Imagined as a tool to provide assistance to a conventional approach to sculpting, here an AI model is developed to seek out strategies that provide a constant improvement to how a given form is achieved. By feeding it with different tools, rules and rewards through reinforcement learning, the team steer the process revealing unpredictable outcomes.
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Sol is a custom made apparatus that can depict any position and any trajectory of the sun. Since the sun’s path changes every day, the exact path it takes through the sky depends not only on the date but also on the geographical location of the observer. Sol reveals the different pathways the sun takes from anywhere in the world.
‘Floating Codes’ is a site-specific light and sound installation that explores the inner workings and hidden aesthetics of artificial neural networks – the fundamental building blocks of machine learning systems or artificial intelligence. The exhibition space itself becomes a neural network that processes information, its constantly alternating environment (light conditions/day-night cycle) including the presence of the visitors.
‘Breeze’ is a kinetic sculpture that investigates natural and delicate movement using the materiality of papers and a digital system. It consists of 96 note papers in a 6×16 matrix and creates sequential and random movement patterns in the matrix using wind from computer cooling fans.
‘PERACH’ is a biofeedback art installation that allows visitors to ‘feel’ the interior electrical happenings of their plants. Perach consists of a multi-sensor IoT device along with a web platform that provides visitors with the ability to hear, and visually perceive the changes taking place inside plants.
‘Material Sequencer’ is an 8-step electromechanical sequencer, designed to emphasise the physical materiality of sound and sound production. The simple usb-powered sound-sculpture takes the sequencing process outside the black box and into the acoustic realm, flaunting its materiality and physicality.
Created by Franz Rosati, ‘Latentscape’ depicts exploration of virtual landscapes and territories, supported by music generated by machine learning tools trained on traditional, folk and pop music with no temporal and cultural limitations.
Created by Ignacio Pérez (ECAL MID), Overloaded.supply is a critical tool that questions our models of manufacturing and consumption, exploiting the control of creation algorithms in order to interrogate current patterns of design, production and legislation.
Created by Douglas Edric Stanley, Inside Inside is an interactive installation remixing video games and cinema. In between, a neural network creates associations from its artificial understanding of the two, generating a film in real-time from gameplay using images from the history of cinema.
Clockwise (2021) is a generative and experimental audiovisual piece that explores the concept of space-time, Zeno’s paradoxes related to the infinite subdivision of the units of measurement of space and time, and their experimental abstract audiovisual representations.
Ending tonight, after a week of live streaming, is the latest in the series of artworks by Universal Everything (UE) that feature 3D humans shrouded in digital costumes. Titled ‘Infinity’, the new work is a live stream, always reshaping and evolving from one character to the next, generating an average of 3,180 unique characters per hour with a total of 50,000+ variations over the last week, stream live on YouTube, only for a few more hours!
In perceiving established cultural and historical rituals through the lens of contemporary technology, Choy Ka Fai opens up a liminal space in which dance transcends colonial resistance, power and fantasy.
Created by Michael Candy, ‘Cryptid’ is an animatronic light sculpture that uses 18 linear actuators and open source Phoenix hexapod code to walk through a space. As human and robotic, natural and synthetic are increasingly amalgamated, the projects questions whether machines could be considered a subspecies.
Created by Jürg Lehni for the collection of HeK – House of electronic Arts in Basel, ‘Four Transitions’ is an artwork about the passing of time. Together, four displays work in tandem to unveil the current time, with each unit taking one minute to compose one numeral, deploying visual compositions and choreographies that correspond to the nature and character of each technology.
Latest in the series of video essays by an artist and researcher Alan Warburton, is ‘RGBFAQ’, tracing the trajectory of computer graphics from WW2 to Bell Labs in the 1960s, from the visual effects studios of the 1990s to the GPU-assisted algorithms of the latest machine learning models.
Created by Playmodes, ‘FORMS – String Quartet’ is a live multimedia performance for a string quartet, electronic music and panoramic visuals, in the field of visual sonification. The project originates from a real-time visual music score generator created by Playmodes, that is designed with a set of rules using graphic generation, driven by randomness and probability.
Created by the students at the Zurich University of the Arts, ‘Remote Materialities’ module and to be presented at the upcoming Ars Electronica Festival in Linz, ‘Remote Materialities’ explores the future scenographies of our coexistence with robotic devices.
In today’s mercurial, complex, and ambiguous world, our bodies oscillate between the virtual and the real more than ever. The world-famous collective Rhizomatiks is testing the web, presenting performances and experimental online-based systems, and approaching these situations from a variety of angles.
Found in Translation is an interactive, immersive installation where using their own spoken sentences, visitors viscerally experience the process of machine translation. Visualizations show how the machine learning model clusters words from different languages by semantic similarity, and translations are presented typographically and auditorily across 24 languages.
Reckoning with quantum physics, Japanese avant-garde art scene “maestro” Hiroaki Umeda hypostatizes that these batches of abstract information are merely human belief system: “When one has confidence in an object’s factuality they name it as real, and when this confidence is slightly undermined they rename it as virtual” he stated.
Spanning physical and virtual space, Peter Burr’s exhibition, Responsive Eye, examines contemporary life in the grid. Taking cues from minimalism and op art, the work pushes the limits of a viewer’s perception and awareness, thrusting them into that gap between what is seen and what is felt. In this interview by Daniel Glendening, Burr digs into history, things that are not there, and what it means to be fleshy bodies gathering in digital space.
‘A Natural History of Networks / SoftMachine’ is an electrochemical algorithmic performance that probes an alternative computational and technological material regime.