Stefan Tiefengraber

your unerasable text
“your unerasable text” is an interactive installation, dealing with the topics of data storage and elimination of data. The installation can be placed in an exhibition, but ideally it’s exhibited in a public space window, where it can be used by people passing by 24h a day. The participant is asked to send a textmessage to the number written on a sign next to the installation. “send your unerasable textmessage to +43 664 1788374”. The receiver mobile transfers it to a computer, which is layouting the message automatically. Then it is printed on to a DIN A6 paper, which is falling directly on to a papershredder. There the message remains readable for a few moments and gets destroyed then. The shredded paper forms a visible heap on the floor, which reminds of a generative graphic.

Dan Goods, Nik Hafermaas & Aaron Koblin

The eCLOUD is a dynamic sculpture inspired by the volume and behavior of an idealized cloud. Made from unique polycarbonate tiles that can fade between transparent and opaque states, its patterns are transformed periodically by real time weather from around the world. It is a permanent sculpture between gates 22 and 23 at the San Jose International Airport and was a collaboration between Dan Goods, Nik Hafermaas, and Aaron Koblin.

Pedro Reyes

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

Stine Deja

poster sky3

Deja’s work is so effective because it engages with the aesthetics of new technologies in order to critique their sociological, psychological, and physical impact on our embodied selves. At times idealistic and others damning, Deja avoids sorting technology into a
good-bad binary, but instead allows both ends of that spectrum to proliferate, allowing visitors to her supersensory exhibitions come to their own conclusion. She just asks “Technology enhances
and simplifies communication, but are we really more connected?”

Steven Gawoski

Trench Denizens in Blue

The function of my art, visually, is to reconstitute subjects presented through scientific research, (via electron micrography, deep sea photography, or deep space imagery) into idealized forms. This method is perhaps more akin to an 18th century naturalist’s catalogue of documented specimens from far off lands, returning to be deciphered and judged under the reigning doctrines of the day.

Antonio Pio Saracino

INFINITUM is an immersive art – architectural installation presented at the Sharjah Art Museum on the occasion of the Islamic Arts Festival 2019/20, 22nd Edition. Arches are typical in Mosques’ design. […] Islamic Arches buildings are typically constructed of stone, wood being rarer in the original Middle Eastern homelands of the Umayyads. The rows of Columns and Arches give a visual impression of limitless space, as a metaphor of the progress for human civilization, maximizing spiritual symbolism and visual appeal – progressing towards an ideal civilization. It refers to centuries of human civilization and the creation of prospective in social spaces and the openness to open possibilities of human life.

Ricardo Barreto and Raquel Fukuda

The almost ideal game

Gilles Deleuze about the Ideal Game: we are surprised when he postulates as the first rule: “there is no rule”. Soon, all the other games that have some rule are, for him, partial. That is, products of the ideal game.

A game where there are no rules implies a completely free game creatively. The question to be raised is whether there is a grey region between the ideal game and the partial games, so that the rules established in the partial games could be suspended. This way we could unpartialise the games bringing them closer to the ideal game or some kind of almost ideal game.
If we take the rules of any game, it means it stops to work immediately, except in the ideal game. Therefore, the key question is: how to suspend the rule of a game (Dice games) so that it can continue to work?


Ricardo Barreto and Raquel Fukuda

The almost ideal game

Matthias Zwicker, Wojciech Matusik, Fredo Durand, and Hanspeter Pfister

Automultiscopic 3D displays
Automultiscopic 3D displays allow a large number of viewers to experience 3D content simultaneously without the hassle of special glasses or head gear. This display uses a dense array of 216 video projectors to generate images with high angular density over a wide field of view. As users move around the display, their eyes smoothly transition from one view to the next. The display is ideal for displaying life-size human subjects, as it allows for natural personal interactions with 3D cues such as eye-gaze and spatial hand gestures.