AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

No Longer Write – Mochiji
Powered by artificial intelligence’s Generative Adversarial Networks (GANs), the collected works from ancient Chinese Calligraphers, including Wang Xizhi, Dong Qichang, Rao Jie, Su Shi, Huang Tingjian, Wang Yangming, as input data for deep learning. Strokes, scripts and style of the masters are blended and visualized in “Mochiji”, a Chinese literature work paying tribute to Wang Xizhi. Wang is famous for his hard work in the pursuit of Chinese calligraphy. He kept practicing calligraphy near the pond and eventually turned the pond for brush washing into an ink pond (Mochi). The artwork provides a platform for participants to write and record their handwriting. After a participant finished writing the randomly assigned script from “Mochiji”, the input process is completed and the deep learning process will begin. The newly collected scripts will be displayed on the screen like floating ink on the pond, and slowly merge with other collected data to present a newly learnt script. The ink pond imitates process of machine learning, which observes, compares and filters inputs through layers of image and text, to form a modern edition of “Mochiji”.
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不再写 – Mochiji
以人工智能的生成对抗网络（GANs）为动力，将王羲之、董其昌、饶捷、苏轼、黄廷健、王阳明等中国古代书法家的作品作为深度学习的输入数据。向王羲之致敬的中国文学作品《麻糬》，将大师的笔触、文字、风格融为一体，形象化。王先生以对中国书法的刻苦钻研而著称。他一直在池塘边练习书法，最终把洗笔池变成了墨池（麻糬）。艺术作品为参与者提供了一个书写和记录他们笔迹的平台。参与者完成“Mochiji”中随机分配的脚本后，输入过程完成，深度学习过程将开始。新收集到的脚本会像池塘上的浮墨一样显示在屏幕上，并与其他收集到的数据慢慢融合，呈现出新学到的脚本。墨池模仿机器学习的过程，通过图像和文本的层层观察、比较和过滤输入，形成现代版的“年糕”。

ST/LL
ST/LL opens on a stage with a long set table, perpendicularly to the orchestra, under the eyes of the audience; on the sides of the table there are some chairs. On the background, coinciding with the inner extremity of the table, there is a projection screen developing vertically, like a painting that evokes the Japanese pictorial tradition. The perimeter of the stage is covered with a veil of water, in which everything reverberates. The whole visual structure of the work develops all around this diaphanous dimension. A man enters the scene and carries out actions on the table: he moves the cutlery, changes the position of the chairs, makes tiny gestures, which let the audience foretell that an action played on the visible will develop. To the sound of a metronome, two women and then a third one enter the scene and sit at the table making gestures that imitate a meal without food.

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial “thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.

Abyss of Light

Abyss of Light is divided into three screens and into three acts, the traditional structure of classic narrative film. In the first act, all the images synchronize to form a single panorama of Bryce Canyon in Utah. In the second, the screens break away from one another into three parallel sequences wherein each projection shows the same one hundred images at different speeds. In the third, all three images synchronize once again to form a single wrapping panorama of Death Valley, California. The work is an ode to the American western, one of my favorite film genres. Despite my admiration, however, my desire is not to imitate westerns. Instead, I set up an abstraction in opposition to the idea of narrative, something that can be seen in all of my work. In Abyss of Light, continuous disruptions of the American landscape document my refusal to see the land as backdrop for man’s heroic conquering of the wild; instead I see it as a foreground, a subject to be contemplated for itself and for which wildness is a state of grace.

Living pod
file festival
Light, shape variations and mimicry meet in Living Pod. In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion, changing structure through miniature electric motors activated by light sensors that are sown through the garment. Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. In addition to the mechanical movements of the garments, Living Pods underlines two fundamental aspects of today’s fashion system: confrontation and imitation. The garment plays a mediating role between man and his environment. By using light, Living Pod is similar to project Walking City, which uses air to make the pieces look like they are breathing.

منير فاطمي
Evolution or Death
Fatmi inverts spectacular representations of identity by rendering them mundane and within reach of a subject that may scramble any conclusive narrative. Fatmi’s work counters strategies of interpellation that identifies a subject with an ideology prior to that subject’s ability to place their identity in or beyond a particular ideology. Fatmi parodies the various interpellations of colonialism and capitalism that seek to define others according to symbolic narratives. In Evolution or Death, 2004, (fig. 4) two Anglo-European looking subjects imitate suicide bombers with books and papers taped around their abdomens. One holds open a trenchcoat and another holds up a book that looks like a detonator attached to wires. Fatmi reverses the situation. These are not the suicide-bombers from Arab and Muslim countries. Instead, they appear to be of European descent in a European street or modern room in casual clothing.

АНА ТЕРЕЗА ​​БАРБОСА
Volver a Mirar
Ana Teresa Barboza mixes embroidery and drawing within her collected works. Using the fur of animals as a perfect leeway for her stitching technique, Barboza layers thin strips of string expertly to imitate the texture of a creature’s fur. While animals and vegetation are richly detailed in her works, she chooses to display her human subject matter as basic, black stitched figures or graphite drawing. The end result is a texturized feast for the eyes.

آنا تيريزا باربوزا
АНА ТЕРЕЗА ​​БАРБОСА
Ana Teresa Barboza mixes embroidery and drawing within her collected works. Using the fur of animals as a perfect leeway for her stitching technique, Barboza layers thin strips of string expertly to imitate the texture of a creature’s fur. While animals and vegetation are richly detailed in her works, she chooses to display her human subject matter as basic, black stitched figures or graphite drawing. The end result is a texturized feast for the eyes.

スティーヴ・ライヒ
סטיב רייך
스티브 라이히
СТИВ РАЙХ
The Desert Music
Steve Reich – The Desert Music (with Kristjan Järvi & MDR Leipzig Radio Symphony Orchestra)
They can imitate you
But they can’t duplicate you
Cause you got something special
That makes me wanna taste you
I want it all day long
I’m addicted like it’s wrong
I want it all day long
I’m addicted like it’s wrong
They can imitate you
But they can’t duplicate you
Cause you got something special
That makes me wanna taste you
I want it all day long
I’m addicted like it’s wrong
I want it all day long
I’m addicted like it’s…

Animated Apertures

instead of windows, mouths with green “hair” that sway in the wind. This is the Animated Apertures Housing Tower, a project of the American architecture firm B + U. The fun building appears to have been attacked by carnivorous plants. The residential building will be built in Lima, Peru. Architects Herwig Baumgartner and Scott Uriu, known for the use of new materials, explain that they wanted to “show that architecture can exist between nature and technology”. Therefore, the designs and colors that imitate plants, in a building that looks more like a living organism. The “hairs” of the windows will be made of a special silicone and will move with the wind, giving the impression of being tentacles. The project is also innovative in its structure, because instead of several small windows, it proposes few and large openings. Thus, professionals avoided a regular facade. The building will have 20 floors and 90 car spaces in an underground car park. The coverage will also have a garden and swimming pool for residents.

Dina Khuseyn, Patrick K.-H., Oleg Makarov

A multivarious result of visual representation of 3 non-identical structures (dance performance, sound art and animation) points at interactivity as the main possible axis of reference. Necessity of this axis derives from specific interpretations that can only appear by juxtaposing of several systems. It opposes to traditional “parallelism” of media, employed in theater that only imitates causality, but having it already done before performance is starting.
In Cinestetika, each element of each media works as separate PROCESS, but also serves a SIGNAL to other medias. This essential core makes Cinestetika rather an instrument to make a term “live performance” filled with its perfect sense.