The project developed in collaboration with experts from different scientific and creative fields: Dr.Trevor Coward,Dr.Shama Rahman,Nuala Clooney,Matteo Rossetti
A collaboration with designer: Luca Alessandrini and Dr. Michelle Korda
Mouth CTRLer is a transdisciplinary project combining scientific findings about the sensing and sensory capabilities of the oral cavity with prosthetics and interactive technologies. It investigates tangible technological possibilities for human enhancement inside the mouth in the form of wearable prototypes.

Stalking the Trace
Stalking the Trace est une installation VR multi-spectateurs qui se déroule dans une série d’enceintes, renforcées par l’audio, l’éclairage et les projections pour créer une atmosphère immersive sensorielle dans la galerie. Rossin utilise le mouvement du spectateur à travers l’espace comme méthode pour interroger le désir humain de contrôle et d’agence, et la notion de temps avec le sujet humain en son centre.
.
Stalking the Trace is a multi viewer VR installation, takes place within a series of enclosures, heightened by audio, lighting and projections to create a sensory immersive atmosphere within the gallery. Rossin utilises the movement of the viewer through the space as a method to interrogate the human desire for control and agency, and the notion of time with the human subject at its centre.
.
Stalking the Trace – это многопользовательская VR-инсталляция, действие которой происходит в серии ограждений, усиленных звуком, освещением и проекциями для создания чувственной иммерсивной атмосферы в галерее. Россин использует движение зрителя в пространстве как метод исследования человеческого стремления к контролю и свободе действий, а также понятия времени с человеческим субъектом в его центре.

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

poster sky3

Deja’s work is so effective because it engages with the aesthetics of new technologies in order to critique their sociological, psychological, and physical impact on our embodied selves. At times idealistic and others damning, Deja avoids sorting technology into a
good-bad binary, but instead allows both ends of that spectrum to proliferate, allowing visitors to her supersensory exhibitions come to their own conclusion. She just asks “Technology enhances
and simplifies communication, but are we really more connected?”

chromo sapiens
Icelandic artist Hrafnhildur Arnardóttir / Shoplifter has transformed a warehouse in Giudecca into a multi-sensory, cavernous environment with a cacophonous amount of her signature material, synthetic hair. Color, sound and irresistible textures guide visitors through three distinct chambers provoking an immersive experience of visual and auditory stimuli.