Silo 468 Light Art Helsinki

INTERACTIVE LIGHT ART FOR URBAN REDEVELOPMENT SILO 468 HELSINKI Disused oil silo has been converted into mesmerizing light art piece and a public space with the aid of swarm intelligence and interactive lighting. The project is a conversion of oil silo into light art piece and a public space designed by Madrid based Lighting Design Collective (LDC). It sits by the sea facing central Helsinki, Finland. Prevailing winds well known to residents are strongly present. The natural light, wind and the movement of light on the water formed the principles for the lighting concept. Walls are perforated with 2012 holes referring to the Helsinki World Design Capital 2012 year. The lighting signifies the start of a major urban redevelopment for the City of Helsinki. It functions to draw focus to unknown district and creates a landmark and a marketing device for the City. Maybe most importantly through the use of natural and artificial light it created a unique civic space for the citizens to use. Furthermore, it set a precedent for a new district for 11000 people to become the “district of light”. During the first years the silo is mainly viewed from distance when the area starts to get build. 1280 LED domes in 2700K white are fitted inside the silo behind the cut-outs and visible from several kilometres away. LDC developed a bespoke software using swarm intelligence and nature simulating algorithms that refresh responding to parameters such as wind speed, direction, temperature, clear night and snow. System dials out every 5 minutes for new data. The patterns are fluid, natural in feel and never repeat. They are slow but speed up in relation to the wind speeds creating constantly changing mural of light. At midnight the exterior turns deep red for 1 hour. The colour refers to the former use of the silo as a container of energy. At 02:30 when the last ferry goes past to Suomenlinna lights go off. The interior gains importance as the area gets populated. Inside is painted deep red. Daylight seeps through the pattern derived from original rust patterns on the walls. North facing wall has no perforations. 450 steel mirrors moved by winds are fitted behind the holes. With sunlight the silo appears to glimmer and sparkle like surface of water.The warm white LED grid reflects light indirectly via the red walls into the space. The moving patterns read as halos racing across the walls. The Silo is a civic space for the citizens of Helsinki. Floor was added and rigging infrastructure, power, water and emergency & cleaning lighting. Light intervention has created a new space for people.

2°C
2°C is a unique AI generated art installation imagined through the mind of a machine. Utilising machine learning algorithms trained on thousands of archival images of geometric structures of man made cities and naturally occurring organic corals forms, the AI takes this learned data to visualise an otherwise unseen coral city. 2°C is about coral bleaching, one of the phenomenon mainly caused by rising sea temperature brought about by climate change. To prevent the massive, irreversible impacts of ocean warming on the coral reefs and their services, it is crucial to limit the global average temperature increase to below 2°C above pre-industrial levels.

Metapixels
PROTOROOM은 테크놀로지 매체 기반의 키트(KIT)로 작업을 하는 메타미디어 콜렉티브이다. 여기서 키트는 감각하고 사유를 이끄는 메타적 매체로서, 컴퓨팅 매체의 근본적인요소를 직접 감각하는 기회와 함께 생태계의 일부화된 테크놀로지에 대한 사유과 담론을가능하게끔 연결해주는 매개자가 된다. 이를 이라는 주제로 전시, 워크숍 등의 작업으로 풀어내는 연작을 이어가고 있다. 2014년 부터 후니다 킴과 김승범이 활동하고 있다. 최근에는 전시 X 워크샵이란 형식으로 2016년 일본에서 NTT 인터커뮤니케이션센터[ICC] ‘Media Art as an Awareness Filer ’와 백남준아트센터 “우리의 밝은 미래 – 사이버네틱스 환상 “에서 기획전에 참여하였다.

ネスト
ホメロスのオデッセイに大まかに基づいたマシュマロレーザーフィーストの照明設備は、礼拝堂のかすんでいる内部ドーム内の主要なパフォーマンススペースを照らしました。アジャイルボディが多くの照明付きの塔や表面を通り抜けるときに、グリッドのような突起が可動構造（建築設計事務所Studio Weaveによって設計された）と交差しました。この最初の行為は、上の左右のバルコニーから観客に見られました。 2番目の行為であるコンクリートの地下室にあるロープで裏打ちされた階段の下り飛行は、三角形のネオン管と開いたドアから染み出した不気味な輝きだけで照らされ、より方向感覚を失いました。カナダの作曲家クリストファー・マヨと電子音楽の作曲家/パフォーマーのアンナ・メレディスによる、より速くてパーカッシブなスコアに合わせたダンスのスタイルは、聴衆に立ち向かい、ダンサー（一部はストリートウェアを着ていた）と境界なしで上演されました。視聴者。

Metapixels
PROTOROOM es un colectivo de metamedia que trabaja con kits basados ​​en medios tecnológicos (KITs). Aquí, el kit es un meta-medio que conduce al sentido y al pensamiento, y se convierte en un mediador que hace posible conectar el pensamiento y el discurso sobre la tecnología que es parte del ecosistema, junto con la oportunidad de sentir directamente los elementos fundamentales de la informática. medios de comunicación. Bajo la temática de este, continúa su serie de trabajos para desentrañar a través de exposiciones y talleres. Hunida Kim y Kim Seung-beom han estado activos desde 2014. Recientemente, en el formato de Exposición X Taller, participé en exposiciones especiales en el Centro de Intercomunicación NTT [ICC] Media Art as an Awareness Filer y Nam June Paik Art Center “Our Bright Future – Cybernetics Illusion” en Japón en 2016.

Escapement

KD VYAS correspondence

fair play
via highlike submit

Disobedient Objects

DISOBEDIENT OBJECTS

Connections With Nature

BLACK DUKE

Drama House
File Festival

“Drama house” is a house when the simple ring at the doorbell can have unpredictable consequences; event, one is stranger then another and in the same time all, what happens with habitants belongs to everyday life. Sometimes these circumstances are a little bit exaggerated. Spectator stands in front of low fence with a door-gate. There are 8 doorbells on it. The act of ringing provokes an action in an apartment window. Based on chance and the choices that viewers make, the project explores the contemporary trends in the construction of a narrative and the interplay between diverse informative sub-layers effected through the impact of digital, non-linear media. It also questions the very process of story telling and at the same time considers the way of audience reading. It investigates the differences of individual and collective perception. In other words, the sequence and choices that each viewer selects reflect his own perspectives and behavioral patterns, thus makes the viewer much more than an active participant. By interacting with the installation the viewer is engaged in the creative process: re-telling the ever-changing story through the utilization of the primary capability of the digitization: reshaping the information. Therefore, each participant walks away with a unique, slightly different vision, each shaped according to his own choices and directions. Interactive media and the digital environment of the DH and its narrative function through a recognizable metaphor that makes access to the information meaningful: a house as a conceptual society model and an apartment as a private space. This reference transforms the objects and stories in the project into the metaphors and reminds us of the art cultural function: as a site of memory of the social collective imagination and as a site of representation and power.

P5.js na Visualização de Dados em Performance: A Tecnoética da Inclusão e do Pertencimento

Clarissa Ribeiro; Rewa Wright; Jill Scott; Leona Machado

FILE São Paulo 2025 | Workshop
Festival Internacional de Linguagem Eletrônica

P5.js na Visualização de Dados em Performance: A Tecnoética da Inclusão e do Pertencimento – Brasil

O FEMnomenal Art Collective oferece uma oficina performativa que explora o ecofeminismo e a desconstrução da divisão entre humano e não-humano — dicotomia central da modernidade colonial. Por meio de atividades colaborativas, visualização performativa de dados e performances interativas, a oficina aborda empoderamento feminino, ideologias alternativas de crescimento e estéticas tecnoéticas. As participantes criam visuais generativos e realizam atos simbólicos que promovem diálogos sobre cuidado, equidade e transformação.

BIO

O coletivo é formado pelas artistas e pesquisadoras Dra. Jill Scott, Dra. Clarissa Ribeiro e Dra. Rewa Wright. Juntas, exploram interseções entre arte, ciência e justiça social por meio de práticas criativas que desafiam fronteiras convencionais.

Surfaces

IED Partnership

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – LED SHOW
Electronic Language International Festival
 

Surfaces – Brazil

Concrete beams, glass, brick walls, cement… Buildings are built to last, to withstand time. LED screens, on the other hand, thrive on the light they emit—they turn on, blend, and fade. They are ephemeral. When a building is clad in LEDs, the permanent and the transient meet, between what already is and what might become. In the iconic FIESP building on Avenida Paulista, surface design transforms architecture into a field of experimentation. There, students from IED SP explore new possibilities for this building’s existence, redefining the structure through animated light and design.

BIO

Students of the Bachelor’s degree in Graphic and Digital Design at the Istituto Europeo Di Design (IED SP) have come together to create a collective work of animations inspired by surface design, its redefinition, and media materialization, seeking to explore language for visual communication projects. IED is an international training and research network in Design, Fashion, Visual Communication, and Creative Management.

Leonardo Da Vinci Project: Neo-Renaissance

CRUDE_CASTIN

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – CGI VIDEOS
Electronic Language International Festival

Leonardo Da Vinci Project: Neo-Renaissance – China

Neo-Renaissance uses the protagonist and Leonardo da Vinci as clues to tell the story of people’s prosperous lives in the “cloud,” the emergence of a latent crisis, and the connection of digital subjects in the context of decentralization in the near future. The film makes extensive use of artificial intelligence-generated materials (AIGC), interweaving the Renaissance and Web 3.0 into a single narrative, aiming to reflect on the fading of popular power in the lower echelons of various social processes and on imaginations for the future.

BIO

CRUDE_CASTIN is a creative collective of young artists. Their focus is on revealing the hidden power structures behind technology and using diverse methods to explore the tension between technology and humanity. Their work combines art and technology, reflecting on the dilemmas of today’s technological society through themes such as technology and power, history, and nature.

sorrow

Fran Orallo

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival

sorrow – Spain

The work consists of a video glitch that shows a distorted body making dramatic movements. The project questions the idea of identity and identification with one’s own body, showing a disjuncture when it comes to representation. The work is a metaphor that represents the violence exerted on a dissident body. The video is collected within the field of self-portrait since the body rep resented is the artist’s own body.

BIO

Fran Orallo lives and works in Glasgow, Scotland. He studied art at UPV, Valencia, Spain, and New Media Art at City of Glasgow College, Scotland. His work focus es on experimentation with the field of video and animation. He has exhibited his work both in Spain and abroad, participating in biennials, collective exhibitions, and festivals in more than 40 countries.

Deep Field

Tin&Ed

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival

Deep Field – United States

An augmented reality experience where visitors draw fantastical plants that instantly bloom into immersive 3D structures within the space. As people contribute their creations, a collective digital landscape begins to take shape. Layers of recordings of endangered, extinct, and elusive species compose a responsive and evolving soundscape, developed by The Listening Planet.

BIO

Tin & Ed are New York-based artists whose work explores the interconnection of life across biological, geological, and cosmic systems. Through speculative world-building, they reveal connections that transcend human time, spatial boundaries, and sensory thresholds. Their practice spans sculpture, immersive and interactive installations, creating environments that invite audiences to shift perspective and inhabit the world beyond the limits of human perception. Technology is not used as spectacle, but as a perceptual tool that makes the invisible felt and the distant intimately present.

ReCollection

Weidi Zhang & Rodger Luo

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival

ReCollection – China | United States

ReCollection is an interactive installation that uses artificial intelligence to construct synthetic collective visual memories from natural language input. The work blurs the line between memory and imagination through experimental visualizations and AI systems, prompting reflection on how narratives of memory are shaped by emerging technologies.

BIO

Weidi Zhang is a new media artist and designer based in Los Angeles and Phoenix. She is an Assistant Professor of Immersive Experience Design at Arizona State University. Her interdisciplinary research explores speculative assemblages at the intersection of immersive media, experimental data visualization, and interactive AI art. Dr. Jieliang (Rodger) Luo is the CEO and Head of Research at Minus AI, a research-driven startup focused on leveraging AI technology to empower the creative industry. He holds a Ph.D. in Media Arts and Technology from the University of California, Santa Barbara, and has previously served as a Senior Principal Research Scientist at the Autodesk AI Lab.

Machine Hallucinations — Sphere

The artwork presents a series of AI Data Sculptures that incorporates vivid pigments, shapes, and patterns, aiming to create a collective, meditative, and multisensory experience. This immersive experience simulates the rhythms of various environments and invites the visitors to imagine alternative realities constructed by invisible data movements around them.
Machine Hallucination: The Sphere features dynamic visualizations of data that are based on vast archives containing visual imageries of space and nature while celebrating the unique architecture of The Sphere. For this project, Anadol and his team used these themed datasets as the building blocks for the three distinct chapters of the artwork and trained a unique AI model with subsets of the collected image archives. After the training, when idle and unsupervised, the “machine mind” generates new aesthetic visuals and color combinations through unique lines drawn by algorithmic connections.

Interwoven Existence

The artwork draws inspiration from the concept that individual human beings are interconnected rather than isolated. It is a visual representation of collective strength and diversity. The artwork is divided into sections of various sizes and colors, each symbolizing the diverse origins of people around the world.
As viewers approach the artwork, it becomes interactive, reflecting their image across the piece. Upon stepping away, a recording of their interaction is placed into one of the sections, symbolizing the randomness of a given person’s birthplace and socioeconomic position. Subsequently, recorded video clips of previous viewers are displayed in adjacent sections, integrating new viewers into the existing community of participants.

The Legend of Ogie

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
SurrealismToday.com – The Legend of Ogie – United States

What worlds exist beyond Einstein’s speed limit? Inspired by Eric Weinstein’s theory of Geometric Unity, the work explores the idea that space-time is like a melody playing over an eight-dimensional universe. Abstract and metamorphic forms transition from organic forms to parastatic patterns, creating a dance of visuals and sounds that merge into an immersive experience of fractal unfolding.

Bio

SurrealismToday.com is an artist collective and educational platform dedicated to the proliferation of surreal and visionary ontologies in contemporary art. The group began as an esoteric cargo cult dedicated to discovering the beautiful, the fantastic, and the transcendent in the pseudo-philosophical landscape of the art world. His methods include searching for gems in the digital world and infusing mystical enchantments into generative diffusion models.

Squid

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Verbo Pluriel (aka volt46) & XWave – Calamar – United States and France

The Calamar music video is comprised of AI-generated clips that are sequenced and synchronized to create a hypnotic, ever-changing landscape.

Bio

Verbo Pluriel is an electronic music producer who has been active in the NFT scene since 2020 under the name volt46. X-Wave is also an NFT producer that trains its own AI models to generate collections. Although they never met in person, their participation in the web 3.0 art collective Based Ghouls led to their collaboration.

Credits

Music: Calamar (Kraken Mix) by Verbo Pluriel
Music Video: volt46
AI Video Generation: XWave

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

Bi0film.net
Independent and distributed communication networks are at the core of self-organized communities. Based on the idea of biological peer-to-peer networks, which explore how microorganisms like bacteria communicate and collectively act, we have built a human biofilm-like connectivity enhancer.20

Tribe City
Hundreds of beings and dreamlike and dystopian elements inhabit the digital and autonomous works that are part of this project. “It’s a portrait of the masses,” summarise the artists, whose fascination with group dynamics, technological phenomena and the ego are expressed in Tribe with an eclectic selection of individuals who bring to life deeply recognisable social attitudes. Collective behaviour and manipulation are recurring themes in SMACK’s work, which often uses popular visual references and light-hearted aesthetics to present us with an uncomfortable reflection of who we are.

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

Lumières relationnelles
FILE FESTIVAL
Lumières relationnelles» est une installation audiovisuelle interactive qui explore la relation des personnes avec le caractère organique-expressif de «l’espace». L’installation utilise la lumière, le son, le brouillard et un système logiciel personnalisé pour créer un espace-lumière en trois dimensions morphing (métamorphose), dans lequel les spectateurs participent activement, le manipulant avec leur présence et leurs mouvements […] un organisme vivant, avec ou sans la présence et l’interaction des spectateurs. Lorsque les spectateurs quittent la zone de suivi active, le système commence son propre dialogue avec l’espace en extrudant et en transformant des séquences de formes géométriques lumineuses. Lorsque les spectateurs pénètrent et interagissent avec l’espace-lumière projeté, une expression collective et participative de l’espace se déploie. «Relational Lights» élargit le tissu tridimensionnel de l’espace, le rendant visible, audible et tangible pour les participants.

SM-4N
Sarah Oppenheimer’s work explores how individual and collective action can shape the spaces we inhabit. A master of architectural manipulations, her work is interactive, psychological, performative, and at its heart, deeply social.

Installation from Brightly Colored Thread for First U.S

“Conceptually, the installation takes inspiration from the contrasting city plan geometries of the African village and the American city. Overlaying the organic+plan of Gando with the rigid grid of Philadelphia, Kéré shows that despite the two cities’ obvious differences, underneath you can find many similarities in how the societies use architecture to provide a gradient of social spaces ranging from the individual and private to the collective and public” Patrick Lynch

Franz XAVER + Taro + Martin HOWSE + Shu Lea CHEANG + global network nodes
Mycelium Network Society (MNS) investigates the unique abilities of mycelium, the collective name given to thread-like networks of fungal cells, to share and process information. Launched at the Ecologies excursion of transmediale 2017 in Berlin, in 2018 MNS takes on a franchise mode—inviting alternative art spaces and bio-hack labs to become nodes within a mycelium network, and to host workshops, residencies and exhibitions investigating mycelium, fungus and spores. Mycelium is henceforth used as a structure through which to connect co-habitants across borders, to develop channels for constant communication, to construct political tactics and contest economic collapse. The network currently comprises six nodes across France, the UK and USA, and most recently four sites in Taiwan.

DNA (genes)

A gene is a sequence of DNA that contains genetic information and can influence the phenotype of an organism. Within a gene, the sequence of bases along a DNA strand defines a messenger RNA sequence, which then defines one or more protein sequences. The relationship between the nucleotide sequences of genes and the amino-acid sequences of proteins is determined by the rules of translation, known collectively as the genetic code. The genetic code consists of three-letter ‘words’ called codons formed from a sequence of three nucleotides.

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

El pasajero
El Pasajero es una obra de arte electrónico que genera formas lumínicas a través de sus 400 lámparas de gas, reaccionando a diferentes comportamientos mediante el sonido y algoritmos variables. Su cuerpo formado por nueve módulos semitransparentes, irradia tanto por su frontal como por su parte trasera una luz orgánica cuando las partículas de gas contenidas en sus lámparas son excitadas mediante impulsos de alto voltaje. A través de sus paredes acrílicas pueden verse los componentes electrónicos que dan vida a este golem sintético que opera como escenografía en este primer proyecto de N0Collective, una experimentación que transita la hibridación de los Nuevos Medios con las Artes Escénicas en busca de nuevas experiencias interdisciplinares.

Quantum Memories: Nature Studies
Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. These unique pieces of the “Quantum Memories” series exhibit arresting visuals and colors that speculate the probability of reaching invisible spaces. They are composed in collaboration with a generative algorithm enabled by artificial intelligence (AI) and quantum computing, a new form of computing that exploits the unusual physics of the subatomic world. It turns the visual data that flows around us into an artwork that represents our collective and digitized memories of nature and encourages the viewer to imagine the potential of this computing technology for the future of art, design, and architecture.

blind

It’s an image that evokes a moment in history seared into our collective consciousness. This is “Blind” by Italian artist Maurizio Cattelan. The sculpture of an aircraft spearing a towering monolith recalls the 9/11 attack on New York’s Twin Towers. The simple black pillar carries a heavy meaning. It’s the final artwork in a new Milan exhibit called “Breath Ghosts Blind”.

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

Madakaripura

Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.

SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

UK Pavillion
THE POEM PAVILION FEATURES A BREATHTAKING ILLUMINATED ‘MESSAGE TO SPACE’ TO WHICH EACH OF THE EXPO’S ANTICIPATED 25 MILLION VISITORS WILL BE INVITED TO CONTRIBUTE. “THE IDEA DRAWS DIRECTLY ON ONE OF STEPHEN HAWKING’S FINAL PROJECTS, ‘BREAKTHROUGH MESSAGE’, A GLOBAL COMPETITION THAT HAWKING AND HIS COLLEAGUES CONCEIVED IN 2015 INVITING PEOPLE WORLDWIDE TO CONSIDER WHAT MESSAGE WE WOULD COMMUNICATE TO EXPRESS OURSELVES AS A PLANET, SHOULD WE ONE DAY ENCOUNTER OTHER ADVANCED CIVILIZATIONS IN SPACE. WHAT IF THE UK PAVILION AT EXPO 2020 BECOMES A PLACE WHERE VISITORS FROM ALL OVER THE WORLD TAKE PART IN A COLLECTIVE GLOBAL PROJECT THAT SHOWCASES BRITISH EXPERTISE IN A.I. TECHNOLOGIES AND POETRY WHILE TRANSCENDING NATIONAL IDENTITIES?” Es Devlin

Loom
Loom showcases abstract animations developed with data from real-time Google Trends. Popular queries appear momentarily as overlaid text before dissolving into a smoky abstraction. These terms are approached with an accidental lyricism —each word appears and disappears in a trail of saturation. Colors within the animation are determined by the prevalence of a specific topic; the more viral the search is online, the warmer the tones become. Stripped from headlines, graphic imagery, and statistics, each phrase inspires a contemplative experience, a chance for the viewer to ruminate on what is streaming through the collective consciousness at any given time. Loom weaves a social fabric, mixing the transcendental with the banal, to present the spirit of our time in generative motion.

Treu
Treu is a real-time audiovisual installation that elaborates on the multiple meanings and implications of the concept of trust. On a macro level it observes how historical events have influenced its course and considers how this can evolve in the future. On a micro level, it, explores how the presence or absence of trust can shift the perception of our individual realities.
Trust is a fundamental element of our society. Politics, economics, and our whole modern system are not material realities – they are psychological constructs based on the trust in individuals, in institutions, in the market. We decide to believe in the value of money, to undertake social changes only if we trust the inventions of our collective imagination.
video

Feel My Metaverse
Feel My Metaverse is Keiken’s first venture in creating a cinematic film, using game engines to build a fictional future, wanting to create stories that viewers can collectively believe in. “I normally make CGI animation from Cinema 4D, often taking days and weeks just to produce short sequences or footage. Whereas working with game engines, we could generate landscapes or worlds that we can continually build onto collectively to produce larger scale works”. The film, set in a future when climate crisis has rendered Earth inhabitable, explores the daily lives of three characters and their experiences in the multiple realities – Pome Sector (a corporate wellness world), 068 (a roleplaying VR world), and Base Reality, or what we currently know as earth. The characters navigate the challenging landscape in the world’s unforgiving points system. Keiken’s goals of unlearning norms of the current world is included in one of these realities.

Oculus
Oculus is a large-scale, collaborative light sculpture that depicts a colossal abstracted drosophila eye, replete with compound faceted surfaces. It both recalls the circular opening at the apex of a cupola and alludes to a surveillance device or drone hovering in mid-air. Oculus is inspired in part by a series of scanning electron micrographs produced in a transgenic lab while researching human and non-human sensoria. The work evokes affective encounters with scale such as viewing miniature particles through the lens of a microscope or wandering through monumental physical environments. As each viewer’s reflection plays across the sculpture’s undulating surface, the apprehension of the self affects both individual and collective behavior in unexpected ways. This affective dynamic plays on the precariousness of our coexistence with other lifeforms in the world, one that is always contingent upon viewers’ bodies and the variability of the environment around them. The act of gazing at Oculus also puts into play the reciprocal condition of both seeing and being seen.

Liminal Beings
Liminal Beings explores the concept of automaton and the different anthropomorphic forms and functions embedded within its ontology. Automata, since ancient times, have been standing on the verge of two states, developing machinic and human characteristics simultaneously – in reality, and in the collective consciousness. They are trained to execute and learn respective actions and procedures, thus creating an uncanny, awkward state, trapped in limbo between diverse conditions of existence.

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

Factory of the sun
In this immersive work, which debuted at the 2015 German Pavilion at the Venice Biennale, Steyerl probes the pleasures and perils of image circulation in a moment defined by the unprecedented global flow of data. Ricocheting between genres—news reportage, documentary film, video games, and internet dance videos—Factory of the Sun uses the motifs of light and acceleration to explore what possibilities are still available for collective resistance when surveillance has become a mundane part of an increasingly virtual world. Factory of the Sun tells the surreal story of workers whose forced moves in a motion capture studio are turned into artificial sunshine.