefutureheritage.

Thespacecreatedin TheErectionofPhygital Graveyard hasnosimilarworldtocompareasit prevailsforonehourandwhatseemslikean accidentalcreationisonlyeditedbyan algorithm.Createdbydatawhichwasonce editedthroughremoval,thephygitalworld turnsintoacosmicdust.

Updatedeveryhour,thesystem searchesforthemostpopularkeywords online,algorithmicallydownloadsand removespartofthedownloadedimage whichconveysthenarrative,leavingonly thecolorinformationandtherectangular frame.Thesystemautomatically arrangestheresidueoftheimages creatingthedigiscapeofourcollective thoughtsofthepastandthepresent.

Insteadofitbeingamimicryofthephysical world, TheErectionofPhygitalGraveyard revealstheworkingsofthemachinesdealing withdataandintheprocessdisplayshowthe digitalcultureiscreatedthroughthemeansof re-arrangingthevisualinformation.Withinthis digitalecosystemandculture,wherethe machinegeneralizes,classifiesandmakes decisions,andaswealltakepartintraininga datasettotrainthemachine, TheErectionof PhygitalGraveyard speculatesthepossible heritageandthecultureofthedigital.

InmiLeeandYunmiHerareacollectiveduoofdigitalmediaartists. Theyhavebeenworking togetherasacollectivesinceJuly2021.

InmiLee investigatesthepotencyofartandtechnologytoexploreculturalandsocialconflicts andcreateaframeworkforresearchandanalysisforsocio-politicalrealities.Herworktakesthe formofkineticsculpture,digitalperformance,interactiveinstallation,andvideo.Shehas exhibitedatLondonFutureFest,DigitalArtBiennale,SIGGRAPH,ISEA,AnrenBiennale,Boston CyberartsFestival,andtheInternationalPerformanceArtFestival.

YunmiHer isamultimediaartistworkingwithVR/AR,videoinstallation,andsculpture.Her interestliesintheparadoxicalrelationshipbetweenindividualsandsociety,whichisportrayed asspatialinstallationsinherwork.Yunmi’sworkshavebeenexhibitedinKoreaandtheUnited States,includingattheSOMADrawingCenter,SeoulArtCenter,andSanDiegoArtInstitute. Website:inmilee.com

AllaSemenovskaya,EvaLindsay andDhruvShahakaLodaya

Microplot: genomictechnologiesasa

potentialtoolofrevelationfordeliberate terraforming

Keywords:Genomictechnologies,Tool,DeliberateTerraforming

Plot isastoryoftherevelationanda ‘site’ofdesign.Themorewezoomin,the morethemicroisinterconnectedwith macro,sothestrictdistinguishingof scalesofdesignanditseffectsbecomes lessimportant.Facinghumanengineeredecologicaldisasterwill requireamorecuratedandinformed response.Thisdemandsmajor environmentalinterventionsthrough reframedandmoregranularactionsof designanddecisionmaking.

Theprojectisacalltorecalibratethe approachtodesignbyrecognizingthe microbiomeasanadditionalparameter andoverlookedagentofterraforming. Thetechnologicalmediationofthe continuous,interchangeableand

entangledrelationshipsbetweenmicrobiomes, environmentsandourselvesallowsforhigher resolutionsofperceptioninthewaywe composesyntheticlandscapes.Whengerm theoryoriginallyframedmicrobesas pathogens,designwasdrivenby“sterilization” andaimedatthe“extermination”ofmicrobial lifeandtheproductionofhighlytemperedand sealedenvironments,propellingacultureof cleanliness.Withthepotentialadvancement andaccessibilityofmetagenomicsequencing, wemaybeatthecuspofrefiningour understandingofthesemicrobialsystems,and reframingourdesignpracticesfromthe reactorytothenuanced,adaptive,and proactive.Manifestingalternative,moreprecise compositionsacrossvarioussitesandscalesof intervention,theprojectnarrateshow sequencingcouldbecomeapotentialdesign tooltoinformdeliberateterraforming.

AllaSemenovskaya isaresearcherandstrategistbasedinUAE.Herrecentworkhas specialisedinresearchprojectsandsitespecificcollaborativepractices,exploringemerging technologies,environmentalpolicies,climateinterventions,andimplicationsofhowhuman/ non-humaninterconnectionsinformourperceptionofassembledecosystems.

EvaLindsay isanarchitectandsetdesigner.SincegraduatingfromtheGlasgowSchoolofArt shehasworkedinvariousdesignstudiosinRotterdam,Paris,BrusselsandBerlin.Herworkhas specialisedinprojectsrangingfromproblematisingplanningsystemstofutureproofing infrastructurespace.Theworkhasbeendisplayedinvariousformatsincludingexhibitions,films andpublications.

DhruvShah isanArchitectandArchitecturalHistorianresidinginVadodara,India.Hewasalso afellowofthe«TheTerraforming»programatStrelkaInstituteforMedia,Architectureand Design.Heisinvolvedinacademia,research,andcuratorialarchitecturalpractice,workingwith themediumofTextandImageintheintersectionspaceofprojectedpower,politics,and placemaking.

Website: video

Ener-geyser

Keywords:UrbanCommons,SituatedDesign,Research throughmaking,Designprobe,DLT’s

Ener-geyser isanalgorithmicwellspring thatvisualisesinrealtimeenergyusage fromalocalenergy-commons.Thefilm followstheinstallationofthedatafountain,andreactionsfromthe communityfromwhichthedataisbeing sourced.UsingSituatedDesign methodology,the Ener-geyser teasesout someunderlyingvaluesofthisresourcesharingcommunity.

Thesite-specificinstallationisa researchtooltolearnmoreabouthow membersofresourcecommunities share,viewandinterprettheirdata–and inturnmakechoicesthataffectthe communityasawhole.Theinstallation wascreatedasadesignprobeforthe researchprojectDesignThinkingforthe CircularEconomy,andexploreshow SituatedDesignmethodscancontribute toarticulatingvaluetransparencyinthe designoflocalplatformsforthecircular economy.

The Ener-geyser wasoriginallyrealisedin theneighbourhoodSchoonschip (Amsterdam),themostsustainable floatingcommunityinEurope;andthe

onlyoneutilisingablockchaindrivenlocal smart-gridtodistributeself-producedenergy. Thegeyserisdesignedtoassistcommunity membersinmakingdecisionsaboutwhenitis optimaltoturnon/offappliances,inorderto achievetheiragreedsharedsustainability goals.Bylookingoutthewindow,residentscan observethecurrent(energy)situation.

Whenthefountainsprayshigh,thereisan abundanceofenergy,soitisoptimaltoturnon appliances.Amediumtolowsprayindicates caution,asdemandisheadedtowardapeak. Whenthefountainislessthanameterhigh, thereisapeak–thusitisnotoptimaltouse energy.

Thefountainexamineshowmembersofthe resource-communitymakechoicesabout whentotapfromthesharedsystem,and revealsalignedtensionsliketheindividualvs collectivegood,andprivacyvstransparency. Ener-geyser experimentswithnewwaysof interpretingcomplexdata–thatextend beyondtraditionaldashboardinterfaces.The fountain’smainpurposeistocatalyse discussion.Thesekindsofdiscussionsform thebasisformakingcomplexdecisions,that candefinehowemergingenergy-resource communitiesdefineandexecutetheircommon goals.

TaraKarpinski isadesignerandresearcher.Herprojectsarecharacterisedbysite-specific researchandsite-specificmaking,andrealisedincooperationwithdiversecommunities.

Taraisoneofthefoundersofdesign-collectivePinkPonyExpress–pioneersinresearch throughmaking.Thecollectiveworksattheintersectionofresearch,designandsociety.Their projectsarerealisedonlocationswherethereispalpablefrictionbetweencitizensand government;wheretheirworkusespublicspacetosets-outotherperspectivesoncomplex socialquestions.

Parallelonherdesignpractice,Tararegularlylecturesatuniversitiesandartacademies,andhas workedasanembeddedresearcher-designerforinstitutionsincludingtheUniversiteitvan AmsterdamandLeuphanaUniversity.SheiscurrentlyaresearcherattheCentreofExpertisefor Art,DesignandTechnology(Breda)forthegroupSituatedArt&Design.Sheteachesresearch throughdesignattheUniversityofAppliedSciencesin‘s-Hertogenbosch,NL.

Website:circulateproject.nl

Cybersyn1973/2023

Keywords:Cybernetics,Post-Scarcity,Financialization, Repurposing

Cybersyn-a1970ssocialistnetworked economyexperimentinChile-is revisitedinthisnewCGIvideowork whichengagesthequestion:Howcan wereimaginetheartefactualCybersyn forourhyper-financializedtimes?

ProjectCybersynwasanexperimentin institutingasocialistnetworked economyembracedbytheshort-lived SalvadorAllendegovernmentofChile (1970–1973)anddevelopedtogether withtheBritishcyberneticianStafford Beer.Forthepastdecade,Project Cybersynhasbeenarecurrentreference –abestpracticefromthepast–in discussionsaroundtherepurposingof hegemonictechnologicalinfrastructures andtheirredirectiontowardsmore equitableeconomicandsocialpractices. TheiconicimageofProjectCybersyn’s

controlroom–withitssci-fiappearance–representsatechnicalandaestheticobject thatalludestonegotiation,democratic decisionmaking,andsocialwelfare.Theallure ofthisimageisthestartingpointforthevideo whichproposesthatdesiresforpost-scarcity andpostcapitalisteconomicsmustgrapple withtheshiftsinthepolitical,economic,and technologicalconditionsofpossibilitythathave transpiredsinceProjectCybersyn.Tothisend thecontrolroomimageitselfbecomesa platformforalienmutations,philosophical speculations,andsocialcommitments.What wouldittaketoreimaginetheartefactual Cybersynforourhyper-financializeddayand age?Forthiswork,curatorandresearcher BassamElBaroniandtransdisciplinary architectConstantinosMiltiadiscollaborated withmultidisciplinaryartistandanimator GeorgiosCherouvim,andcomposerandsound artistGerrietK.Sharmatobringthisquestion tolife.

GrupoSynco isacollaborationbetweencuratorandresearcher BassamElBaroni (Aalto University,Finland)transdisciplinaryarchitect ConstantinosMiltiadis (AaltoUniversity, Finland),multidisciplinaryartistandanimator GeorgiosCherouvim (NewYork),andcomposer andsoundartist GerrietK.Sharma (Berlin).Thegroup’sfirstco-creationistheCGIvideowork Cybersyn1973/2023.

Twitter: @GrupoSynco

JuanPabloPachecoBejarano

TheBlueDot

Keywords:Videoessay,Infrastructures,Water, Internet,Archive

TheBlueDot isavideoessaythat weavesacriticalandnon-linearstory betweentheinternetarchive,theocean, siliconvalley,thelibraryofAlexandria, andastrologicalimageryinorderto addressthepoeticandmaterial entanglementbetweentechnology,water cycles,andtheproductionofknowledge asplanetarynetworks.

Inmostgenesisstorieslifeoriginatesinwater. Justlikeouroriginstories,ourdigital cosmologyisboundupinthelanguageof fluidity.Ourworld,theBlueMarble,isavast oceanofdata,whereeachdropletofwaterisa bitofpotentialinformation.Asdataflowsfrom cloudtocloud,backintoelectricalcurrentsin vastoceansofdata,waterisrevealedtousas theinitialstageofbeing,eachparticle containingthepossibilityofknowing ourselves—ofsensingourindividualand collectiveconsciousness.

ThealtarofatemplebuiltbytheChurch ofChristScientistinSanFrancisco, incessantlybuzzeswiththesoundof dataflow.Asyouenterthebuildingand goupthestaircase,thehumming becomeshypnotic.Thetranceleadsyou tothealtar,whereyoufindyourself surroundedbyhugewindowsthatstain theentireroomwithanintenseyellow light.Thetemplehousessixtowersof digitalserversarrangedatthetwosides ofthemainaltar.Theseaofdataflowing throughtheseharddrives—andothers notvisibletothepublic—comprisesthe InternetArchive(IA),thelargestdigital libraryintheworld.

Theevaporationofinformationfromtheocean, withitsswirlingcables,isforming unprecedentedclouds.Allclimatepredictions todaysuggestthatthepolesarerapidly melting,sealevelsarequicklyrising,andlarge darkcloudsareformingoverourglobal networks.Someeventhinkthatthedepthof thesedarkdigitalcloudsislargerthanthe depthofourcosmos.Weliveintheeyeofthis hurricane,everytimeweswipeourphoneor turnourscreenson.Thestormofdatapushed bythewindsofcapitalandsurveillanceseems almostunstoppable.Ifallpredictionsare correct,whatwillthisstormofdatalooklike whenthecloudsfinallybreak?

JuanPabloPachecoBejarano (Bogotá,1991)isavisualartistandwriterwhoseresearch investigatesthehistoricalandmaterialintersectionsbetweentechnologyandthebiosphere. Throughtexts,videos,andwebprojects,hisresearchexplorestheterritorialdimensionsofthe technosphereandthematerialandpoeticrelationshipsbetweenwaterandtheinternet.Hehas alsoproducedtransdisciplinaryandcollaborativelaboratories,whichseektofosterthecritical appropriationofdiversetechnologies.HeisaprofessorintheDepartmentofVisualArtsatthe UniversidadJaveriana(Colombia),andhasbeenaprogrammingcoordinadoratPlataforma Bogotá,laboratoryforart,scienceandtechnology,andatEspacioOdeón,acontemporaryart space.HistextsandworkshavebeendisseminatedanddevelopedinColombia,theUnited States,Spain,Denmark,Germany,theNetherlands,Belgium,Russia,China,Senegal,Mexico andUruguay.

Website:circulateproject.nl

PaulEcheverria

Greenbefore“Green”

Keywords:Photography,Memory,Parenthood,Child,Vision

GreenBefore“Green” exploresthe relationshipbetweenlanguageand humanvision.Theprojectexaminesthe processofacculturationthatisimposed upontheuntutoredeye.Priortothe acquisitionoflanguage,dohumanshave anaffinityforopticalperception?Ifso, atwhatpointdolinguisticconceptsalter theboundariesofourvisualfreedom?

Ihaveseveralmemorableimagesfrom earlychildhood.Onthedayofmy8th birthday,Ireceivedapolaroidcameraas agift.Iwasoverjoyedtobeableto captureapermanentcollectionof memoriesandvisualimages.However, bythetimeIturnedeight,Ihadalready developedaclearsenseof communicationandlanguage.The prospectofrecordingapre-language formofvisionhadalreadydissolved.

InMetaphorsonVision,filmmakerStan Brakhagestates,“Howmanycolorsare thereinafieldofgrasstothecrawling

babyunawareof“Green”?Howmanyrainbows canlightcreatefortheuntutoredeye?”. Lookingbackonmychildhood,itseems impossibletoaccessacomprehensive realizationof“theuntutoredeye”. Incontrast,myson,Atticus,wasbornin2018. Attheageofone,hedevelopedarecognizable curiosityforthemobilephone.Hislinguistic skillshadnotyetdeveloped,yethehada noticeablecapacityforcapturingphotosand videos.Overthecourseofseveralmonths,he composedalargecollectionofstillandmotion images.Uponreviewingthevisuals,thenotion ofan“untutoredeye”begantoemerge.Within thesephotographs,itbecameevidentthat Atticushadnotyetconformedtotheaccepted lawsofperspectiveorlogic.Inshort,hewas immersedinanadventureofperception. Greenbefore“Green” considerstherelationship betweentechnologyandmemory.Itisan inquiryintotheexistenceofchildhoodvision. Namely,towhatextentdoestechnologyallow forthereconstructionofchildhoodmemory? Furthermore,doesphotographyprovideinsight intotheevolutionofpre-languagevision?

PaulEcheverria isafilmmaker,digitalartistandeducator.Hisresearchandcreativepractice examinetheformativedynamicsbetweenchildhood,parenthoodandthefamilystructure.In addition,heproducesworkthatcontemplatestheinevitablecollisionbetweenhumansand technology.Echeverriaworkswithmultipleformsofmedia,includingfilm,video,augmented/ virtualreality,performance,socialmedia,datamanipulation,podcastingande-literature. EcheverriaisanAssistantProfessorofDigitalandEmergingMediaProductionatWayneState UniversityinDetroit,Michigan.Hisfilmsanddigitalworkshavebeenexhibitedatmultiple venues,includingtheMuseumofModernArt(MoMA),MediaCityFilmFestival,OtherCinema, theFRACTOExperimentalFilmEncounter,VASTLABExperimentalFestival,theDallas Medianale,FestivalEcrã,theFestivalInternacionaldeVideoartedeCamagüey,Experimentsin Cinema,theNYMediaCenterbyIFP,TheWrongBiennale,theBronxMuseumoftheArts, AnthologyFilmArchivesandtheAngelikaFilmCenter.

Website:circulateproject.nl

TivonRice

Modelsfor EnvironmentalLiteracy

Keywords:ArtificialIntelligence,Eco-Science, Eco-Philosophy,Eco-Fiction,Worldbuilding

ModelsforEnvironmentalLiteracy creativelyandcriticallyexploresthe challengesofdescribingalandscape,an ecosystem,orthespecterof environmentalcollapsethroughhuman language.Howdowesee,feel,imagine, andtalkabouttheenvironmentinthis post-digitalera,whennon-human/ machineagentshavebeentrainedto perceive“natural”spaces?

Theexperimentalvideo Modelsfor EnvironmentalLiteracy invitesustorethink thenatureandapplicationofartificial intelligenceinthecontextofthe environment.AsthreeA.I.voicesguideus throughaseriesoflandscapesatthe intersectionsofnatureandhuman intervention,wefollowadialogue somewherewithinthespectrumofhuman andnon-humanlanguage.Howdoesour readingofthiscomputer-generated languagepointbacktoourownpersonal subjectivitiesandourownenvironmental literacy?Andequallyso,howcan encounterswithnon-humanlanguageact asakindofdressrehearsalforfuture relationshipswiththeOther?

Inthefaceofclimatechange,large-scale

computer-controlledsystemsarebeingdeployed tounderstandterrestrialsystems.Artificial intelligenceisusedonaplanetaryscaleto detect,analyze,andmanagelandscapes.Inthe West,thereisagreatbeliefin‘intelligent’ technologyasalifesaver.However,practice showsthatthedominantAIsystemslackthe fundamentalinsightstoactinaninclusive mannertowardsthecomplexityofecological, social,andenvironmentalissues.This,whilethe imaginativeandartisticpossibilitiesforthe creationofnon-humanperspectivesareoften overlooked.

Withthelong-termresearchprojectand experimentalfilmsModelsforEnvironmental Literacy,theartistTivonRiceexploresina speculativemannerhowA.I.scouldhave alternativeperceptionsofanenvironment.Three distinctA.I.sweretrainedforthescreenplay:the Scientist,thePhilosopher,andtheAuthor.The A.I.seachhavetheirownpersonalitiesandare trainedinliterarywork–fromsciencefictionand eco-philosophy,tocurrentintergovernmental reportsonclimatechange.Ricebringsthem togetherforaseriesofconversationswhilethey inhabitscenesfromscannednatural environments.Thesevirtuallandscapeshave beencapturedonseveralfieldtripsthatRice undertookoverthepasttwoyearswithFIBER (Amsterdam)andBioArtSociety(Helsinki).

TivonRice isanartistandeducatorworkingacrossvisualcultureandtechnology.Basedin Seattle(US),hisworkcriticallyexploresrepresentationandcommunicationinthecontextof digitalcultureandasks:howdowesee,inhabit,feel,andtalkaboutthesenewformsof exchange?Howdoweapproachcreativitywithinthedigital?Whatarethepoetics,narratives, andvisuallanguagesinherentinnewinformationtechnologies?Andwhatarethesocialand environmentalimpactsofthesesystems?

RiceholdsaPhDinDigitalArtandExperimentalMediafromtheUniversityofWashington,where heiscurrentlyanAssistantProfessorofData-DrivenArtsPractice.HewasaFulbrightscholar (Korea2012),oneofthefirstindividualstocollaboratewithGoogleArtists+Machine Intelligence,andservedasanArtisticResearcherattheDelftUniversityofTechnology.

Instagram:@tivonrice

GloriaLópezCleriesand SiveHamiltonHelle

TheUnreal

Keywords:Video-game,Colonialism,Meditation,Landscape

TheUnreal isamachinimafilmsetina utopian-mininglandscape.Ambient musicandasoftvoice-overcreatea soothingatmosphereandenticesthe viewertomeditatewhilealsobeing exposedtothemineraloriginsof technologyanditsdynamicsof extractivism.

itsdisengagementwiththelandscape.Ina groundedpractice-basedapproach,TheUnreal presentsanartificialworldconstructedby videogamesoftware,builttoplaywiththe appropriationofthevisualandnarrativecodes oftechno-colonialism.

TheUnreal isamachinimafilm (videogamerecordedinreal-time)setin autopianlandscape.Theviewerisledin afirst-personpointofviewacrossthe shinysurfaceofthisunexploitedmine. Ambientmusic,accompaniedbyasoft voice-over,createsasoothing atmosphereandenticestheviewerto meditatewhilealsobeingexposedtothe mineraloriginsoftechnologyandits dynamicsofextractivism. Theproject,asanon-located, atemporal,ahistoricallandscape, addressestheemergingquestionsofthe contradictionsofmediamaterialityand

TheUnreal isavirtualpromisedland surroundedbyaninfinitecoastlineanda transcendentalpinksunset.Wecandrawlines tosettlercolonialisminwhatlookslikean expeditionintothesublime.Inthissense,The Unrealhasbeencreatedasahyperbolic representationofthetechno-romantic discoursesthatpermeateeverythingrelatedto technologicaldevelopmentandsolutionism. Thedematerializationanddeterritorializationof thedigitalhavebeendefinedbynatural metaphors(thecloud,spaceandthesea)and arepartoftherhetoricofdigitalemancipation andtheculturalhegemonyofSiliconValley. Undertheillusoryslogansoffreedom, innovation,progressandinfinity,wehave willfullyforgottenandrejectedthephysical, materialandresidualconditionoftechnology

GloriaLópezCleries (València,1988)isavisualartist,educatorandindependentresearcher. SheholdsaMasterinContemporaryArtHistoryandVisualCulture,MuseoNacionalCentrode ArteReinaSofía(UCM,Spain)andaMasterinFineArts,HDK-Valand,(GothenburgUniversity, Sweden).Herartisticresearchfocusesonquestionsaboutneoliberalrhetoricconcerning emotionalcapitalismandnewonlinemodelsofproductivity,affectionandcollectivity.

SiveHamiltonHelle(b.1989Oslo)isafilmmakerandvisualartistbasedbetweenGothenburg andOslo.SheholdsanMFAinFilmfromHDK-ValandandaBAinFilmfromLondonCollegeof Communication.HamiltonHelle’sworkdealswithlandscapesthataremarkedbycolonialism and(hidden)industrialactivity.Shehasscreenedandexhibitedherworkinternationallyandat onlineplatforms.

Website: glorialopezcleries.com

2ndSummitonNewMedia ArtArchivingexhibition

TheSecondSummitonNewMediaArt

Archiving aimedtofacilitatecritical discourseandcollaborationamongst archivists,curators,artists, researchers,andotherparties interestedinthepreservationand onlinearchivingofnewmediaart.This summitservedasanincubatorof innovativeideas,production techniques,andinfrastructure developmentaswellasassistin connectinglike-mindedindividualsin anefforttocreateaunifiedapproachto solvingthecomplexproblemof

preservingthehistoryofnewmediaart.The SummitwasorganisedbyISEA2022 Barcelona,theISEASymposiumArchives,and SIGGRAPHHistoryArchive,incooperation withtheBarcelonaMuseumofContemporary Art(MACBA),FILEFestivalarchive,ADA ArchiveofDigitalArtandArsElectronica archive.

OrganizingCommittee: BonnieMitchell

JanSearleman

TerryWong

WimvanderPlas

Artworks

VisualizingtheIllkun(Anger) MarcelaAntipanOlate

i:M:mobile

LawrenceBird

ArchivingNewMediaArtArchives

ByeongwonHa

'DataWhiskers'and'Ecophagy' MartijnHage

Gendernaut.QueeringtheFuture DiegoMarchante

AnatomyofaFatberg

AndreaPalašti,SanjaAnđelković, StefanaJanićijević,JovanaPešić

SpiralofWords

PredragS.Šiđanin,LukaZ.Tilinger, MajaSBudžarov,NinaBZvezdin

VisuallyReadingthePandemic: TranslatinganOpenAccessArchive intoanImmersiveInteractive Artwork

DarioRodrighiero,ElianCarsenat, EvelineWandl-Vogt,JulesDöring, MichaelaFragner,StephaFarkahaszy, OliverElias

MarcelaAntipanOlate

VisualizingtheIllkun (Anger)

Keywords:Screen,Memoriesofdissidence, Installation,Apparatus,Datainterpretation

VisualizetheIllkun(Anger) isan interactiveinstallationthatseeksto reflectonthescreenconceptinits symbolic,philosophicandtechnical dimensions.It'sinspiredbyareflection ontechnologicalobjectsandthe experimentationonsubjectivewaysof visualizingdata.

narrativethatdatesbacktothetimeswhen ChilewasaSpanishcolonyandlater,asa republic,usingopenlyrepressivestatepolicies andterritorialusurpation.Situationthat unleashedthewrathofoneofthefirst indigenouspeoplesoftheaforementioned territory;theMapuche.

VisualizetheIllkun(Anger) isan interactivescreeninstallationforthe interpretativevisualisationofangerinthe provinceofMalleco,Chile.The installationsseekstoreflectanddiscuss theconceptofscreenbyrelatingittothe memoriesofdissidence.Thus,ittakesasa casestudythebookLasRazonesdel Illkun/Rabia(TheReasonsoftheAnger), tryingtovisualisethroughimagesdiagramsthesubjectivitiesarisingfrom thefeelingsofdispossessioninthe MapucheconflictintheMallecoregion.In thisway,theimages-diagramsandthe designeddeviceseektomediatespaces andterritoriesofmemorythatconflictthe notionofhistoryinChile.Aproblematic

Theprocessofstudyandcreativedevelopment ofthisprojectwasdividedintofourstages:first, astudyoftheconceptofthescreen,whichwas analysedtounderstandthetechnicaland conceptualcharacteristicsthatrelateittoa memoryapparatus.Secondly,adefinedthe themeofrepresentationandthetypeofdatato systematise,inthiscase,ahistoricalbook. Third,awayofrepresentingangerbythe abusesdescribedintheaforementionedbook; thatis,throughasubjectivistparadigmthrough theinterpretationofthewrittenarchive.This decisionisbasedonaninterpretativeviewofa complexsubjectandtotallyopposedtoa scientificnaturalistparadigm;non-objective informationgoesfrombeingdeliveredto uncertaintiesthatarecapturedandinterpreted; firstbymyselfasthecreatorofasystemof visualcodesandthen,bytheindividualfacing theinterface.

MarcelaAntipanOlate isanartistanddesignerlivinginGermany.Sheiscurrentlystudyinga master'sdegreeinDigitalMediaattheUniversityoftheArtsBremen.Sheisagraphicdesigner andoriginallyfromChile.Hercreativepracticemoveswithintheblurredmixbetweenartand science.Withinthatframework,oneofhermaininterestsisthecriticalreflectionon technologicalobjectsofdailyuseandtheirsymbolicandtechnicalconnectionsinrelationto politics,economies,ecologies,andcultures.Throughassociations,sheseekstocreatephysical ordigitalobjectsthatconcretisetheseinterests.Inthepast,herworkasadesignerinvolvedthe developmentofideasandconceptslinkedtoscientificcommunicationforresearchinstitutes,as wellasteachingintheareaofdesign.Currently,herworktakesdifferentformssuchas installations,physicalobjects,software,research,visualpiecesandpoetry.

Website: https://www.youtube.com/embed/tCwrE0BB9Wc

LawrenceBird

i:M:mobile

Keywords:Mediadecay,Materiality,Film,Architecture, Half-life

Amis-renderingofeightsequencesfrom FritzLang's"M"(1931),recordedona malfunctioningcomputermonitor, i:M:mobile concernsthedecayofmedia andthedifficultrelationshipofour architecturestotheformsoflifetheyare intendedtoprotect-ortoimprison?

Lang’s1931film“M”.Theseriesbeginswith “Index”,asequenceshotinBerlin’spolice archives,whereafingerprintprovidesthefirst clueinthehuntforakiller.Throughsubsequent sequences“TheHand”,“TheHunt”,“TheCell”, “Protokoll”,“TheStairs”,“BeforetheJudge”, and“Cower”,thefilmoffersameditationonthe tensionbetweenourattemptstocapture, protect,preserveandplacebeforethelawon theonehand–andontheother,toescape,to eludelogos.

Digitalarchivingstrivestocompensatefor therapiddecayorobsolescenceofdigital platforms,materialsubstrates,and displaysonwhichtheseworksdepend.

Digitalmaterialsseemtohaveashorter half-lifethaneventheunstablematerials usedintheearlyerasoffilm-making.This conditionraiseskeyontologicaland epistemologicalquestions:Whatisthe essenceofawork?Whatispermanence? Whatissolid?Howmustwerethinkthese notionswhenourworksareinherently fluid—whentheyevenmeltintoair?

Thisprojectengageswiththeseproblems byreplayinganearlyworkofcinemaona brokencontemporarydevice.Theproject consistsofeightsequencesfromFritz

Thesesequenceswerefilmedfroma malfunctioningcomputermonitor;the malfunctionsuperimposedsuccessiveframes ofthefootage,blurringordissolvinganything whichmoves.Themalfunctioningscreenthus renderstwodistinctarchitectures:thatofthe movingbody,fluid;andthatofitsspatialand materialframe,super-solid.

“M”,likemostofLang’sfilms,isknownforits useofarchitecture.Theprojecttranslates Lang’suseofarchitecture,whichintentionally locatedthatmediuminrelationtothemedium offilm,intoanewdissolvingorreworkingof architecturesprovokedbycontemporary conditionsofmedia,existingsomewhere betweendigitalandanaloguematerialities.

LawrenceBird practicesinmediaartandarchitecture.Hisartworkfocusesonimaging technologiesandtheirintersectionwithspace,inparticularitspoliticalandsocialdimensions. Hisworkincludesvideoexplorationofurbansites,projectionmappingandinstallation,and shortfilms;heledWinnipeg’scontributiontothecityoneminutesproject.Since2012hehas beendevelopingabodyofvideosandprojectionsfocusedonanomaliesinpopularimagingand mappingprograms;theworkintendstoexposethefailuresofwesternmappingprojects.

Lawrence'sartworkhasbeeninstalledinWinnipeg,Halifax,Toronto,London,Greenwich, Brussels,andManizales(Colombia)withfundingfromManitobaArtsCouncil,WinnipegArts Council,andtheCanadaCouncilfortheArts.Healsowrites,havingcontributedtoCritical Planning,Mechademia,Chora,Leonardo,furtherfield.org,andelsewhere.HeworkswithSputnik Architecture,Winnipeg,apractisefocusingonculturalandsocialprojects,includingthe internationalpublicartcompetitionWarmingHuts.

Website: https://www.youtube.com/embed/ivtCDWVJdQ0

ArchivingNewMedia ArtArchives

Keywords:Archive,Max8,ArsElectronica,ISEA, SIGGRAPH,Socialmedia

ArchivingNewMediaArtArchives isin between.netArt,glitchart,andnew mediaartarchives.Visitors'online historyonnewmediaartarchive websitesisarchivedasanartproject.

Theaveragetimetostayonawebpageis about15seconds.IntheTik-Tok generation,howdousersutilizenew mediaartonlinearchives?Withoutany browsermenusincludingtheaddressbar, ArchivingNewMediaArtArchivesonly allowsvisitorsinagallerytousethe mousetonavigateonlinearchiveswith hypertextsandhyper-images.Whenever usersclickthemousebutton,the computertakesapictureofasmallportion aroundthemousecursorandplacesiton anotherscreen,whichisinvisibletousers. Thisprojectvisualizeshowonlineusers accessnewmediaartresourcesina collageway.Whentheyclickfivetimesto

surftheonlinearchive,thecomputer automaticallyturnstothenextarchivewebsite. UsersvisitPrix-ArsElectronicaArchivfirst,then ACMSIGGRAPHArtShowArchivesandISEA SymposiumArchivesinorder.Intheend,this projectgeneratesacollageimagebasedonthe users’searchactivitiesonthosethreearchive websites.Aftereachexhibitionday,thisproject poststhefinalcollageimageonsocialmedia. Innon-realtime,asaspatialcollageimage,this projectdocumentshowusersconsumethose archiveresourcesandhowuserscanreach differentresources.Thisprojectisbasednoton scientificresearchaboutusers’online activities,butonanartisticmethodtovisualize users'historyofaccesstoonlinearchive resourcesandexamineusers’surfing consumptionpatternsonarchivewebsites.Asa delayedinteractiveartproject, ArchivingNew MediaArtArchives providesviewerswitha certaintimetoappreciatetheoriginalpurpose andfunctionofdigitalartarchives.Thiswill contributetonotonlyshowinghowonlinenew mediaartarchiveswork,butalsomaking creativespatialcollageimageswithtime-based onlineactivitiesduringtheSecondSummiton NewMediaArtArchivingatISEA2022.

ByeongwonHa isanassistantprofessorintheSchoolofVisualArtandDesignattheUniversity ofSouthCarolina.Heisanarthistorianandanartistinthefieldofnewmediaart.Asanartist andaresearcher,hetookpartindiverseinternationalartconferencesandfestivalssuchas ISEA,SIGGRAPHAsia,IRCAMForum,ARTECH,andtheSummitonNewMediaArtArchiving.In 2019,hepublishedtwoarticles:“NamJunePaik’sUnpublishedKoreanArticleandHis InteractiveMusiqueConcrèteProjects”asanauthorinLeonardoMusicJournal(MITPress)and “SurveyandAnalysisofInteractiveArtDocumentation,1979–2017”asacoauthorinLeonardo (MITPress).

Website:https://www.youtube.com/embed/XNhT0NgKlV8

MartijnHage

'DataWhiskers'and 'Ecophagy'

Keywords:Digital,Artwork,Artist,Gallery,Data

Willourdatastillbearoundtomorrow?

Digitaldatacannotbepreservedforever becauseofbitrotanddatadecay.Iam fascinatedbywhatdatadegradationwill looklike,whatifyoutranslateand visualizetheunintelligible? Data Whiskers and Ecophagy showmyartistic interpretationofthetransienceofdata. Toavoidthedatastoragedoom scenario,Ioptedalsoforhighresolution artprints.

MartijnHage isadigitalartistbasedin Rotterdam,TheNetherlands.Hestudied GraphicDesignandComputerGraphicsatthe AcademyofArtsMinervainGroningen.Hisearly digitalartworkwasexhibitedatSISEA,Second InternationalSymposiumonElectronicArtin 1990.Drivenbythequesttofindtheoriginof life,hecreateshisownsemanticbuildingblocks toexpresshimselfinaself-named morphographiclanguage.Youcouldusethe term'organicabstraction',compositionsof organicandgeometricalelements.Hisartwork evolveslikeartificialselection,usingself-made generativealgorithms.Heusesadigital explorationprocess,iterationbyiteration, alwaysincontrolofrandomnessandorderin shape,colorandcomposition.Eachartworkis createdin3-dimensionsandrenderedinhigh resolution.Hefindsinspirationinnature, technology,archeologyandfossils.Itallcomes togetherintherealworldviadigitaltechniques like3DPrinting,CNC-milling,ARandVR.

Website: http://www.martijnhage.com

Gendernaut. QueeringtheFuture

Keywords:Archive,Future,Performance,Queer,Timetravel

Gendernaut isatrans-temporaland trans-spatialtravelerwhoinvitesusto travelthroughanLGTBIandfeminist genealogy.Itshowsusthearchive throughatransmediaandperformative experiencetorevealhowthefuturehas beenrepresentedfromatransfeminist andqueerperspective.

GendernautisanEnglishtermthatwe couldtranslateas“navigatorofgender”, andthatinvokesJason'sargonauts.The termappearsforthefirsttimeinthe documentaryGendernauts:AJourney throughshiftingidentities(1999),directed byMonikaTreut,torefertopeoplewho travelthroughshiftinggenderidentities.

Thisartisticresearchprojectquestions,in afirstphaseentitled"Queeringthe software",theformsofconstructionofthe hegemonicarchivethroughthedesignofa pluginthatallowsthecollectivecreationof archivesthroughanonlineinteractive multimediaexperienceand,inasecond phaseentitled"Queeringthearchive", proposesnewwaysofvisualizing narrativesbasedontransfeministand

queergenealogiesthroughtransmediaand performativeexperiencesthatconceivethe archiveasalivinginteractivespace,freeof heteropatriarchalcodes,inhabitedbymultiple bodiesandsubjectivitiesthatrelatepast, presentandfuturetocome.Theseries articulatesanextensivehistoricalinvestigation throughadiversityofthematicthreadsthatthe feminist,queerandtransmovementshave beenweavingduringthelastfourdecadesin ourpoliticalandartisticcontext.These genealogieslinkawholeseriesofhistorical, artistic,collectiveevents,actions,campaigns, exhibitions,interviews,fanzines,performances, etc.formingacomplexamalgamof relationshipsbetweenart,politics,memoryand activism.

Gendernaut isatrans-temporalandtransspatialtravelerthatwillinviteustotravel throughtimethroughagenealogyofkeyevents inthememoryofthefeministmovementand theLGTBImovementinourcontext.Duringthis journey,hewillshowusthearchivethrougha transmediaandperformativeexperienceto understandhowtherepresentationofthe futureinhistoryhasbeenimaginedfroma transfeministandqueerperspective.Queering thefuture...

DiegoMarchante isatransfeministactivist,transmediaartistandlecturer.DoctorofFineArts fromtheUniversityofBarcelona,since2008heworksasaprofessorofAudiovisualsandGender StudiesattheFacultyofFineArtsoftheUniversityofBarcelona.In2011hepublished"Archive T.Atransfeministandqueerarchive",anarchiveofsocialmovementsandartisticpracticesthat haveaddressedgenderissuesintheSpanishcontextfromaqueerandtransfeminist perspective.HisworkhasbeenexhibitedatCanFelipa,Caixaforum,FabraiCoats,Salad’Art Jove,CentredeCulturaContemporàneadeBarcelona,Museud’ArtContemporanideBarcelona andMuseoNacionalCentrodeArteReinaSofia.In2020-21hisproject,"Gendernaut.Queering the90’s",wasselectedinthecallforresearchstaysattheMNCARS,inthecontextoftheproject OurManyEuropes–Europe’scritical90sandTheConstituentMuseum.

Website: http://gendernaut.net

AnatomyofaFatberg

Keywords:Fatberg,Datavisualisation,Datagarbage

TakingtheFatbergasametaphorfor artificiallycreatedintelligence,thework representsaninstantgameofchance.By clickingthe“flush”button,theFatbergis fedbywastewaterqualitydataanda vastnumberofanalyticaldatataken overfromtheStatisticalOfficeofthe RepublicofSerbia.

Itisacollectionofourownheterogeneousbyproductscollectedforover20years,fromdata onmicrobestoastrophysicalmeasurements, toxinsintheDanube,butalsodataon employment,bankaccounts,callswithinthe telecommunicationsnetwork,dataon newborns,divorcesanddrugaddictsinour country,amountoffoodconsumption,onthe valueofdinar,onhousing,onmigrationand tourists,oncitytrafficetc.Everythingthat makeslifearoundusandeverythingthatleaves garbageandfloatsfurther,refiningnewdata andmakingpossiblefortheFatbergto (re)form.

AndreaPalašti,SanjaAnđelković, StefanaJanićijević,JovanaPešić

AndreaPalašti isavisualartistbasedinNoviSad,Serbia.Sheworksacrossartistic,curatorial andpedagogicalboundariesbyinvestigating(picture)archivesanditspotentialtounveila nuancedunderstandingoftheworld,focusingonissuesofculturalgeography,the responsibilitiesofhistoryanditsimpactonthepresent.She’salecturerattheAcademyofArtin NoviSad,blendingherartisticresearchwitheducationalstrategies.

SanjaAnđelković isanaudio-visualandtextualresearchartistbasedinNoviSad,Serbia.Her researchisfocusedwithinthefieldofdocu-fictionpracticewheresheisquestioningitsposition insidethesystemofgender,political,socialrolesortraumaticmomentsofpersonalbiography/ historyandhowtheideaofHomechangeswithinthehistorical,geographical,social,butalso environmentalcontext.

StefanaJanićijević,DoctorofAppliedMathematics,iscurrentlyemployedatSingidunum UniversityinBelgradeasaprofessor,andatComtradeSystemIntegrationasadatascientist. Herresearchworkisinthefieldofmetaheuristics,optimization,machinelearninganddata science,whileshe’salsoartisticallyexploringarangeofapproachessuchasdatavisualisation, neurosciencesandthephilosophyofdata.

JovanaPešić isaJuniorResearcherattheDepartmentofChemistry,Biochemistryand EnvironmentalProtection-FacultyofSciences,UniversityofNoviSad,Serbia.Herresearchis focusedonnewmaterialsbasedongrapheneoxidefortheremovalofheavymetalsfromthe aquaticenvironment.Sheisactivelyinvolvedinpromotingsciencethroughvariousprograms combiningscienceandartandinterdisciplinaryresearch.SheisamemberoftheSerbian ChemicalSocietyandaholderoftheCertificateofChemicalAdvisor.

Website: https://anatomijafatberga.info/

PredragS.Šiđanin,LukaZ.Tilinger, MajaSBudžarov,NinaBZvezdin

SpiralofWords

Keywords:Creativewriting,Virtualreality, Narrative,Performance

SpiralofWords isaplatformforcreative writinginVR,basedonanidearealized in1998.Threeauthorsfromthree locations(London,UK;TheHague,the NetherlandsandNoviSad,Serbia)sent textsatdefinedtimeintervals,starting fromwordstosentencesover paragraphstoshortstories,allthistook placeviae-mail/theinternet,creatinga commonnarrativeinadefinedlocation thatbuiltaspiralofwordsinafictional space.

TheVRproject SpiralofWords isakindof ‘artisticrecycling’aswellasanarchiveofthe ideaofarealizedtextualnarrativeperformance. Thenarrativesin SpiralofWords havebeen partiallymodified,theysymbolizetheoriginal ideaindifferentcolors.Theprojectisrefreshed, enriched,anddifferentinrelationtotheoriginal performance,itisactuallyareinterpretationofa creativecollaborativeidea,inawaythatVR mediaallows.Andthatisthedirectinteraction oftheusers,wheretheyfreelycommunicate withthegivenwords,choosingthem,moving them,andcreatingtheirownmeta-text,inany formtheydesire.Certainwordsinthespiral, whenselected,activateshortaudioandvisual effectsthataresymbolictothem.Allselected wordsofthenewlycreatednarrativecanbe changed,rearranged,orrejected. Spiralof Words iscurrentlyanunrepeatableexperience, inwhichuser’smeta-textonlylastsforthe durationofthesession.

PredragS.Šiđanin,Ph.D.–multimediaartist,founderof//VirtualUnitcreativelaboratoryfor virtualreality.DeanandfullprofessorattheFacultyofDigitalProduction,EDUCONSUniversity, SremskaKamenicaSerbia.

LukaZ.Tilinger, MA–illustratorandprogrammer,co-founderof//VirtualUnitcreative laboratoryforvirtualreality.AssistantprofessoratEDUCONSUniversity,SremskaKamenica Serbia.

MajaSBudžarov, MA–ceramicandmultimediaartist,co-founderof//VirtualUnitcreative laboratoryforvirtualreality.AssociateprofessoratEDUCONSUniversity,SremskaKamenica Serbia.

NinaBZvezdin,MEA–architect,multimediaartistandmusician,memberof//VirtualUnit creativelaboratoryforvirtualreality.CurrentlyresidinginPisa,Italyoninternship.

Website: https://virtualunit.org

DarioRodrighiero,ElianCarsenat,Eveline

Wandl-Vogt,JulesDöring,MichaelaFragner, StephaFarkahaszy,OliverElias

VisuallyReadingthePandemic: TranslatinganOpenAccessArchive intoanImmersiveInteractiveArtwork

Keywords:COVID19,Visualization,ImmersiveArtwork, 3DInstallation,Deepspace

Theauthorsdevelopedtwopreconceptioptionsof2Dvisualartworks baseduponopendataofaCOVID19relatedopenaccessarchive,namelythe "COVID19cartography"ontheone hand,andthe"ChineseSea"onthe other.Thisresultedinanimmersive,3D productionlaunchedat DeepSpace at ArsElectronicain2021.

Thepresentedartworkisacross-organisational, cross-sectoral,transatlanticcollaboration betweentheart:scientistsDarioRordrighiero andEvelineWandl-Vogt,thesocial entrepreneurElianCarsenatandArsElectronica SolutionsaswellasGarmantis.Duringthefirst yearofthepandemic,theauthorsdeveloped twopre-conceptioptionsof2Dvisualartworks baseduponopendataofaCOVID19related openaccessarchive,namelythe"COVID19 cartography"ontheonehand,andthe"Chinese Sea"ontheother.During2021andfundedby DARIAH.EU,theteamscaledupandcreatedan immersive,3DproductionforDeepSpaceatArs Electronica,launchedatArsElectronicaFestival 2021.Theartworkisnotjustauniquepieceof art,itinvitestheparticipanttoexperience knowledgecreatedatthemomentsof explorationinaplayfulapproach.Intheir presentationtheauthorswillreferaswelltothe guidingquestionsrelatedtotheinnovationand implementationprocess,workflows,funding, scalingupandhowtheappliedmethodsand technologiesmaybemeaningfulandapplicable forotherarchives.

EvelineWandl-Vogt isa thinkerandmaker,knowledgedesigner,creativeexperimentalistand innovator.AgainstabackgroundofArtDrivenInnovation,HumanityCenteredDesignandOpen Innovation,sheisfacilitatingSocialInnovationforthepurposeofgood,contributingtoinvent inclusive,sustainable.responsiblefutures.Evelineisfoundressandorchestraofexploration space(at)ÖAWandfoundressandDirectorofArsElectronicaResearchInstitute“knowledgefor humanity”.SheisaffiliatedtometaLab(at)Harvard,andisambassadorfor“knowledgefor humanity”oftheRepublicofUzupis.Evelineispartofthescientificcommitteeofuncopied.art.

ElianCarsenat isa computerscientisttrainedatENSIIE/INRIA,startedhiscareeratJPMorgan inParisin1997.Helaterworkedasconsultantandmanagedbusiness&ITprojectsinLondon, Paris,MoscowandShanghai.In2012,EliancreatedNamSor,apieceofsociolinguisticssoftware tominethe'BigData'andbetterunderstandinternationalflowsofmoney,ideasandpeople. NamSorhelpsanswertheperennialquestionallcountriesaskabouttheirdiasporas–whoare they,wherearetheyandwhataretheydoing.In2020,NamSorisbuildingnewAPIstoestimate riskforgender,racialorethnicbiasesinapplyingmachinelearningorotherartificialintelligence todecisionmakingthataffectsPeople'slives.ElianisfounderandCEOofunopied.art.

DarioRodighiero worksatHarvardUniversity.HeisaffiliatedattheBerkmanKleinCenterfor Internet&SocietyandapostdocoftheMetalab.Hiscapacityattheintersectionofvisual studies,datascience,anddigitalhumanitiesmakeshimcomfortableinmultipledisciplines. WithMetisPress,hepublishedin2021MappingAffinities.

Website: https://ars.electronica.art/solutions/en/3d-cartography-of-covid-19-research/

FoundedintheNetherlandsin1990,ISEA International(formerlyInter-SocietyfortheElectronic Arts)isaninternationalnon-profitorganization fosteringinterdisciplinaryacademicdiscourseand exchangeamongculturallydiverseorganizationsand individualsworkingwithart,scienceandtechnology

ISEAInternationalisresponsiblefortheISEAannual symposium,oneofthemostimportantinternational eventsattheintersectionofartandscience..

ISEAInternationalHeadquarters issupportedbytheUniversityof Brighton(UK)

CHAIR

ERNESTEDMONDS

(DeMontfortUniversity)

SECRETARY MIKEPHILLIPS

(PlymouthUniversity)

TREASURER

ANNENIGTEN

(RotterdamUniversity)

EXECUTIVEDIRECTOR ISEAINTERNATIONALHQ

SUEGOLLIFER

(UniversityofBrighton)

RICARDODALFARRA

(ConcordiaUniversity)

ROBLAFRENAIS

(BournemouthUniversity)

PATBADANI

(EHSS,Paris)

ROGERMALINA

(UniversityofTexas)

ISEA2022 BARCELONA

GENERALCHAIR/DIRECTOR

PAUALSINA

(UniversitatObertadeCatalunya)

VICEDIRECTOR

IRMAVILÀ

(UniversitatObertadeCatalunya)

ACADEMICCHAIRS

SUSANNATESCONI

(UniversitatObertadeCatalunya)

JOANSOLER-ADILLON

(UniversitatObertadeCatalunya)

ENRICMOR

(UniversitatObertadeCatalunya)

CULTURALADVISOR

TEREBADIA

(CultureActionEurope)

HUMANSANDNONHUMANSCHAIR

ANDRÉSBURBANO

(UniversidaddelosAndes)

NATURESANDWORLDSCHAIR

LAURABENÍTEZ

(UniversitatAutònomadeBarcelona)

FUTURESANDHERITAGESCHAIR

VANINAHOFMAN

(UniversitatRoviraiVirgili)

EDUCATIONSANDSOCIETIES

CHAIR

AIDASÁNCHEZDESERDIO

(UniversitatObertadeCatalunya)

ARTWORKSCHAIR

PAUWAELDER

(UniversitatObertadeCatalunya)

SCREENINGSCHAIR

GEMMASANCORNELIO

(UniversitatObertadeCatalunya)

PERFORMANCESCHAIRS

LAIABLASCO

(UniversitatObertadeCatalunya)

MÓNICARIKIĆ

(UniversitatObertadeCatalunya)

ARTISTSTALKSCHAIR

LUZMARÍASÁNCHEZ

(UniversitatObertadeCatalunya)

POSTERSCHAIR

DAVIDMERINO

(UniversitatObertadeCatalunya)

DEMOSCHAIR

PIERREBOURDIN

(UniversitatObertadeCatalunya)

WORKSHOPSCHAIR

EFRAÍNFOGLIA

(UniversitatObertadeCatalunya)

INSTITUTIONALPRESENTATIONS

CHAIR

ALBACOLOMBO

(UniversitatObertadeCatalunya)

COMMUNICATION&WEBCHAIRS

ANDREAGARCÍA

(UniversitatObertadeCatalunya)

PALOMAGONZÁLEZ

(UniversitatObertadeCatalunya)

ONLINEPROGRAMCHAIRS

LLUCMASSAGUER

(UniversitatObertadeCatalunya)

AMALIACREUS

(UniversitatObertadeCatalunya)

ISEA2022 BARCELONA

ARTISTICCOMMITTEE

PAUALSINA

(UniversitatObertadeCatalunya)

SANTAMÒNICACURATORIALTEAM

MARTAGRACIA

(SantaMònica)

ENRICPUIG

IRMAVILÀ

(UniversitatObertadeCatalunya)

TEREBADIA

(CultureActionEurope)

VICENTEMATALLANA

(NewArtFoundation)

PAUWAELDER

(UniversitatObertadeCatalunya)

(SantaMònica)

JARAROCHA

(SantaMònica)

EXTENDEDPROGRAM

PROJECTMANAGER

ASTRIDROUSSE

(HacTe) PROGRAMTRANSVERSALITY,MUSEUMS ANDARCHIVESCOORDINATOR

MARTAMILLET EDUCATIONCOORDINATORS

LAURAMALINVERNI

(UniversitatdeBarcelona)

CRISTINAVALERO

(CosiCosa)

ARTISTICCOORDINATOR

NÚRIAMARQUÈS

SCIENTIFICCOORDINATOR

IRENELAPUENTE

(LaMandarinadeNewton)

CONFERENCECOORDINATOR

ARIANNAESPOSITO

(UniversitatObertadeCatalunya)

COMMUNICATIONCOORDINATOR

ADRIANAVALERO

(HacTe)

COMMUNICATIONASSISTANT EVALÓPEZ

INSTITUTIONALRELATIONS

JAUMEMOREGÓ

(UniversitatObertadeCatalunya)

CORPORATEADVISOR

JOSEPMARIACIVIT

TECHNICALSECRETARIAT

ANTONIOPONCE

(UniversitatObertadeCatalunya)

PATRÍCIADÍAZ

(KenesGroup)

LORENAGRANDA

(KenesGroup)

ISEA2022 BARCELONA

INSTITUTIONALCOMMITTEE

UNIVERSITATOBERTADECATALUNYA

JOSEPA.PLANELL

(Rector)

GENERALITATDECATALUNYA

PEREARAGONÈS

(President)

NATÀLIAGARRIGA

(MinisterofResearchandUniversities)

JOANABARBANY

(GeneraldirectorofDigitalSociety)

AJUNTAMENTDEBARCELONA

ADACOLAU

(Mayor)

JORDIMARTÍGRAU

(DeputyMayorforCulture)

LAIABONET

(DeputyMayorforDigitalTransition)

NEWARTFOUNDATION ANDREURODRÍGUEZ

(President)

HACTE

JOSEPA.PLANELL

(UniversitatObertadeCatalunya)

DANIELCRESPO

(UPC)

LLUÍSTORNER

(CFO)

MATEOVALERO (BSC-CNC)

GABRIELSILBERMAN

(BIST)

MIQUELMARTÍ

(TechBarcelona)

ANNAMANUBENS (Hangar)

CONSTANTÍSERRALLONGA

(FiradeBarcelona)

RICARDROBLES

(Sónar)

PEPESERRA (MNAC) ANDREURODRÍGUEZ (NAF)

DIPUTACIÓDETARRAGONA

NOEMÍLLAURADÓ (President)

AJUNTAMENTDEREUS

CARLESPELLICER (Major)

STEERINGCOMMITTEE

UNIVERSITATOBERTADECATALUNYA

PASTORAMARTÍNEZ

JOANFUSTER

DANIELRIERA

JORDISÁNCHEZ-NAVARRO

PAUALSINA

IRMAVILÀ

GENERALITATDECATALUNYA–

DEPARTAMENTDECULTURA JOSEPVIVES

(GeneraldirectorofCultural PromotionandLibraries)

MARISOLLÓPEZ

(GeneraldirectorofInnovationand DigitalCulture)

AJUNTAMENTDEBARCELONA

DANIELGRANADOS

(DelegateofCulturalRights)

JÚLIAMIRALLES

(DelegateofScienceand Universities)

NEWARTFOUNDATION

VICENTEMATALLANA (Director)

ISEA2022 BARCELONA

CCCB

JUDITCARRERAS

CARLOTABROGGI

SUSANNAARIAS

SANTAMÒNICA

ENRICPUIG

(Director)

MACBA

ELVIRADYANGANI

(Director)

HACTE

PAUALSINA (UOC)

FERNANDOCUCCHIETTI (BSC-CNC)

CARMEFENOLL (UPC)

ÀLEXGONZÁLEZ (BIST)

VÍCTORMAGRANS

(MNAC)

ANNAMANUBENS

(Hangar)

MIQUELMARTÍ

(TechBarcelona)

VICENTEMATALLANA

(NAF)

RICARDROBLES

(Sónar)

ASTRIDROUSSE

(HacTe)

LYDIASANMARTÍ

(ICFO)

FRANCESCSOLÀ

(FiradeBarcelona)

2ndSUMMITONMEDIAARTARCHIVING ORGANIZINGCOMMITTEE

BONNIEMITCHELL

JANSEARLEMAN

TERRYWONG

WIMVANDERPLAS

GRANTS

FUNDACIÓSORIGUÉ ANAVALLÉS

(President)

FUNDACIÓPRIVADAREDIS

CARMEBUIXEDA

(President)

FUNDACIÓERNESTOVENTOS

/NASEVO

MARÍAREYESSOLER-CABOT

SERRA

(President)

DKV

JAVIERVEGADESEOANE

(President)

CATALOGUE

DIRECTORS

IRMAVILÀ

PAUALSINA

COORDINATION

IRMAVILÀ

ASSISTANTCOORDINATION

ADRIANAVALERO

DESIGN

ANDREAGARCIA

MOSAICMAGAZINE

PHOTOS

LUISCAMARGO

UOC

ISEA2022 BARCELONA

TANIAAEDO(LaboratorioArteAlameda)

PAUALSINA(UniversitatObertade Catalunya)

JORDIALBERICH-PASCUAL(Universidadde Granada)

JOSÉRAMÓNALCALÁ(Universidadde Castilla-LaMancha)

RODRIGOALONSO(UniversidadTresde Febrero,BuenosAires)

PETERANDERS(Kayvala)

LUCÍAARIAS(FACTLiverpoolFoundationfor ArtandCreativeTechnology)

EDWIGEARMAND(INPPurpan,Toulouse)

PATBADANI(EHESSÉcoledesHautesÉtudes enSciencesSociales,Paris)

LAURABAIGORRI(UniversitatdeBarcelona)

CAMILLEBAKER(UniversityfortheCreative Arts,Farnham)

EROBALSA(DigitalLifeInitiative-Cornell Tech,NewYork)

DOMNABANAKOU(EVENT-Lab)

TINABASTAJIAN(SandbergInstitute,Amsterdam)

ALAINBAUMANN(Koniclab)

LAURABELOFF(AaltoUniversity)

MÓNICABELLO(CERNConseilEuropéenpourla RechercheNucléaire)

JANETBELLOTO(ZayedUniversity,Dubai)

ROSERBENEITO-NONTAGUT(CardiffUniversity)

LAURABENÍTEZ(UniversitatAutònomade Barcelona)

PETERBENTLEY(UniversityCollegeLondon)

JOSÉMANUELBERENGUER(UniversitatPompeu Fabra/UniversitatdeBarcelona)

MARÍACLARABERNAL(UniversidaddeLosAndes)

ERICHBERGER(TheBioartSociety)

LAIABLASCO(UniversitatObertadeCatalunya)

ELENABLESACÁBEZ(UniversidaddeGranada)

ELEANORABILOTTA(UniversityofCalabria)

CLARABOJ(UniversitatPolitècnicadeValència)

MARÍABOTO(UniversityCollegeGhent)

PIERREBOURDIN(UniversitatObertadeCatalunya)

ALFIEBOWN(RoyalHolloway,UniversityofLondon)

INTERNATIONALPROGRAM COMMITTEE/ARTJURY

ANDREASBROECKMANN(Leuphana University)

JONAHBRUCKER-COHEN(LehmanCollege/ CUNY)

KARLABRUNET(FederalUniversityofBahia, Brazil)

BANIBRUSADIN(Elisava/Universitatde Barcelona)

BROGANBUNT(UniversityofWollongong, Australia)

ANDRÉSBURBANO(UniversidaddelosAndes)

RAQUELCAERLOS(UniversidadComplutense deMadrid)

ANTONIOCALLEJA-LÓPEZ(UniversitatOberta deCatalunya)

BLANCACALLEN(UniversitatdeVic)

MARCANETSOLA(TallinnUniversity)

AMÍLCARCARDOSO(UniversityofCoimbra)

LUCACARRUBBA(ArsGames)

DAVIDCASACUBERTA(UniversitatAutònoma deBarcelona)

ÁLVAROCASSINELLI(CityUniversityofHong Kong)

PAUCATA(EdinburghUniversity)

DANIELCERMAK-SASSENRATH(IT UniversityofCopenhagen)

ANTONIOCERVEIRAPINTO(TheNewArt Fest)

ERIKCHAMPION(UniversityofSouth Australia)

CARLOSCLEMENTE

ALBACOLOMBO(UniversitatObertade Catalunya)

DEBORAHCORNELL(BostonUniversity)

DIGNACOUSO(UniversitatAutònomade Barcelona)

DANIELCRUZ(UniversidaddeChile)

DAVIDCUARTIELLES(MalmoUniversity)

SALOMÉCUESTA(UniversitatPolitècnicade València)

NINACZEGLEDY(UniversityofToronto/ OntarioCollegeofArtDesignUniversity)

ISEA2022 BARCELONA

ERIKCHAMPION(UniversityofSouth Australia)

KEVINDAHAN(DeMontfortUnversity)

PEPDARDANYÀ(EscolaMassana,Barcelona)

RICARDODALFARRA(ConcordiaUniversity, Canada)

MARIEDUCHASTEL(KIKKFestivalBelgium)

HANSDEHLINGER(SchoolofArt,University ofKassel)

ANNETDEKKER(Universiteitvan Amsterdam)

MELISSADELAMERCED(Universityofthe Philippines)

DIEGODÍAZ(UniversitatJaumeI,España)

LILYDIAZ-KOMMONEN(AaltoUniversity)

RICKDOLPHIJN(UniversiteitUtrecht)

JOHANNADRUCKER(UniversityofCalifornia, LosAngeles)

ERNESTEDMONDS(MontfortUniversity, Leicester,UK)

KATERINAELRAHEB(Universityof

Peloponnese)

JULIANAESPAÑAKELLER(ConcordiaUniversity, Montreal)

ADERITOFERNANDES-MARCOS(UniversityofSaint Joseph,China)

JORDIFERREIRO(Artist)

JAUMEFERRER

JAUMEFERRETEVÁZQUEZ(UniversitatObertade Catalunya)

SCOTTFITZGERALD(NewYorkUniversity)

JOSÉIGNACIOFIZ(UniversitatRoviraiVirgili)

MARYFLANAGAN(DartmouthCollege)

EFRAÍNFOGLIA(UniversitatObertadeCatalunya)

ORIOLFONTDEVILA(UniversitatObertade Catalunya)

ANGUSFORBES(UniversityofIllinois,Chicago)

SANTIAGOFORT(LaSalleUniversitatRamonLlull)

PHILIPGALANTER(TexasA&MUniversity)

MARINAGARCÉS(UniversitatObertadeCatalunya)

MARCOSGARCÍA

ESTEBANGARCÍABRAVO(PurdueUniversity)

INTERNATIONALPROGRAM COMMITTEE/ARTJURY

LINOGARCÍAMORALES(Universidad ComplutensedeMadrid)

DANIELGASOL(UniversitatObertade Catalunya)

CHARLIEGERE(LancasterUniversity)

SUEGOLLIFER(UniversityofBrighton,UK)

PALOMAGONZÁLEZDÍAZ(UniversitatOberta deCatalunya)

OLGAGORIUNOVA(RoyalHolloway,University ofLondon)

CARLOSGOLLIFER(InstitutoPolitécnicode Leiria)

OLIVERGRAU(Donau-UniversitätKrems)

CARLOSGRILO(InstitutoPolitécnicodeLeiria)

LAURENTGRISONI(UniversityofLile)

VARVARAGULJAJEVA(HongKongUniversityof ScienceandTechnology)

ESTEBANGUTIÉRREZ(InstitutoTecnológico Metropolitano)

KEVINHAMILTON(UniversityofIllinois)

ROSSHARLEY(FacultyofArt&Designand

UNSWChairofArtsandCulture,Australia)

JENSHAUSER(UniversityofCopenhagen)

VANINAHOFMAN(UniversitatRoviraiVirgili)

CHRISHOGG(RoyalHolloway,Universityof London)

TINCUTAHEINZEL(Loughborough University)

NICOLASHERMANSEN(InstitutdelTeatre)

RAQUELHERRERA(UniversitatObertade Catalunya)

MARINAHERVÁS(UniversidaddeGranada)

CHRISTOPHERHOGG(RoyalHolloway, UniversityofLondon)

ERKKIHUHTAMO(UniversityofCalifornia, LosAngeles)

JOHNHYATT(ManchesterMetropolitan University)

HUGOFELIPEIDÁRRAGAFRANCO (UniversidaddelosAndes)

TAKASHIIKEGAMI(UniversityofTokyo)

MARLAJACARILLA(IndependentArtist,

ISEA2022 BARCELONA

Writer,FilmCritic)

JULIÁNJARAMILLO(UniversidadJaveriana)

JANISJEFFERIES(Goldsmiths,Universityof London)

GILLESJOBIN(CieGillesJobin)

SERGIJORDÀ(UniversitatPompeuFabra)

MONTSERRATJUVÉ(UniversitatObertade Catalunya)

OLGAKISSELEVA

PETERKRAPP(UniversityofCalifornia, Irvine)

MACHIKOKUSAHARA(WasedaUniversity)

JORGELAFERLA(BuenosAiresUniversity)

ROBLAFRENAIS(BournemouthUniversity)

CLARALAGUILLO(EscolaSuperiorde Disseny)

CAROLINELARBOULETTE(Université

BretagneSud)

KEPALANDA(UniversitatdeLleida)

TOMASLAURENZO

ALAINLIORET(UniversitéParis8)

WOLFLIESER(DAMMuseumBerlin)

FELIPEC.LONDOÑO(UniversidaddeBogotáJorge TadeoLozano)

ALEJANDRALÓPEZGABRIELIDIS

GEERTLOVINK(HogeschoolvanAmsterdam)

ALESSANDROLUDOVICO(Universityof Southampton)

ROSALLOP(Elisava/U-Vic)

PENOUSALMACHADO(UniversityofCoimbra)

NICOLASMALEVÉ(Artist,Programmer,Activist)

ROGERMALINA(UniversityofTexas,Dallas)

LAURAMALINVERNI(UniversitatdeBarcelona/ Esbrina)

MOISÉSMAÑAS(UniversitatPolitècnicade València)

JOSÉANTONIOMARIÁTEGUI(ATAAltaTecnología Andina,Lima)

TERESAMARÍN(UniversitasMiguelHernández)

ÀNGELSMARGARIT(Choreographer,Mercatdeles Flors)

ALEJANDROMARTÍN(Espronceda–InstituteofArt

INTERNATIONALPROGRAM COMMITTEE/ARTJURY

&Culture)

ESTEFANÍAMARTÍNFRAILE

SANDRAMARTORELL(UniversitatPolitècnica deValència)

OSCARMARTINCORREA(Artist,Researcher, Programmer)

JUANMARTÍNPRADA(UniversidaddeCádiz)

ARTURMATUCK(UniversityofSãoPaulo)

CONSTANZAMENDOZA

MARTADEMENEZES(CultivamosCultura/ Ectopia)

MASSIMOMENICHINELLI(RMITUniversity)

MELISSADELAMERCED(Universityofthe PhilippinesFilmInstitute)

DAVIDMERINO(UniversiatObertade Catalunya)

KERSTINMEY(UniversityofLimerick,Ireland)

BILLMILLER(UniversityofWisconsin–Whitewater)

BONNIEMITCHELL(BowlingGreenState University)

LAURENTMIGNONNEAU(InterfaceCultures UFG)

VALENTINAMONTERO(UniversidadFinis Terrae)

NICKMONTFORT(MassachusettsInstituteof Technology)

ENRICMOR(UniversitatObertade Catalunya)

LISAMOREN(UniversityofMaryland, BaltimoreCounty)

SANTIAGOMORILLACHINCHILLA (UniversidadComplutensedeMadrid)

BRADMOODY(DaytonaStateCollege)

KARLMOUBARAK

JAIMEMUNÁRRIZ(Universidad ComplutensedeMadrid)

ADOLFOMUÑOZ(UniversitatPolitècnicade València)

LLUISNACENTA

ANTONYNEVIN(MasseyUniversity)

IGNACIONIETO(UniversidadFinisTerrae)

ISEA2022 BARCELONA

ANNENIGTEN(RotterdamUniversityof AppliedSciences)

ANTONNIJHOLT(ImagineeringInstitute, Iskandar,Malaysia)

GUNALANNIRADAJAN(Dean,SchoolofArt andDesign,UniversityofMichigan)

DIARMUIDO’DONOGHUE(Maynooth University)

KARINOHLESNCHLAEGER(Curator,Art Critic)

PEDROORTUÑO(UniversidaddeMurcia)

MARGARITAOSIPIAN(CulturalProducer, Curator,Artist)

MICHAELO’ROURKE(PrattInstitute)

MARGARITAOSIPIAN(Curatorand Researcher)

ROCPARÉS(UniversitatPompeuFabra)

JUSSIPARIKKA(UniversityofSouthampton)

JENNIFERPARKER(UniversityofCalifornia, SantaCruz)

PHILIPPEPASQUIER(SimonFraser

University)

CHRISTIANEPAUL(TheNewSchool,Whitney Museum)

VIRGINIAPANIAGUA(UNED,Barcelona)

GAILPEARCE(RoyalHolloway,Universityof London)

NURIAPEIST(UniversitatdeBarcelona)

SIMONPENNY(UniversityofCalifornia,Irvine)

JOSEPPERELLÓ(UniversitatofBarcelona)

MARIANAPÉREZ-BOBADILLA(SchoolofCreative Media,HongKong)

VALENTINAPERI(Curator)

MIKEPHILLIPS(PlymouthUniversity,UK)

PAULAPINLAGE(Researcher)

GLÒRIAPICAZO(ArtHistorianandIndependent Curator)

JUANMARTÍNPRADA(UniversidaddeCádiz)

GILBERTTOPRADO(UniversityofSaoPaulo)

ELOIPUIG(UniversitatdeBarcelona)

SØRENPOLD(AarhusUniversity)

ANDREAPOLLI(TheUniversityofNewMexico)

INTERNATIONALPROGRAM COMMITTEE/ARTJURY

CLÀUDIAPRAT

ÁNGELAPRECHT(Centred’ArtSantaMònica)

MARIAPTQK(Curator,Resarcher,ArtCritic)

ELOIPUIG(UniversitatdeBarcelona)

ENRICPUIG(Centred’ArtSantaMònica)

DOMENICOQUARANTA(ArtCritic,Curator)

INGEBORGREICHLE(UniversityofAppliedArts

Vienna)

RAQUELRENNONUNES

CRISTIANREYNAGA(+CODECulturaDigital/ UniversidaddeSanAndrés)

EVERARDOREYES(UniversitéParis8)

NÚRIARODRÍGUEZ(UniversidaddeMálaga)

BRIANROSS(BrockUniversity)

MANDYROSE(UWEBristol)

ROBERTROWE(NewYorkUniversity)

MARTÍRUIZ(UniversitatdeBarcelona)

JOSÉMANUELRUIZMARTÍN(UniversidadRey

JuanCarlos)

EDUARDORUSSO(UniversidadNacionaldeLa Plata)

CRISTINASÁ(SchooloftheArtsofthe

PortugueseCatholicUniversity)

MEHDISABET(ZayedUniversity)

CHRISSALTER(ConcordiaUniversity)

GEMMASANCORNELIO(UniversitatOberta deCatalunya)

LAIASÁNCHEZ(UniversitatAutònomade

Barcelona/Citilab)

LUZMARÍASÁNCHEZ(Universidad

AutónomaMetropolitana)

AIDASÁNCHEZDESERDIO(Universitat ObertadeCatalunya)

RAMÓNSANGÜESA(UniversitatPolitècnica deCatalunya)

CHRISTINASCHULTZ(Artist)

JILLSCOTT(ZurichUniversityoftheArts)

DANIELLESIEMBIEDA(Leonardo/ISAST)

DONSINCLAIR(YorkUniversity)

FABIENSIOUFFI(Fabbula)

JOELSLAYTON(IndependentArtist,Curator, Educator)

ISEA2022 BARCELONA

ANNASOLANILLAIROSELLÓ(Institutdel Teatre)

JOANSOLER-ADILLON(UniversitatObertade Catalunya)

HUGOSOLÍS(UniversidadAutonomade Mexico)

CHRISTASOMMERER(InterfaceCultures UFG)

WINNIESOON(AarhusUniversity)

CARLESSORA(CITM/UniversitatPolitècnica deCatalunya)

ANDREASOSA(NationalUniversityofLa Plata)

NIKOSSTAVROPOULOS(LeedsBeckett University)

VICTORIASZABO(DukeUniversity)

VALENTINATANNI(NABA,Milan)

JORDANTATE(UniversityofCincinnati)

SUSANNATESCONI(UniversitatObertade

Catalunya)

MIWAKOTEZUKA(Arakawa/GinsReversible

DestinyFoundation)

PAULTHOMAS(UNSWSchoolofArt&Design, Sydney)

REYNALDOTHOMPSON(Universidadde Guanajuato)

PAOLATOGNAZZI(NapierUniversityandUniversity ofEdinburgh)

ENRIQUETOMÁS(TangibleMusicLab)

PAZTORNERO(UniversidaddeGranada)

HÉCTORTORRES(UniversityofCaldas)

HELENATORRESSBARBATI(UniversidadCarlosIII, Madrid)

ANAURROZ(UniversitatdeBarcelona)

RADUVATAVU(UniversityStefancelMareof Suceava)

WIMVANDERPLAS(ISEASymposiumArchives)

FERNANDOVELÁZQUEZ

PEPVIDAL(Artist)

IRMAVILÀ(UniversitatObertadeCatalunya)

ERANDYVERGARA(PrintempsNumérique)

VICTORIAVESNA(UniversityofCalifornia)

INTERNATIONALPROGRAM COMMITTEE/ARTJURY

JOSÉLUISDEVICENTE(Sónar+D/Institutefor AdvancedArchitectureofCatalonia)

CAROLINVOGLER(MTFLabs)

PAUWAELDER(UniversitatObertade Catalunya)

KYMWARD

MARTINWARNKE(LeuphanaUniversity Lueneburg)

FLORIANWIENCEK(ACDH-CHAustrianCentre forDigitalHumanitiesandCulturalHeritage)

HYUNSEUNGYANG(SchoolofComputing, KAIST)

MARIELAYEREGUI(UniversidadTresde Febrero,BuenosAires)

IONATZURR(SymbioticA,SchoolofAnatomy, PhisiologyandHumanBiology,TheUniversity ofWesternAustralia)

Website: isea2022.isea-international.org

Aftermovies

Panels

SecondSummitonNew MediaArtArchiving InstitutionalPresentations

Twitter:@ISEA2022Bcn

#ISEA2022Barcelona

Flickralbum

FinalPressRelease- June17

SecondPressRelease- May17

FirsPressRelease- April7

No28(2021):Node: Inthelimitsofwhatispossible:art,scienceandtechnology (GuestEditors:PalomaG.Díaz,AndreaGarcía)DOI: https://doi.org/10.7238/ artnodes.v0i28

ArtnodesJournalSpecialISEAIssues-EditedbyPauAlsinaandAndrésBurbano. ISSN1695-5951.

PossiblesI(30)-July2022-DOI: http://dx.doi.org/10.7238/artnodes.v0i30

PossiblesII(31-January2023-DOI: http://dx.doi.org/10.7238/artnodesv0i31

PossiblesIII(32)-July2023-DOI: http://dx.doi.org/10.7238/artnodesv0i32