Kimchi and Chips

Difference and Repetition
The title references Deleuzes thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

Disney Research

Realistic and Interactive Robot Gaze
System for lifelike gaze in human-robot interactions using a humanoid Audio-Animatronics® bust. Previous work examining mutual gaze between robots and humans has focused on technical implementation. We present a general architecture that seeks not only to create gaze interactions from a technological standpoint, but also through the lens of character animation where the fidelity and believability of motion is paramount; that is, we seek to create an interaction which demonstrates the illusion of life. A complete system is described that perceives persons in the environment, identifies persons-of-interest based on salient actions, selects an appropriate gaze behavior, and executes high, fidelity motions to respond to the stimuli. We use mechanisms that mimic motor and attention behaviors analogous to those observed in biological systems including attention habituation, saccades, and differences in motion bandwidth for actuators.

Nathalie Gebert

On Framing Textile Ambiguities
The installation On Framing Textile Ambiguities is the output of a critical investigation on social and technical developments that led to the current local technological situation. As a series of machines, the installation presents itself as a group. They share the same thread and are made from the same components. Each machine is build around a frame, through which the thread is running. Though they are finding various meanings in the encoding due to differences in the widths of the frames.


Fifty Sisters
“I am an artist and academic based in Melbourne, Australia. I am interested in the creative possibilities of computers and computation, in particular how computers can enhance and augment our creativity. My interests and research are relatively broad: philosophy, evolution, nature, visualisation, interaction design, software, sound, art and the moving image. I prefer the intersections between these fields, rather than the differences that set them apart.” Jon McCormack

Suguru Goto

L’homme transcendé
Suguru Goto explore l’extension des potentialités dans la relation homme-machine. Ses performances joue sur l’interaction entre la représentation vidéo de corps virtuels et les vrais corps présents sur la scène, qui peuvent grâce au BodySuit, transformer ces images en temps réel. Un puzzle est créé autour des différences et des ressemblances entre le vrai corps et le corps virtuel.

Raphael Hillebrand and Christian Mio Loclair

The mathematical construct covers the human body, yet sets a contrast to organic shapes in its accuracy and mechanical precision. This kind of visual contrast can be understood as a visual representation of human computer difference and reveals core features of both – man and machine. A characteristic foundation to design the dialogue of “POW 2045″

Denis Villeneuve


“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

benjamin bergery and jim campbell

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

Strijbos & Van Rijswijk

Blue lightening discs seem to hang freely in a darkened space. They’re the horns of five more than man-sized ceramic trumpets, arranged in various directions. The white inside is radiated with blacklight, as it turns out when your eyes have adapted to the darkness. The horns transmit words, fragments of sentences, laughter, alternated with noise and a strange crackles and sputters. Each trumpet has it’s own repertory of expressions, of which the meaning is hard to probe. And each has it’s own characteristic sound, due to their difference in length.

Alice Channer

алиса Чанер
I Cannot Tell The Difference Between One Thing And Another


Indice de l’indifférence
Montreal-based fashion designer and professor at UQAM, recipient of the Phyllis-Lambert Design Montréal Grant, Ying Gao questions our assumptions about clothing by combining urban design, architecture and multimedia. She explores the construction of the garment, taking her inspiration from the transformations of the social and urban environment.

Thomas Bayrle

Telefon Portrait
Thomas Bayrle (*1937) has been invited to Museum Ludwig’s main gallery to install an overview of his works from the last 40 years that all explore a particular artistic strategy: the loop or looping. While a loop is a kind of ring, the activity of looping refers to the continual repetition of the one and the same motif, whether in Rap music or by constantly running through the same sequence when writing a computer programme. Just such a game between difference and repetition has developed in Thomas Bayrle’s graphic oeuvre

Rina Banerjee

She’s my country
The Indian born, New York City based artist Rina Banerjee has a love of materials, heritage textiles, ethnicity and fashion, colonial objects and furnishings, historical architecture, and their ability to disguise, animate, locate their inherent meanings in her art work. While sculptures and drawings, paintings use a fusion of cultures and unravel our connected experiences an explosion of differences alternate the way we receive our identity. Banerjee says her work explores “specific colonial moments that reinvent place and identity as complex diasporic experiences intertwined and sometimes surreal.”

Lucinda Childs


Pastime takes place in three different spatial locations so that the simple in-place theme with the flexed foot can be presented in three difference situations: vertical, enclosed (in tubular jersey), and upside down.

Dancer: Gabrielle Revlock

Design I/O

Theo Watson, Emily Gobeille and Nick Hardeman
Connected Worlds
Connected Worlds is an immersive, interactive ecosystem that was designed for the New York Hall of Science. It’s an installation of six smaller ecosystems, actually—all of which are connected, much like real ecosystems are. The difference here is that the environments only exist on massive screens connected by a 3,000-ft² interactive floor.


Domestic catastrophe Nº3: La Planete Laboratoire
in collaboration with Dr. Jean-Marc Chomaz, Ladhyx, École Polytechnique

An aquarium containing a domestic globe, a motor to turn the globe and electronic valve or drip feed which releases a fluoresceine tracing dye onto the sphere. As the sphere turns, the green dye wraps itself around the sphere, enveloping it in what appears to be a thin gas or atmosphere that surrounds the planet Earth. The difference between emissions and atmosphere, the ‘man-influenced’ and the ‘natural’ climate cannot be easily defined.


It´s fire, you can touch it

On the other hand, an example of a work representing a difference in which the viewer is faced with participation in the event, is an installation by Yoko Ishii and Hiroshi Homura It’s fire, you can’t touch it (2007). In this work which appoints the active environment, onto the hands reached out by the participants, miniature light signs are projected—a Japanese tanka poem is running through, glyphs change form, fuse together, move. Here we deal with a poetic spectacle in which the perspective of cognitive interactivity, set off in contact with poetry, is complemented by tactile sensations and poems themselves are as if extracted from the environment by interactive gestures of receivers-readers.



o what extent does the quality of movement of the virtual world influence real sequences of human movement? Will the real world of the 21st century assume via nanotechnology attributes of the virtual world? Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells? VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum. Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.


“Baraka is a documentary that starts from an old word with meanings in several languages. It can be translated as a blessing, breath or essence of life, from where the process of world evolution is triggered. The film reveals how much humanity is interconnected, despite the differences in religion, culture and language of the peoples. A true visual poem without narration or caption, only images and sounds carefully captured and articulated through an expressive montage, which makes each take add the next other meaning, whose theme is… After all, what is Baraka about? I believe that each viewer of the film sees a different theme. It can be about the strength of planet Earth. It may be about the multiple diversities that unite us. It can be a lot. Baraka is a visual reproduction of the human connection with the Earth ”


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.