META ISLANDS
Shaun Hu is een nieuwe mediakunstenaar gevestigd in New York City. Zijn kunstwerken zijn nauw geïntegreerd met technologie en onderzoeken de relatie tussen mens, natuur en samenleving in het tijdperk van digitale technologie vanuit een uniek perspectief.

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Shaun Hu is a new media artist based in New York City. His artworks are closely integrated with technology and explore the relationship between humans, nature and society in the age of digital technology from a unique perspective.

Internet of Everything: All Connections
‘Internet of Everything: All Connections’ is a piece of work that connects human, animals, plants, bacteria, environment, compound and equipment using the Internet. It consists of seven parts. One part affects the other by sequence. It doesn’t have a starting point or an ending point in this connection – because they are an interlocking loop structure. The weak bio-electricity of the human body is passed to the bacteria, Proteus. The bacteria starts to vibrate due to the electrical stimulation. Its motion is captured by the microscope and input to Max in real time. Data arising from the change in value in the bacteria movement controls the next part.

Tesseract
Tesseract is a collaboration between Charles Atlas, Rashaun Mitchell, and Silas Riener. It is an evening-length presentation in 2 parts separated by an intermission: a 3D dance film featuring 7 dancers and a live proscenium performance with 6 dancers. The film offers speculative worlds and alternate possibilities in bold visual environments. The performance includes live-video capture with multiple cameras, mixed by Atlas and projected into the stage space. Images obscure and reveal moving bodies behind a translucent scrim, magnified and refracted by Atlas. Through collective action we forge a link between human ritual conjuring and new technological magic. Between the past and the future.

META_BOLUS
‘Meta_bolus’ exposes the metabolic process as an exchange of certain boluses or doses that define relationships as either beneficial or adverse. The laboratory structure in the centre of the installation embodies two connected loops of the metabolism of matter in our planet: human extraction of antibiotics from the Streptomyces rimosus bacteria and human consumption of volatile soil elements through the olfactory apparatus. The two looping processes excrete the two metabolites of the Streptomyces rimosus bacteria: the antibiotics and the geosmin aroma.

Undercurrents

“Mostly the fact that I AM a human body. We can live our lives buried in complex abstraction, or in virtual reality, but you can’t separate your consciousness from the fragility of your physical form. Many of my own fears and anxieties revolve around that realization. I would probably say my pieces involving the human body are a kind of self prescribed therapy to deal with my neurosis”.Albert Omoss

Avatars
For this installation, So Kanno + yang02 composed all kinds of differently sized objects, including a telephone, a traffic cone, a plaster figure, a car, and a plant. Cameras, microphones, monitors and microcomputers are embedded in everyday objects arranged in the exhibition space, and connected to the Internet. Visitors can experience the work by logging in to / “riding“ each object via a web browser. Those objects exist as substitutes of – yet together with – real human beings (the visitors) in the same real environment that is subject to physical laws, rather than operating in a virtual space. Against the backdrop of the age of IoT, where all kinds of things are connected through networks, and artificial intelligence is about to mature, this work observes the new relationships that emerge when inorganic, non-autonomous objects transform into persons that act and perceive the world according to their own intentions.

Björk: All Is Full of Love

The video reaches its harmonious climax as the robots join in embrace, still being detailed by the robotic machines beside them.
Each robot was designed by Cunningham, faces reminiscent of Björk’s own delicate visage. The sterility of the room and lighting and the rendered movements of the machines contrasts with the fluid motions of the robots as they connect in a purely human method.