WERNER REITERER

Вернер Рейтерер
The Beginnings of Space Travel

Should art make us laugh? Styrian artist Werner Reiterer certainly challenges us to ponder on the sense and nonsenses of our world, but the noir humour and irreverent handling of reality in his approach mean that our first reaction is to laugh out loud. What we make of it afterwards is the long finish, as it were.

Void

Abysmal
Abysmal means bottomless; resembling an abyss in depth; unfathomable. Perception is a procedure of acquiring, interpreting, selecting, and organizing sensory information. Perception presumes sensing. In people, perception is aided by sensory organs. In the area of AI, perception mechanism puts the data acquired by the sensors together in a meaningful manner. Machine perception is the capability of a computer system to interpret data in a manner that is similar to the way humans use their senses to relate to the world around them. Inspired by the brain, deep neural networks (DNN) are thought to learn abstract representations through their hierarchical architecture. The work mostly shows the ‘hidden’ transformations happening in a network: summing and multiplying things, adding some non-linearities, creating common basic structures, patterns inside data. It creates highly non-linear functions that map ‘un-knowledge’ to ‘knowledge’.

Bill Vorn

Prehysterical Machine

The Prehysterical Machine has a spherical body and eight arms made of aluminum tubing. It has a sensing system, a motor system and a control system that functions as an autonomous nervous system (entirely reactive). The machine is suspended from the ceiling and its arms are actuated by pneumatic valves and cylinders. Pyroelectric sensors allow the robot to detect the presence of viewers in the nearby environment. It reacts to the viewers according to the amount of stimuli it receives. The perceived emergent behaviors of this machine engender a multiplicity of interpretations based on single dynamic pattern of events.The aim of this project is to induce empathy of the viewer towards a “character” which is nothing more than an articulated metal structure. The strength of the simulacra is emphasized by perverting the perception of the creature, which is neither animal nor human, carried through the inevitable instinct of anthropomorphism and projection of our internal sensations, a reflex triggered by any phenomenon that challenges our senses.
FILE FESTIVAL

Kenny Wong

Squint
file festival
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.