Olivia Rodgers 2025
Immersive Presence: Navigating Nature, Transcending Boundaries, and the Digital Realm in a Post-Optimistic, Intelligent World.
University of Dundee
Fine Art- Exhibition Project
Duncan Of Jordanstone
DJ40002
Figure list:
Figure 1- Da Vinci, L, (circa 1492) “Vitruvian Man”, Ink and Wash on Paper, Gallerie dell’Accademia. (Photographer: Luc Viatour), Available at: (https://canvas.nma.art/2020/09/18/leonardo - da-vinci-and-the-scienceof-art/ (Accessed: 4/11/2024).
Figure 2- TEAMLAB, (2019), Megaliths in the Bath House Ruins , Interactive Digital Installation rendered in real time computer program, Bath House Ruins Kyushu Japan. Available at: https://www.teamlab.art/w/megaliths_bathhouse/mifuneyamarakuen2019 / (Accessed: 4/11/2024).
Figure 3- Hidden Door (2023). Rambunctious Garden. cargo collective . Available at: https://cargocollective.com/scotthunter/RambunctiousGarden [Accessed 7 Jan. 2025].
Figure 4- PHI STUDIO, (2019), A life in Flowers, [digital art] Available at: https://headspacestudio.com/projects/a-life-in-flowers/ (Accessed: 4/11/2024).
Figure 5- Headspace studio, (2019), A life in Flowers, Available at: https://headspacestudio.com/projects/a-life-in-flowers/ (Accessed: 4/11/2024).
Figure 6- Heaney, L, (2024) Ent-(Non Earthly Delights), [mild steel, fibreglass, acrylic plexiglass, two AR experiences] Regents Park London, Photo: Deniz Güzel, courtesy of Gazelli Art House. Available at: https://libbyheaney.co.uk/artworks/ent-non- earthly- delights/ (Accessed: 4/11/2024).
Figure 7- UVA, (2023), Our Time 1x3, [LED, aluminium, steel, electronics, code] London, Available at: https://www.uva.co.uk/features/our-time-2023 (Accessed: 4/11/2024).
Figure 8- Zheng, S (2019) Umwelt, [Multi-Channel Video Installation, 4 screens, media players, stainless steel, 05:00 loop] Shanghai Urban Space Art Season, Maoma Warehouse, Shanghai, Available at: https://shizheng.net/works-umwelt.html (Accessed: 4/11/2024).
Figure 9- Mel Chin (1991). Revival Fields. revival field. Available at: https://melchin.org/oeuvre/revival-field/ [Accessed 2 Dec. 2024].
Figure 10- Nature Manifesto (2024). Björk and Aleph have created a sound installation for Centre Pompidou. Artnet. Available at: https://news.artnet.com/art-world/bjork-sound-installation- centrepompidou-2569145 [Accessed 6 Jan. 2025].
Figure 11 and 12- Shin, S. (2021). You are the only one in the world and special. [3D printed sculpture and 3D animation, 2021 PLA] Soorin-Shin-sArt. Available at: https://wobblydigital.com/Soorin-Shin-s-Art [Accessed 6 Jan. 2025].
Figure 13 and 14- Shin, S. (2021). You got some fire in you. [3D printed sculpture and 3D animation, 2021 PLA] Soorin-Shin-s-Art. Available at: https://wobblydigital.com/Soorin-Shin-s-Art [Accessed 6 Jan. 2025].
Figure 15 and 16- Shin, S. (2021). Chilling Tattie. [3D printed sculpture and 3D animation, 2021 PLA] Soorin-Shin-s-Art. Available at: https://wobblydigital.com/Soorin-Shin-s-Art [Accessed 6 Jan. 2025].
Figure 17- Studio, A. (2022). Pulse Topology. Design Boom. Available at: https://www.designboom.com/art/rafael-lozano -hemmer-pulse-topologybmw-superblue-miami-art-basel-11-29-2022/ [Accessed 6 Jan. 2025].
Figure 18- Burton, A. (2014). A Subtlety, or the Marvelous Sugar Baby. Vulture. Available at: https://www.vulture.com/2017/04/kara-walker-aftera-subtlety.html [Accessed 6 Jan. 2025].
Figure 19- Murrey, C. (2020). EON. Landmarks. Available at: https://landmarks.utexas.edu/artwork/eon [Accessed 6 Jan. 2025].
ABSTRACT-
This dissertation examines the convergence of Artificial Intelligence, Immersive art and ecological awareness through a curatorial exploration at the Eden Project Dundee. By dissolving traditional boundaries between viewer and environment, creating an atmosphere where biological entities and technological systems intersect. The research collated allows for critical dialogue, where immersive art is used as a venue for self-reflection and human-technological critique. Through analysis of contemporary curators, immersive experiences and bio art examples, this analysis explores how creative technologies can help rethink our understanding of intelligence and sustainable development. AI can transform our creative and environmental landscapes, when it is approached with a diverse mindset. Drawing from primary exhibition visits, literature reviews and online research, this dissertation highlights the need for our relationship with technology and nature to be reimagined. Findings suggest that when approached through an interdisciplinary and inclusive framework emerging technologies and systems like AI, can create positive ecological transformation with the aid of creativity.
INTRODUCTION-
Situated in the newly developed Eden Project Dundee, this curatorial exploration investigates how multi-sensory art experiences can advance the public understanding of human-nature-technology relationships. This dissertation examines the theoretical and practical implications of creating an immersive art exhibition at the intersection of artificial intelligence, bioart, and environmental consciousness. With supportive evidence, alongside analysis of contemporary digital art practices and emerging technologies, the research examines three key areas. Immersive experiences in terms of viewer involvement and engagement , digitalisation with the influence of AI, and biological influences in art for sustainable development.
Immersion: Contemporary exhibition practices have evolved beyond traditional white cube gallery presentations to embrace multi-sensory, experiential approaches. This shift reflects a broader transformation in how viewers engage with artworks, in terms of more active participation. Immersive exhibitions benefit highly from many multidisciplinary elements and diverse works. The Eden Projects ecological framework provides an ideal context for examining how immersive art can facilitate deeper engagement with environmental and technological themes. This encourages the public to question what the artists are trying to say and where they will go with it in the future. Drawing on author Frances Stracey, who was a lecturer at University College London, “This also raises awkward (and unaddressed) ethical questions: what are the rights of a living creature that has been reduced to art? What happens when, or if, it is released into the wild? And who benefits from this.” (Stracey, 2009) Bio A rt
and immersion raise critical questions about control and how much participation should be necessary. Aesthetic decisions can be tough when using pre- existing locations especially when nature is involved. Curators and artists don’t want to destroy the landscape that’s already there to create a new piece of work, so this provides some restrictions in humannature relationships.
Digitalisation: The expansion of digital technologies in a contemporary art setting suggests that there have been societal shifts in interests towards immersion, interactive and multi-sensory experiences. A s shown by stan researcher Di Lui, “Over the past decade, digital-based immersive and interactive art experiences have emerged as a popular trend in the art world.” (Liu, 2024). This suggests how digital art may impact viewer engagement and perception. In the Scottish AI strategy, they state that ‘Scotland will become a leader in the development and use of trustworthy, ethical and inclusive AI.’ (Scottish government, 2021) This policy context informs the exhibitions curatorial approach in terms of inclusivity and selecting artists whose work examines the intersection of AI and creative practice. Another key principle from the Scottish AI Strategy states, ‘AI should benefit people and the planet by driving inclusive growth, sustainable development and well-being’, (Scottish government, 2021) The strategy statement considers how digital installations can facilitate dialogue about technology's role in environmental stewardship. The impact new technologies have on our well-being , as well as the planet, is something that shouldn’t be forgotten. The exhibition challenges traditional narratives that position technology and nature as oppositional forces. Instead, it explores how digital tools might enhance our understanding of and connection to natural systems. It will allow us to see it as something 3
that helps us and can create good, rather than something that is destroying the environment and ruining our livelihoods. The art should help the viewer question what the most enective use of technolog y is and if we are using it in the best way possible.
Science and Art: This research advocates for the dissolution of traditional boundaries between scientific and artistic inquiry, positioning interdisciplinary practice as essential for addressing contemporary environmental challenges. Historical precedents, like Leonardo da Vinci’s anatomical studies demonstrate the longstanding potential for integration between scientific observation and artistic expression. His work can help inform artistic interpretation.
I find this to be a great example of the unification of science and art. ‘Leonardo is scientifically investigating the materials presented to him by nature, but he is using this information to support his quest for the ideal, an 4
Fig .1. Leonardo da Vinci, “Vitruvian Man”, (circa 1492)
artistic pursuit.’ (Bess, 2020). Bio art uses nature as its material, further challenging institutional divisions between art and science. For example, when Eduardo Kac created the ‘GFP bunny’- a genetically modified rabbit containing green fluorescent protein. The social reaction to this was interesting, in terms of whether people agreed with it or not. It exemplifies how artistic interventions can prompt critical discourse about biotechnology's ethical implications. Such works raise fundamental questions about the boundaries between natural and artificial, and the responsibilities inherent in technological manipulation of living organisms. As said by Emma Marris “If we accept nature as intertwined with our daily lives, from urban ecology to post-industrial sites, we may be able to succeed by growing our understanding of nature.”
(ScottHunter_Portfolio_digital2023.pdf, 2023) Also shown by the book ‘The Botany of Desire’, a plants-eye view of the world’, (Pollan, 2002) shows the 4 desires of humans are control, beauty, intoxication and sweetness. Then emphasised by 4, human-driven control plants, to create and sustain the human desires. The analysis of human-plant coevolution provides a theoretical framework for understanding mutualistic relationship for plant and human, changing how we see nature. The traits selected by humans that we believe are solely human are in turn being manipulated by the plants to ensure they survive as well. This coevolutionary perspective informs the exhibition's approach to exploring technology-nature relationships. As Marris argues, integrating nature into our understanding of urban and post-industrial environments may be crucial for developing more sustainable relationships with natural systems. This research suggests that similar principles might guide our development and deployment of artificial intelligence and other emerging technologies.
CHAPTER 1- Curatorial thesis
Reimagining the Digital-Natural Divide: Curatorial Approaches to Technology and Environmental Art
The relationship between technology and nature has traditionally been cast in oppositional terms with the idea that technology will inevitable totally take over and improve life. This has been complicated by issues such as environmental deterioration, ethical dilemmas, and inequality. In recent developments in both artistic practice and environmental conservation this suggest a more nuanced interpretation is not only possible but necessary. Rather than rejecting technology altogether, the exhibition oners a slight perspective that acknowledges both the failures and potentials of our technological developments coexisting with the natural world. Curator at the Dundee botanic gardens, Kevin Frediani, shares thoughts on their recent exhibition “Rhizoma is a welcome collaboration for the Garden, at the interface of all the creative potential that technology, art and science embody, helping us all explore concepts of being human and becoming ecological in an increasingly urban world.” (Kevin Frediani, 2024) This has influenced my ideas on curation because it suggests how curation can help bridge the perceived divide between technological innovation and environmental consciousness. I think combining technology and art can create so many possibilities and show on just how creative us as humans can be. It can explore and push limits that haven’t been explored yet. It’s an interdisciplinary field and I want my curation to have no boundaries in terms of medium that is selected.
Alongside this I want to show that the art isn’t the problem, central to this discussion is the reconceptualization of intelligence itself. Traditional
Western paradigms have typically positioned human cognitive capabilities at the apex of a hierarchical structure, with both artificial and natural systems relegated to subordinate positions. However, this perspective fails to account for the sophisticated intelligence manifest in natural systems from mycorrhizal networks to complex ecosystem dynamics as well as the emerging capabilities of artificial intelligence in environmental conservation. I want my curation to think about, what do we see as intelligence? How do we value intelligence? Can we redirect human/ mechanical intelligence to become more like the natural world. By examining these various forms of intelligence as complementary rather than competitive, we can begin to envision new possibilities for technological and ecological cooperation, diversifying what we believe to be intelligence. What happens when we allow other intelligences to guide us and help develop us as whole, plants, ecosystems and machines alike?
My exhibition is a site-specific exhibition, in a new and innovative location which emphasises the active participation of audiences, deepening the viewers connection to and understanding of the work. I also want to see the viewers role as a larger metaphor for how we are seen in the ecological balance and our relationship with the digital world. How human participation with the environment is not passive and we are creating on ongoing dialogue between technology and nature, reinforcing collaboration over competition. Groundwork laid by environmental artist Robert Irwin in the 1960s, “His work rejects conventional modes of reception to enable new forms of individual experience.” (Sprüth Magers, n.d.)
These historical precedents inform contemporary enorts to create immersive, participatory exhibitions that blur the boundaries between
viewer, artwork and environment. I want my exhibition and research to make the viewer think more deeply about how we connect with the natural world, forming a new kind of kinship with nature. Seeing the relationship between nature, AI and human as a collaboration instead of a competition. Creating an ongoing process of creation, examples to support this include how AI applications benefit environment conservation with iceberg monitoring, deforestation mapping, weather prediction, sustainable agriculture and waste management and recycling. These examples of how technological advancement can align with ecological preservation.
The driving force of my curation is to home in on the idea of working with nature and technology rather than disturb it or destroy it. It will have a narrative arc, following the idea of using technological progression and evaluating how we can use it to collaborate with the environment rather than sticking with western conceptualizations of humanity as autonomous, rational entities disconnected from their environment. This exhibition should provide an insight into how technology is a double- edged sword and needs to be used correctly for ecological transformation , to capture the reality of human existence as constantly evolving and merging with both technological and biological systems. It is to encourage a deeper more nuanced conversation about the role of technology in our future. Allowing us to pursue the ideal of interconnectedness and form critique of human centred living which prioritises control over collaboration. This is highlighted by On Design podcast with curator Suzanne Livingston saying, ‘The group actively questioned the idea of what a human being is a notion she believes warrants further examination. She believes the idea is often narrowly defined, especially in Western culture where humans are seen as autonomous, rational and in control; yet often closed on from their 8
environment.’ (Livingston, 2019) On reflection talking about AI and her exhibition at the Barbican in London, ‘AI: is more than Human, in 2019’. Moreover, this relates to my exhibition where I will be asking thoughts of the viewers such as rethinking how they see our future, what they can do to protect it, how we best use our technology? Also to take away the highpower collectors in art and restrictive museums but allow for more collaborative spaces and environments to display art. My exhibition will break down these barriers to create a space for conversations and guidance, alongside participation, shifting the dynamic between, artists, audience and institution. Presenting art works that share the limitations and concerns with technology but also show the potential for creating new experiences and interactions. This chapter aims to contribute to broader discussions about the role of artistic practice in environmental conservation and technological development. S everal key questions emerge that will guide the evaluation, What alternatives are out there with the current perceptions of AI? What if intelligence isn’t solely about computation and eniciency, but also about cooperation, balance, and long-term sustainability?
CHAPTER 2- Curatorial choices
Reflections on Curation and Exhibition Design-
My ideas on curation, as an evolving practice, extends beyond the mere organization of artworks; I wish to embody the integration of universal themes while honouring local traditions and influences. Paul Oneill aptly describes curation as “Becoming part of the way in which the institution in itself promotes itself externally.” (Interview with Paul O’Neill, n.d.) 9
This perspective highlights the importance of embedding exhibitions within their cultural and institutional contexts, ensuring relevance and resonance with their audiences.
This is also shown from the influx of larger scale temporary installations since the 19th century worldwide, for example Marcel Duchamps ‘Fountain’. This art from had its insurgence in the 1960’s and 70’s where there were cultural and political happenings to upheave the movement. Since then, they have developed and become very high-profile world-renowned shows, focused on site specific works and artist- curated shows. They have paved the way for contemporary curatorial practices. The curator role has become elevated, it isn’t just backstage any more they have become a key role in the shows and exhibitions. However, it remains crucial to strike a balance, ensuring the curator’s influence does not overshadow the artists and their works. Versatility and flexibility are key to a successful curator. I think it’s a key skill to evaluate the self-suniciency of the works that have been chosen, while still upholding a collaborative and decentralised approach, to be something that flows and works well for my exhibition. My proposed exhibition in Dundee embraces these principles, prioritising interconnectedness and mutual influence among artists and their works. I have chosen these art works and themes because I want the artists to be dynamic and immersive, they must show intrinsic strength and capability of emerging audiences, without the artists presence and continuing a collaborative narrative. With millions of pounds already going into the Eden Project, this is an interesting opportunity to showcase innovative and thought-provoking works. Below I outline the selected works, each in alignment with the exhibition’s themes of nature, technology and interconnectedness.
1.
TEAM LAB - Megaliths in the Bath House Ruins
We exist as a part of a ceaseless continuity of life and death, a process which has been around for a staggeringly long time. For us as viewers that is dinicult to understand in everyday life. Team Labs create digital environments that challenge our understanding of time and continuity for example with the ‘Megaliths in the Bath House Ruins’ shown in figure 2. They use advanced digital tools to simulate transcending the boundaries of human perception. This approach aligns with the exhibition's goal of fostering a deeper, more fluid understanding of time and nature, encouraging viewers to immerse themselves in the cyclical and interconnected nature of life, creating a more of a free-flowing understanding experience. Team Labs art easily shows how nature can become art in conjunction with technology and digitalised sources. ‘These forms can transcend the boundaries of our understanding of the continuity of time.’ (TEAMLAB, 2024)
Fig .2. TEAMLAB, ‘Megaliths in the Bath House Ruins’, (2019)
2.
Scott Hunter - Rambunctious Garden
Scott Hunter’s Rambunctious Gardens integrates the unkept natural world taken over by the industrial world. Inspired by ecologist Emma Marris, highlighting that the unconventional has become the norm now. Hunter states that ‘The installation consists of industrial concrete sculptures containing plant species considered invasive and commonly found in postindustrial combined with photographic works exploring the symbiotic relationships between anthropogenic and organic materials.’ (Hunter, 2023) His works explores human activities enects on the natural environment. How the resilience of the natural environment is important and persistent. Hunter’s work emphasizes the need for sustainable practices in developing AI and machine learning technologies.
Fig .3. Hidden Door (Scott Hunter), ‘Rambunctious Garden’, (2023)
3.
Phi Studio – A Life in Flowers
Figure 4 PHI STUDIO, ‘A life in Flowers’, (2019)
Fig .5. PHI STUDIO, ‘A life in Flowers’, (2019)
‘Presented in partnership with RYOT, A Life in Flowers is an interactive virtual reality experience and art installation activated by the participant's voice. The project combines the work of renowned botanical sculptor Azuma Makoto and veteran virtual reality creator Armando Kirwin.’ (PHI STUDIO WORKS, 2019)
This installation of dried flowers, combined with an immersive virtual reality (VR) experience, where the user can experience the relationship between flowers and humans and a conversation with Azuma, using advanced AI technology. The artwork adapts to the conversation and the user’s life onering a personalised experience. This piece exemplifies the exhibition’s theme of immersive and adaptive technology, inviting viewers to engage deeply with nature through digital innovation.
Libby Heaney’s work looks at life in realities dinerent to our own, with quantum hybrid creatures, it is paired with an augmented reality (AR) Experience. The combination of machine and biomorphic forms are so exciting and having this in the Eden project would be such bold statement. The AR experience critiques concerns with the surveillance capitalism of data protection and the ethical implications of the digital world. While the biomorphic sculpture signifies how addicted and connected, we are to the digital networks of today’s society and then being emphasised by the
4. Libby Heaney – Ent (Non-Earthly Delights)
Fig .6. Heaney, L, ‘Ent-(Non Earthly Delights)’, (2024)
audience participation with QR codes that accompany it. Highlighting the convergence of desire technology and art, just like what Michael Pollen was writing about in his book, but rather the botanical world, ‘Botany of desire’, (Pollan, 2002) everything is connected somehow. Pollan highlights that the traits we believe are uniquely human are more linked to the natural than we think. Plants are not passive but more so active participants and the same could be said for our use of technology and its tracking and control over us. This dual focus on creativity and critique aligns with the exhibition’s emphasis on the mutual influence of technology and nature
5. United Visual Artists (UVA) – Our Time
Fig .7. UVA, Our Time 1x3, (2023)
Our time is a multidisciplinary installation that exploring various senses, synchrony and perception. It is a much slower passed moving piece that allows for the viewers to really focus on what’s being lit up by the singular light sources. UVA’s work looks at our reflections on the world and how we understand and interpret it. Fundamental questions are asked about our reality. ‘UVA is celebrated for their ability to translate intricate scientific and philosophical ideas into compelling visual art experiences Kunsthalle Praha’. (solidpixels, 2025)
Their work explores randomness, reality and environments, the juxtaposition of themes is what makes the work so enective. The largescale nature of this work, combined with its sensitivity to environmental conditions, makes it a compelling addition to the Eden Project, especially in a darker setting.
6. Shi Zheng – Virtual Landscapes
Fig.8. Zheng, S, Umwelt, (2019)
‘Based on the samples taken from the Chongming Island National Forest Park near Shanghai, the artist virtually reconstructed the natural landscape through digital technology, then designed a computer vision system to observe this virtual environment. The main structure with the four screens in the installation can be considered as a metaphor for the "tree" which supports the constant exchange and transfer of matter and energy in the environment. In this parallel simulated reality, the screens hanging in dinerent directions perform the role of mirrors, reflecting the visual landscape shared by both human and machine.’ (Zheng, 2019)
The direct links here between nature and machine, are enective in portraying a mutualistic relationship. It also on the other hand shows us other issues that are arising with how much technology we should be using. It suggests at how easy it is to monitor and invade spaces that are not built or meant for it. By blending the virtual and the real, Zheng raises questions about technology’s role in monitoring and reshaping natural environments, who has control?
7. Arte Útil – Revival Field
.9. Mel Chin, Revival Fields, (1991)
Arte Útil, is a collection of projects combatting social change. I could submit my exhibition to this programme, because of the forward-thinking outcomes and bio science influences, it fits with their curatorial themes and ideas of what they are trying to advocate for. On the other hand, I could create a social change project as part of my month-long show that embeds itself into the city of Dundee and has a lasting impact, with the input and expertise of the artists.
Initiated by Mel Chin and Dr. Rufus Chaney, Revival Field employs hyperaccumulator plants to extract heavy metals from contaminated soil. Due to the nature of where the Eden Project Dundee is proposed to be, on a redundant gas works. I think this piece works really well, in terms of restoring diverse ecology and balance to the natural landscape. Highlighting the potential of ecological restoration through art and science.
Fig
Fig .10. Nature Manifesto, Björk and Aleph have created a sound installation for Centre Pompidou, (2024)
This collaborative sound installation juxtaposes animal sounds with urban architecture, prompting reflections on biodiversity and resilience. It is currently exhibited against a harsher architectural environment in the Centre Pompidou Paris. I think also showing in a natural environment will be beneficial to celebrating the importance of the piece. The current location of this piece is about to close for a five-year reconstruction, it is in a state of metamorphosis, so having it then in the recently opened Eden Project Dundee, will resemble its next stage of metamorphosis mirroring the exhibition’s themes of renewal and evolution. The artists state how animals are our teachers, and I value this statement in this exhibition just like nature is our teacher, how we should be rethinking intelligence to the natural world. The artist asks us to reconsider how we are preserving the
8. Björk and Aleph –
natural environment, “post- optimism” a resilient future where plants and humans would intertwine and evolve together.” The work helps highlight the dramatic collapse in biodiversity, with our need to help preserve it as well as criticising human-centric notions of intelligence and emphasizes the interconnectedness of all life forms.
8. Soorin Shin – Digital-Organic Hybrids
‘You are the only one in the world and special’
Fig .11,12, Shin, S, You are the only one in the world and special, (2021)
‘You got some fire in you’
Fig . 13,14, Shin, S, You got some fire in you, (2021)
‘Chilling Tattie’
Fig . 15,16, Shin, S, Chilling Tattie, (2021)
Soorin Shin combines contemporary 3D-printed sculptures with digital animations to blur7519 the boundaries between the physical and virtual, with organic forms, inspired by roots, pebbles and horns. Having accompanying YouTube links and the physical 3D printed sculptures this encompasses it all together well. They are a local artists based in Glasgow 22
and have shown work recently in the hidden door arts festival in Edinburgh 2023 and the Dundee design festival 2024. The artist has a natural interest in Eco - Feminism, Shin’s work also is a critique on capitalist and patriarchal systems. The combination of vibrant, organic forms to create a trail-like narrative throughout the exhibition would be very successful.
9. Rafael Lozano -hemmer ‘Pulse topology’ (2021)
Fig.17. Studio, A , Pulse Topology, (2022)
Rafael Lozano -hemmer’s Pulse topology showcases how technology and art can come together to create human connection and experience. This large-scale installation transforms participants’ heartbeats into a dynamic display of light and sound, participants heartbeats get transformed into light and sound ‘Pulses’. The bulbs suspended in the air create valleys and crests for the viewers to walk through and be immersed in. this piece makes tangible the otherwise interior individual biometric data.
Culminating a total of 3000 light bulbs, it is an immense installation, taking up and area between 1000 to 5000 sqft. The participants are able to visualise something that otherwise they would only every be able to feel individually , which creates an interesting connection that is intimately human but guided by technology, emphasizing the connectedness of human experience and technological mediation.
10. Kara Walker ‘A Subtlety’
Walker’s monumental sculpture critiques the historical exploitation of marginalized groups within industrial and technological progress and exploitation. This artwork has a symbiotic relationship, with environment, history and our desires as humans. It is a public art piece that create a space for dinicult conversations that need to happen. This piece also
Fig .18. Burton, A , A Subtlety, or the Marvelous Sugar Baby, (2014)
explains how modern technology and progress have become entangled in exploitative systems and exploiting marginalised groups. The piece was located in the exact refinery where sugar was produced highlighting that the technological advancements were designed to maximise production regardless of loss of life and dignity. The factory symbolised industrialisation and mechanisation, so having it in a place like the Eden project will emphasise the progress we have made. Sharing how societies priorities should hopefully be changing to more ethical and moral goals. In today’s society technology exploits people, in terms of AI and automaton, taking away jobs or allowing for lower paid jobs. Walker’s piece helps use technology as a form of critique, to use it to confront uncomfortable truths. Whether it be machinery or digital media, technology has been used as a form of control and this needs to change. By situating the work in the Eden Project, its themes of ethical responsibility and historical reflection are recontextualized, emphasizing the need for equitable and sustainable futures.
Steinkamp’s ‘EON’ reshape the lines between the virtual and the living. EON employs digital tools to create abstract, ever-changing depictions of nature, challenging viewers to reconsider their perceptions of the natural world. It may be seen as an idealised view towards the natural world, an artificial form that only exists through technology. It highlights how our understanding of nature may be manipulated by technology, creating artificial versions or otherwise natural cycles. This piece allows the viewer to have a sense of presence and reflect on how they see nature and technology combined. Nature not just being passive and external but now connected to the digital world. She is focusing on the nature of change and our attitude towards technological - nature relationship needing to change and evolve to be something much more sustainable. The work highlights the interplay between digital and organic forms, aligning with the
11. Jennifer Steinkamp ‘EON’ (2020)
Fig .19. Murrey, C, EON, (2020)
exhibition’s focus on the evolving relationship between technology and the environment.
CHAPTER 3- Significant ideas on curation
The Role of Curation in Creating Immersive Experiences -
Curation is a process that fosters open discussion and debate, involving both the curator and the audience. Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries states, ‘ The curator sets it up so that it becomes an extraordinary experience and not just illustrations or spatialised books.’ (Hans Ulrich Obrist, Jenries and Groves, 2018)This philosophy on curation, which is creating all- embracing environments and understanding the dinerence between just displaying objects and creating enortless meaningful environments, transform the viewer. It underpins the exhibition, where curating engaging environments is paramount. I believe having open conversations with the Eden project alongside the exhibition will be needed as it shows they have been considered in curation.
Open Conversations and Holistic Approaches -
A more holistic approach will be taken during curation, it will integrate open debates and seminars on topics such as AI, creativity, and sustainable development, ensuring that the audience is actively involved in the discourse. This contemporary approach incorporates new media (which is fluid and has overlapping features), this emphasizing interactivity and computing elements, less traditional materials which demand innovative and new ways of seeing.
Challenges in Framing Digital Art -
Digital and time-based artworks, such as those in the exhibition, are complex works making them much harder to ‘frame’. They require careful curation to ensure cohesion while respecting the unique nature of each piece. The exhibition avoids traditional "white cube" framing, instead opting for immersive, designated spaces that value each work's individuality and real-time engagement. As it can get confusing for the viewer as lots of messages are being portrayed and it’s hard to decipher what to take from each piece of art. But that’s where I as the curator need to make it more understandable and manageable but still be clear in what each piece is.
Immersion and Participatory Curation -
Immersive environments allow for a gallery space to be completely transformed to become an all- encompassing experience, encouraging visitors to step into and move through the space. Alongside this I have encouraged the idea of participatory curation, with certain chosen artworks, the Jennifer Steinkamp ‘Eon’ piece allows the viewers to have a certain amount of agency over the world they live in. The ideas behind the exhibition talk about how everything is intelligent, trying to challenge traditional human- centric understandings of intelligence. My curation should acknowledge the post optimism complexities and contradictions inherent in technology. In collaboration with how interconnected all elements of the world are, sharing its responsibilities and interdependence, fostering a more sustainable interaction.
Collaboration and Community Impact -
The exhibition aims to provide a transformative experience, showcasing cutting-edge digital art and its role in addressing global challenges. By valuing the creative sector and fostering public engagement, the Eden Project Dundee positions itself as a forward-thinking hub for innovation and cultural dialogue. Selected collaborations already working on the Eden project that could also open up other possibilities for the artists include, Dundee City Council, University of Dundee, The Northwood Charitable Trust, National Grid, SGN. The Eden Project Dundee offers a unique venue that complements the exhibition's themes, it will be an exciting development for Dundee, allowing visitors to think about their green impact on the city and exploring a former gasworks on East Dock Street, with green tourism and regeneration, venue and topic, complement each other. Visiting places like this can have strong psychological impacts. The largescale nature-technology-human take over will be a great place to incorporate digital art works and influences, to see how they can successfully be shown together and educate the public of what is happening in the art scene with technological inclusion. When the gas works were thriving , it fostered community and development, the gas powered the whole city allowing them to heat and light their homes. So, the new development should also provide a sense of community and highlight the modern- day priorities of development and sustainability. This is something I would like to see come from the exhibition, in terms of viewer feedback and environment. Heritage in the city can gain new life. ‘The site is set back from the Dundee waterfront on the bank of the River Tay. It has good public transport links, the potential for a new pedestrian connection to the city centre and is less than a mile away from V&A Dundee and the train station.’ (Eden Project Dundee, 2024) This proposed site allows for a
full integration of art and nature in the same location on a large scale and in a location open to the public on a normal basis. ‘The Dundee attraction will combine exhibits, performance, learning, play, immersive experiences, horticulture, live music, and art.’ (Eden Project Dundee, 2024) Showing how forward thinking the space is and that it is already planning on incorporating art and immersive experiences in this space. Using a refurbished gas work which will then be the Eden project, which is brand new to Dundee, in the city centre to boost engagement of the local public. It will also attract national and international visitors as it will be a newly built Eden project in Scotland. The integration of art and nature in this space reflects the city's heritage while embracing modern priorities. The creative sector needs to be continually valued; by using this space it allows for a dinerent perspective and oners something radically dinerent to what is already available in Dundee. Many artists and collaborators will be chosen with this also in mind to make sure that there is total inclusion with the themes of digital immersion and interactivity, making it a successful exhibition for public engagement.
CHAPTER 4-
Other Sources
Immersion -
Immersive art and the enect it can have on people’s mood is immense. I want the immersive elements of nature and technology to have a mutually beneficial relationship in this exhibition, allowing the public to explore this to see how they can co - exist together for the better of humanity. Does movement and motivation go together? What respect and recognition do we give to immersive and art experiences? Intermedia art stimulates the 30
limbic system of the human’s brain, which controls emotions, memory, sexual stimulation and learning motivation. Neuro Coach Anna Voznaya from Medium shares, ‘When we encounter art that moves us, the amygdala, a key component of the limbic system, can become activated. This activation is associated with the experience of emotions such as fear, joy, or sadness.’ (Voznaya, 2023) All this is to do with how one responds to certain situations and art pieces shown in front of them. When humans listen to music, the limbic system increase blood flow to brain regions where dopamine is created, increasing feelings of pleasure and better wellbeing. Our brains are what enables art, how we see it, how we interpret it, what we want to take from it. World Health Organisation have said that “Virtual Reality can provide cutting- edge therapeutic benefits, and interactive exhibits that dissolve the boundaries between art and viewers engage all of our senses and strengthen memory”. (Squire, 2023)
Personally, when I create art it’s the beats, rhythms and sounds of music that motivate me and help me make better work. It makes me feel confident in what I’m doing, and it’s really dinicult to create this feeling elsewhere.
Digitalisation -
We must form a new relationship with non-human intelligence. AI is a world created by us, most commonly perceived as a tool to exploit the natural world. Smart decisions require smart tools, but we don’t have as much control over it as we think, especially once we post content online. We need to be careful what happens with it once it has the ability to do more complex tasks in the future, this is similar to bio art and life sculpting in terms of genetic modifications we are able to do on plants and animals and
the lack of control we have with this. It is guided by the human mind and not by what is ethical, it is no longer guided by its natural course, which can be scary and unethical. Technologies like machine learning and AI algorithms, are something that is learnt just like all intelligences, so once it is learnt it can become habitual. We need to be careful as it is what we learn, and we decide how we want to use these technologies. But again, technologies sometimes get described as higher powers or too complex, but they are all learnt and built, showing it is possible to guide and change them. Not for everyone, but when people with power get hold of and control of these higher technologies, we need to be careful with what possibilities they are capable of because they will be stopped by no one. ‘The most advanced technologies, processes and businesses on the planet- artificial intelligence and machine learning platforms built by IBM, Google, Microsoft, Amazon and others- are brought to beat on fossil fuel extraction, production and distribution: the number one driver of climate change of CO2 and greenhouse gas emissions, and of global extraction.’ (Bridle, 2023) This is something that shouldn’t be at the forefront of people’s thoughts about intelligence, we need to be thinking on a smaller scale to start with, instead of thinking to fuel the expansion of AI. In the non-human world, intelligence is so much more than the ‘typical AI and machine learning techniques’, but western interests and sciences make this the case in everyday media and society, and only just starting to take this seriously. Stated by Bridle ‘We must discover an ecology of technology’. (Bridle, 2023) to get the best outcomes we can.
Science and Art -
Plants are constantly classified into dinerent groups all the time by humans, and evolution, but AI even struggles to identify what is human and what is not. What is identified by humans are easy to classify, therefore AI needs time to develop. All these forms of classification, suggest human influence, but as plants have started to do this on their own it shows hope for life in the future beyond humanity. Bridle states ‘As within human society, we’d rather extend the in-group sharply and grudgingly than acknowledge that there are multiple ways of behaving intelligent, many of which trouble our existing methods of classification.’ (Bridle, 2023) showing we need to change our attitude to what we think as intelligence and not singularly but as a whole society. Bio art provides a venue for more controversial views or ideas in society and that human intelligence isn’t the pinnacle of all intelligence. We need to incorporate or copy the way plants evolve and use their form of intelligence to base our technology on, it becomes more sustainable and ergonomical. As seen in many agricultural fields, AI is being used for successful breeding of plants to reduce dead crop and create better yields each harvest. Plants have evolved to even extract and store metals in their leaves. ‘The concept of Phyto mining has been around for a while and relies on a class of plants known as “hyperaccumulators.” These species can absorb a large amount of metal through their roots and store it in their tissues. Phyto mining involves growing these plants in soils with high levels of metals, harvesting and burning the plants, and then extracting the metals from the ash.’ (Gent, 2024) This becomes a much more sustainable way to extract metals rather than just mining them from the ground and destroying the natural areas around it and wasting acres of space. So, using these ways of development and ideas to train the AI algorithms we can stop wasting time and space.
Potentially even power the AI servers in a much more sustainable way, having a much more beneficial relationship with nature and machine learning.
Artificial Intelligence Day is in July, so the exhibition will take place throughout the whole month and have a celebration day on the 16th of July, the onicial AI day. To add another layer to the depth of the exhibition and the buzz that can be created, this can be done by getting other organisations to talk about and promote AI usage during this time, to work together on projects to go alongside the exhibition.
CONCLUSION -
As James Bridle suggests, ‘Intelligence, then, is not something to be tested, but something to be recognised, in all the multiple forms that it takes.’ (Bridle, 2023) This idea lies at the heart of the exhibition, exploring AI, ecological awareness and art, in addition to the documentation of new media art and its validity in the art world. The exhibition does not merely showcase new media art but serves as a critical platform for reflection, dialogue, and integration, addressing both the promise and the challenges of technology within the contemporary world. For example, how we form a good, sustainable relationship with AI, moreover it is a space for reimagination and integration. The exhibition challenges profit-driven narratives around AI, narrowing the focus of the uses of AI, taking away the creativity of its power, offering an alternative perspective that emphasizes creativity, sustainability, and ethical reflection. Celebrating technology as a force for innovation. Technology has shaped the way we live in all sectors, so having this exhibition with the Eden project in the ecological world, will help elevate and validate the artwork and collective of ideas tenfold. The
lack of clarity and environmental morals from much larger corporations incorporating AI in their growth and expansion to dominate their industries, has stunned the positive growth and use of AI elsewhere. AI is dominated by power and money, but this exhibition highlights the intricate interplay of technology and how it oners both hope and uncertainty. Alongside this art provides a venue for controversial insights and self-reflection but also new understandings of how we interface with both the natural world and digital realms. The Eden Project Dundee states that what they are building , ‘will encourage visitors to think, feel and act dinerently by revealing how we can learn from and be inspired by nature.’ (Eden Project, 2023) I hope the artwork will help enhance this from a technological side and inspire participants to think dinerently. Artworks become dynamic entities that challenge traditional notions of nature as static and instead present it as an evolving force. The shared values of the Eden project and I, as the curator, provide a good base for a successful exhibition. In a time of global environmental and technological uncertainty, this exhibition highlights new ideas and sustainable development to ensure sustainable development. I believe in the need to keep diversity in nature and data sets, to evolve successfully. Through deliberately chosen examples and artworks, this exhibition could provide a multifaceted experience that explores the interconnectedness of nature, technology, and human beings. It could help change our relationship with technology, while critically engaging with the entanglements of our post- optimistic age. This exhibition should successfully dissolve the boundaries between viewer and environment, promoting a more balanced view of technology. With nature more traditionally being seen as an object of contemplation, it is now presented as a dynamic entity, with philosophical ideas to go with it. Technology has
redefined so much of how we live today; digital environments are most likely not simulations anymore. In conclusion, The Experience of Immersive Presence, is more than a showcase, it highlights the very potential for technology, with critical recognition to become a tool for ecological awareness, ethical reflection. It oners a transformative engaging environment with the natural world, as well as reimagining our role in these systems. By fostering a deeper understanding of our interconnected systems, it aims to redefine our role within them, advocating for a future that prioritizes sustainability, diversity, and collective responsibility.
Appendix-
Exhibition layout- Part 1
Exhibition layout- Part 2
Model 1- Art Util (Olivia Rodgers, 2025)
Model 2- UVA (Olivia Rodgers, 2025)
Model 3- Libbey Heany (Olivia Rodgers, 2025)
Model 4- TEAMLAB, (Olivia Rodgers, 2025)
Model 5- Bjork and Aleph, (Olivia Rodgers, 2025)
Model 6- Kara Walker, (Olivia Rodgers, 2025)
Model 7- Soorin Shin, (Olivia Rodgers, 2025)
Model 8- Jennifer Steinkamp, (Olivia Rodgers, 2025)
Model 9- Scott Hunter, (Olivia Rodgers, 2025)
Model 10- Rafael Lozano - Hemmer, (Olivia Rodgers, 2025)
Model 11- SHI ZHENG, (Olivia Rodgers, 2025)
Drawing of potential plan
Potential viewing order of artwork-
Reference list-
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Appendix - Wider reading and Sources
Neptune Frost. (2023). Kino Lorber.
https://arte-util.org/projects/revival-field/ https://ainowinstitute.org
https://ariciano.medium.com/welcome-to -the-world- of-art-merged-withtechnology-b29ca9d33162
http://www.caareviews.org/reviews/121
https://callforcurators.com/rethinking- curating-art-after-newmedia/#:~:text=Rethinking%20Curating%20explores%20the%20characteri stics,engaged%20art%2C%20and%20performance%20art.
https://rhizome.org/editorial/2010/jun/30/new-media-new-modes- onrethinking- curating-art-aft/
https://www.immersence.com/publications/2010/2010BGraham_SCook.html
https://www.lozano -hemmer.com/projects.php?keyword=lights https://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrichobrist-art- curator
https://www.singulart.com/landing/en/singulart-prize?campaign_id=2907
https://www.newyorker.com/news/letter-from-silicon-valley/the-rise-andrise- of-immersive-art
https://www.cultivategrandrapids.org/post/the-artist-as- curatorinfluencing-the-art-world-from-within
https://wobblydigital.com/About
https://www.barbican.org.uk/whats- on/2019/event/ai-more-than-human