WILD MEDIA:
Wired Wilderness

An exhibition of digital art concerning
more-than-human pasts, presents, and futures.
International Digital Media & Art Association:
Exhibition Curator: Alinta Krauth
Director: Davin Heckman, Creative Digital Media,
Winona State University
Technical: Jason Nelson, Center for Digital Narrative

A000000000001000AA011

Artists: Lilia Li-Mi-Yan & Katherina Sadovsky 2020—2022

What would happen if future human bodies could be created through interaction with new technologies, materials, and bacteria? Will we be eternal, will we remain the same? What will happen to human emotions, the post-human, the cyborg?

VIEW

Aguaviva

Artist: Thomas Marcusson 2022

Aguaviva juxtaposes the spontaneous nature of biology with the predictable properties of digital technology. A solitary moon jellyfish swims around in a saltwater dome. A small camera tracks its movement and turns it into xy values, expressed on a collar of digital numbers.

VIEW

Autochthonia

Artist: Luna Mrozik Gawler 2022

Autocthonia explores our human dependency upon soil's complex and living systems, presenting artefacts from a future of off-planet habitation. The future artefacts in the work emerge from a time horizon where care for Earth ecologies have become central to all human lifeways.

VIEW

Cacophony Orbit

Artist: Linda Loh 2023

What happens when a great range of human body movement is encapsulated in virtual digital space? Hands reaching far, body stretching up and wiggling down towards the ground, leaving surface traces, shiny and luminous.

VIEW

Cicada Mountain

Artist: Daniel Lichtman 2022

This series of poetic, absurdist auto-text narratives tell stories of vulnerability, insecurity and dreams of anthropomorphic and spiritual grandeur from the perspectives of a series of insects, animals and plants.

VIEW

Connected: Birth-Death-Rebirth

Artists: Jinsil Hwaryoung Seo & John Alberse 2023

An art installation that creates networked aesthetics through a virtual world consisting of various new creatures, generated through the hands of the audience. New organisms created by audience members build their society and interact with each other in this virtual world.

VIEW

DE-compose II

Artist: donna davis 2022

DE-compose II explores hidden ecological players, such as microbes and fungi, who perform intrinsic roles in the health of our planet. Often associated with words like pest, germ, rot or decay, these valuable organisms create beauty through their dynamic and transformative actions, recycling nutrients to support new life.

VIEW

Dolphins in the Reservoir

Artists: Will Luers, Hazel Smith & Roger Dean 2022

Dolphins in the Reservoir envisages a society stretching into the future, through fragmented and transitory evocations. It confronts the many social challenges (climate, disease, authoritarianism and technological change) we face through the subjective, contradictory and often uncanny experiences of individuals.

VIEW

Ghost Plant Radio

Artist: Polina Enuvesta 2021

The Ghost Plant, also known as Monotropastrum, is an unusual flower that assembles mycoheterotrophic relationships with the kingdom of fungi in order to survive. Plant and fungus populations are known to distribute information across long distances. GPR turns the Ghost Plant into a radio that broadcasts across Japan.

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Guardian of the mirage

Artist: Lucien.Art 2022

Will there be a need for the human spirit, in an all–encompassing holistic view of the planet-as-cosmic-being?

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Lifeline

Artists: Krista Leigh Steinke & Sherman Finch 2021

Lifeline is an abstract visualization of the flow of water – our planet’s lifeline. Each line of video is a sample extracted from footage of various bodies of water collected across the country.

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Listening in the Wild

Artist: Leah Barclay 2020 — 2022

A series of immersive soundscapes and site-specific photography exploring environments across the Sunshine Coast in Queensland, Australia. These experiences are created by artists Lyndon Davis, Dr Leah Barclay and Dr Tricia King as transient listening experiences interwoven with indigenous Kabi Kabi stories.

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Men in Jeans

Artist: Sophie Hilbert 2018

Jeans are often associated with masculinity and myths of the working class. Here, they are assimilated into a playful mix of mud, nature, bodies, and of course pants, that positions consumer relationships in the 'wild'.

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Mikrokosmika

Artists: Alejandro Brianza, Jessica Rodríguez & Luis Guzmán 2015

Miniature worlds escape our sight (and all senses) daily. Mikrokosmika attempts to evoke the feeling of attending to one of these miniature universes, and the casual behaviors generated by their intricate habitants.

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Re:Peat

Artist: Anne Yoncha 2022

Listen to sonified core samples of soil structures, invisible to the naked eye. When public understanding of ecological problems is limited, background narratives are needed to shape how scientifically-declared emergencies are perceived and acted upon. How do we balance a sense of urgency in the time of climate change with potential unintended consequences of our interventions?

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slugs'n'tongues

Artists: Studio Matchka 2022

slugs'n'tongues considers a fantasmatic parallel reality where (multi)species morph between slugs and tongues like microbes. As they do, they produce velar, uvular and glottal noises, and perform love poems, freaking the boundaries between human beings, microbes, viruses, genders, animals, things, machines, science fiction and science facts.

VIEW

The Museum of Ecological Racism and Human-Animal Connection

Artist: Jaewook Lee 2022

The Museum of Ecological Racism and Human-Animal Connection is an innovative virtual exhibition within the Metaverse that confronts the intricate and frequently underappreciated issues surrounding environmental justice, the struggles of marginalized communities, and the symbiotic relationship between human and non-human species.

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The Patterns of the Past – The Promise of Tomorrow

Artist: Grayson Cooke 2022

The Patterns of the Past - The Promise of Tomorrow uses satellite data from the Digital Earth Australia and Digital Earth Africa platforms to demonstrate how Earth Observation contributes to strategies for both visualising and measuring change, and supporting better decision making on climate adaptation and mitigation.

VIEW

Vaches

Artist: Jean-Michel Rolland 2018 -

Vaches questions our relationship to the animal world. Are we hopelessly carnivorous, or is veganism the future of humanity? Will we ever be compassionate enough to satisfy our appetites without killing?

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We do not ride on the railroad; it rides upon us

Artist: Eamon O'Kane 2017-2019

We do not ride on the railroad; it rides upon us explores the psychology of climate change and carbon as a material. The work investigates humankind’s relationship to the natural world, entropy and the Anthropocene.

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Credits

With thanks to those who built this exhibition at iDMAa and The Center for Digital Narrative.

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A000000000001000AA011

A000000000001000AA011 by Lilia Li-Mi-Yan & Katherina Sadovsky

Date: 2020-2022
Media: Video, 3D, CGI, sound, AI
Link to Lilia Li-Mi-Yan
Link to Katherina Sadovsky


In A000000000001000AA011, we explore the possibility of human interaction and connection with other forms of existence. What would happen if we had new bodies, created through interaction with new technologies, materials, bacteria? Would we be eternal, or would we remain the same? We are concerned with the questions: what will happen to the emotions of the post-human, the cyborg-human? Will we be able to refuse to reproduce ourselves?

The characters in this video are equipped with special implants and an additional organ system that allows them to survive in their sci-fi modern world, where many environmental disasters have occurred. Powerful CO2 emissions into the atmosphere have led to global warming, and viruses have destroyed an ordinary biological body, forcing it to adapt to current conditions. The body of a new person, a posthuman, has learned to reproduce the critical organ systems and has also become something like a farm for growing cells and cellular organoids to create the same organs. Advances in technology and biotechnology have allowed the posthuman to survive in the most challenging conditions, reanimate the dead body and grow food with the help of innovative 3D printers and incubators. The posthuman possesses new systems of perception and feeling. For example, a system of increased empathy allows you to feel the emotional and physical state of people like him and "Inhumans". Brain mapping and emulation capabilities will enable new humans to be eternal as a neural network in digital reality or have an augmented biological body.

These characters are concerned with the same questions as us: the rights of the posthuman, if an individual can dispose of their death, if it is possible not to die anymore, love, responsibility, the possibility of reproduction and the transmission of their genes, whether children can be conceived, carried, and born outside the body.

We look closely and see something like tumors, cosmetic deformities, and parasitic (possibly symbiotic) collaborations with something organic. At the same time, we see that the subjects-carriers do not feel uncomfortable from such a neighborhood on their body. The posthuman escapes the lifetime of his civilization. Objectively, the nervous system's plasticity is faster than technological evolution, and yesterday's demonization of information speed is not a biological but a cultural problem. The slow social evolution we are witnessing in this sci-fi universe is politically conditioned: the current government in any country is interested in slowing down. That is why it is most willing to introduce updated protocols and security strategies. Through them, society learns patterns leading to social stagnation. Artwork The Artists:

Lilia Li-Mi-Yan (1971) and Katherina Sadovsky (1985) are a Russian artistic duo working together since 2016.

Their diverse approach to art practice encompasses art media such as video, CGI, 3D, sculpture, photography, AI, installation, sound, site-specific practices. In their projects, Li-Mi-Yan and Sadovsky explore questions of the future, ecology, the relationship between humans and Nature, the possibilities of human interaction and connection with other forms of existence.

What happens if we, as a species, have a new body created in interaction with new technologies, materials, bacteria? Will we be eternal, and will we remain the same people? What will happen to the emotions of the new human, posthuman, cyborg...? Will we be able to refuse to reproduce ourselves? Given the rise of medicine and biotechnology, our emotional development is frozen in the capsule of our ancestors. Today we are still hunters and gatherers.

Artists critically analyze these issues, inconveniently intruding into nature with digital images on polymer materials, comparing this art gesture with the attitude of humanity towards non-human agents and the biosphere in general. Artists


Aguaviva

Aguaviva by Thomas Marcusson

Date: 2022
Media: New Media Sculpture
Find the Artist


Aguaviva juxtaposes the spontaneous nature of biology with the predictable properties of digital technology. A solitary moon jellyfish swims around in a saltwater dome. A small camera tracks its movement and turns it into xy values, expressed on a collar of digital numbers. The shifting position of the jellyfish is mapped to the corresponding digits below, resulting in an ever-changing string of random numbers. Arbitrary values generated by computers are considered too predictable for high-end encryption schemes, such as secure Internet traffic and online banking. Hence, more unconventional sources are often used, even paid for. True randomness, for this purpose, is a commodity. As part of the artwork, the numerical string created by the jellyfish is offered up in real-time to encryption companies to use at their discretion. The apparatus is designed to extract randomness from this simple yet ancient life form—unaware of the fact that in the arena of random sequencing, its cellular contractions can outperform even the most powerful supercomputer. Some image The Artist:

Thomas creates mixed media works that talk about culture, science and identity, often inviting visitors to engage in different kinds of ways. By including various interactive elements, the artworks expand into participatory experiences.

After having studied mathematics in Gothenburg, he went on to complete a Bachelor of Arts at the University of Technology in Sydney, graduating with 1st class honors. He is now a practicing artist in Australia and Europe.

Thomas has been the recipient of various awards and acknowledgements and his work has been exhibited at the Powerhouse Museum (Sydney), the Eyebeam gallery (New York), the Science Gallery (Dublin), theMuseum (Ontario), Bow Arts (London), Konstfack (Stockholm), NordArt (Hamburg) and Experimenta (Australia). Aguaviva Aguaviva Aguaviva Aguaviva Aguaviva Aguaviva


Autochthonia

Autochthonia by Luna Mrozik Gawler

Date: 2022
Media: Single Channel Video
Find the Artist

Autocthonia explores human dependency upon Earth's soil's complex and living systems, presenting artefacts from a future of off-planet habitation. The future artefacts in the work emerge from a time horizon where care for Earth ecologies have become central to all human lifeways, and fundamental to healthcare. In present-day grappling with soil depletion, these artefacts looks forward to a future of off-planet habitation to explore the corporeal dependency of human forms on earth ecologies, and interrogate how the continuation of human life in any location will only be facilitated through models of care, reciprocity and stewardship beyond-the-human.

In the 21st century healthy soil is a finite and threatened resource. Unique to this solar system. It cannot be fabricated or outsourced and arises only through complex coalitions of life and labour across scales and species. This soil is a living body, a series of relations made tactile. Alliances between earthworms, ants, mites, snails, archaea, bacteria, actinomycetes, fungi, algae, protozoa, slugs, fungi, insect larvae. fungi, bacterium, ensure ecological diverse landscapes, riverbanks hold in mineral and chemical maintains stasis, and that contain the micronutrients necessary to sustain life across the vegetal and animal worlds. Without healthy soil, bodies may survive but not flourish. Exposure to a bacterium, consumption of minerals and micronutrients, the benefit of bioremediation processes offered by soil communities are all necessary to the conditions of life.

In a future of intergalactic habitation, the Care for Commons collectives (CCC) are global networks established to ensure the protection of, advocacy for, and equitable access to, the commons of Earth. The CCC's provide contact with Earth0 ecologies for all Terran’s, both on and off-planet, through assorted treatments and consumable technologies. Taking its name from the ‘longevity’ vitamin' ergothioneine, found only in healthy earth0 soils, Ergon acts for care and continuance of soil commons, launching its Soil Hoizons treatment and supplement range in 2145. For off-planet Terran’s, Soil supplements can be included in health regimes to ensure adequate levels of (B)(Zn)(Mn)(Fe)(Cu)(Mo)(CI) +AZBT, AZSP, NGR234 for safe consumption to, or beyond RA 15h 10m 46s- DEC- 17’13’24’ Luna Mrozik Gawler The Artist:

Luna Mrozik Gawler is a transdisciplinary, research-led artist. Luna Mrozik Gawler is interested in the fugitive and feral narratives that (un/re)make worlds. With a particular passion for ‘exological’ forms, the unruly figures that evade taxonomies and demand speculative audacity. With a focus on creating conditions for collaborative survival and care for the planetary commons, their work offers encounters and practices that amplifying queer articulations, agencies and futures that reach beyond the human. With a speciality in worlding building and scenography, Luna’s work draws from diverse disciplines to fuse Natural science, design fiction, ritual and somatic experimentation. Some of Luna’s work has included; a seven-hour participatory eco-grief ritual (Mokita, 2017) an immersive insect kinship lab (Flight Path 2019) a participatory re-worlding led by viral bodies (Emissary2920, 2020) a participatory ritual for ecologic reconnection (Choose your own catharsis, 2018) and an immersive multi-room treatment facility offering personalised remedies for modern ailments (Remedium, 2017). Luna’s work has most recently been programmed by the Australian Network of Art and Technology, The Sydney Institute for the Environment, Incinerator Gallery, The Centre for Projection Art and the Powerhouse Museum of Applied Art and Science. Sometimes five Imprimaturs are seen together dialogue-wise in the piazza of one title-page, complimenting and ducking each to other with their shaven reverences, whether the author, who stands by in perplexity at the foot of his epistle, fdf to the press or to the sponge. These are the pretty responsories, these are the dear antiphonies, that so bewitched of late our prelates and their chaplains with the goodly echo they made.


Cacophony Orbit

Cacophony Orbit by Linda Loh

Date: 2023
Media: Single Chanel Video with Audio.
Find the Artist



The video “Cacophony Orbit” 2023 is a semi-durational view of a rotating digital 3d sculpture made using Gravity Sketch in a Quest 2 virtual reality headset. Its amorphous form was coloured inside Unreal Engine using video art stills that have their origins in sources of light, distorted and transformed beyond recognition.

What happens when a great range of human body movement is encapsulated in virtual digital space? Hands reaching far, body stretching up and wiggling down towards the ground, leaving surface traces, shiny and luminous. An extension of drawing in space, playing with the “nothingness”, interacting with the resultant forms, stepping and waving through them like a wild ghost. The artist as human, with bodily energy transmuting into what? A circle of beautiful wave structures, cellular, forest like, a garden? Biomorphic forms that don’t really exist? We think of cacophony as sounds all at once, but here is a multitude of forms all at once, a singular whole in itself. We can’t perceive its scale; what was once human sized can now be any size, an enormity that is overwhelming and sublime. Who are we, and what is this digital nothing that is something? The intangibles of digital matter and the human body/mind are elusive and ephemeral. Intertwined, speculatively, can they enhance our transformation into awareness of something wild and awesome? Linda Loh The Artist:

Linda Loh is an Australian visual artist working between New York City and Naarm/Melbourne. Her multimedia works navigate the elusive form and materiality of digital space with transformed sources of light.

In 2012 she received a Bachelor of Fine Art (Expanded Studio Practice) from the Royal Melbourne Institute of Technology (RMIT) University. She has had solo and group exhibitions around Australia and in the USA, with works curated into projection festivals, public LED billboard projects, online events, screenings, art galleries and more. She has undertaken several artist residencies around the world, including NARS in New York City.

In 2021 she completed a Master of Fine Art in Computer Arts, at the School of Visual Arts in New York City. Since then she has participated in many exhibition projects, in both physical space and online, in Australia and the USA, as well as Switzerland and UK.

In 2022 she was engaged in an innovative, international, blockchain based curatorial project, with a decentralised community called Lonely Rocks DAO. It culminated in an exhibition of new media “expanded self portraits” at Unlimited Miami, part of Miami Art Week, in December 2022. In 2023 exhibitions are ongoing. See current info: CV.

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Cicada Mountain

Cicada Mountain by Daniel Lichtman

Cicada Mountain: Play the interactive work here
(Opens in new tab)

Date: 2022
Media: Interactive website/VR
Find the Artist Cicada This series of audio-text pieces was created as a collaboration between myself and GPT-3, an AI text generator. These poetic, absurdist narratives tell stories of vulnerability, insecurity and dreams of anthropomorphic and spiritual grandeur from the perspectives of a series of insects, animals and plants. To create these pieces, I started by writing fragments of text about the animal/plant in each section. I used these fragments as prompts for the GPT-3 engine, which produced AI-generated text in response. I then went through an editorial process, in which I edited the generated text and experimented with using some of this generated material as new prompts for the GPT-3 system. In the end, each piece is a combination of fragments of text that I wrote and edited fragments of text generated by the AI. Each text is accompanied by sound effects, which the user triggers manually as they read the story.

The first piece, and the format of subsequent pieces, was initially conceived as a radio play performance during the AI Radio Play workshop with Ash Eliza Smith, Jinku Kim and Robert Twomey at the Society for Language, Science and Art Conference, Purdue University, 2022.

The Artist:

Daniel Lichtman is an artist, educator and organizer based in NYC. Lichtman’s work in game making, creative computing, experimental writing and multimedia performance explores how media platforms shape contemporary experiences of trust and solidarity. Lichtman often works with artist and non-artist collaborators, including care-takers of children, activists, members of DIY art communities and students (and for this piece, the GPT-3 text generating engine). Lichtman’s projects often use collaboratively produced collage, visual abstraction and absurdist text to playfully explore states of attention, distraction and vulnerability.

Exhibitions include CICA Museum, Korea; Loosen Art, Rome; ICA, London; Ammerman Center for Art and Technology; BRIC Arts and Media House, The Bronx Museum and The Queens Museum. Residencies include SloMoCo, The Drawing Center and The Bronx Museum. Lichtman presents regularly at conferences such as Society for Literature Science and Art and International Digital Media and Arts. He is developing the Community Game Development Toolkit as part of a NSF-funded REU at Hunter College. Lichtman is currently Visiting Assistant Professor of Digital Media at Stockton University.


Connected: Birth-Death-Rebirth

Connected: Birth-Death-Rebirth by Jinsil Hwaryoung Seo & John Alberse
with collaborator Wesley Taylor

Date: 2023
Media: Virtual Reality, Projection, Custom-made hand scanning box
Find the Artists



Connected: Birth-Death-Rebirth is an art installation that extends the physical environment with physical, virtual, and networked environments. It creates networked aesthetics through a virtual world consisting of various new creatures, captured hands of the audience. Connected is an extract of our body and generates virtual lives (birds, trees, and snakes). In the project, the new organisms created by audience members build their society and interact with each other in the virtual world. Their behaviors and interactions mimic the relationships of nature. Some are active, vibrant, and fast, but others are quiet, passive, and slow. In addition, a small group of them is neutral and indifferent. They are integrated bodily, consciously, pre-consciously, and intertwined with the virtual world.

The installation consists of a white box, a projection screen, and a VR headset. The audience can participate in the project actively or passively. They can create new organisms by putting their hands or objects into the white box in front of the projection screen. Their input becomes a flock of birds, a group of trees, or snakes in the projected virtual environment. Participants can get immersed in the virtual environment through a projection or a VR headset. In the virtual environment with a VR headset, they can navigate the world of Connected: Birth-Death-Rebirth by walking or teleporting using the Oculus controllers. They see the dynamism of the trees, birds, and snakes in the environment. They are born, grow, interact, dead, and are reborn in the environment. The world in the VR headset provides a dynamic immersion where the mind, body, and environment interweave and communicate with each other inside of technically mediated, spatially enclosed, and sensuously interactive computational environments. Connected The Artists:

Jinsil Hwaryoung Seo is an interactive artist/researcher focusing on aesthetics of interactive experience. Currently she is an associate professor in the School of Performance, Visualization & Fine Arts and a faculty fellow in the Institute for Applied Creativity and the Center for Health Systems & Design at Texas A&M University. Seo received a Ph.D. in Interactive Art and Technology from Simon Fraser University in Canada and an MFA in Computer Arts from School of Visual Arts (SVA). With interdisciplinary, interactive art practice, Seo investigates the intersection between body, nature and technology. Seo has been focusing on the aesthetic qualities of human experience, the relationships that emerge through interactions within artworks, the underlying beauty and pattern inherent in the nature. Seo has chosen interactive art for her creative practice and research in particular as it encourages immersive and embodied relationships within a work of art and with participants. Connected


DE-compose II

DE-compose II by donna davis

Year: 2022
Media: single channel video
Sound Design by Luke Lickfold
Find the Artists



…”a poetic, meditative video work that foregrounds the mystery and beauty of interspecies relationships and organic decay.” (Dr. Lisa Chandler, University of Sunshine Coast, Australia)

DE-compose II explores some of the hidden ecological players, such as microbes and fungi, who perform intrinsic roles in the health of our planet. Often associated with words like pest, germ, rot or decay, these valuable organisms create beauty, in their dynamic and transformative actions recycling nutrients to support new life.

Challenging often unfavorable connotations this work uses imagined imagery of microbes and fungal hyphae, overlaid with an evocative soundscape to create a vibrant and beautiful kaleidoscope of decay in an effort to challenge our unconscious bias with respect to such notions. The work invites the viewer to consider their own bias and how this may inform their ecological understanding and action; inviting contemplation about interspecies relationships, roles and accountability within the biosphere.

The work was created during …”Davis’ long-term artist residency with the Wood, Termite, Fungi (WTF) international research project led by the University of Miami. Davis’ artworks have evolved from field trips, research, conversations, and interactions with the research team, from which she produces multilayered works weaving project information into imaginative digital pieces that engender a wider consideration of the interconnectedness of all life. … in so doing, she asks us to value the hidden players vital to these ongoing natural cycles, and to perceive our intrinsic interconnectedness with the non-human world.”

“…[Davis]… encourages us to shift from our human-centric perspectives to reflect on the activities of species that we might find repellent, or simply overlook. Instead, Davis enables us to perceive them as beautiful, significant life-forms whose actions in breaking down dead trees contribute to the carbon cycle that is intrinsic to sustaining life on Earth.”

(Excerpts from ‘Deconstructing Decay: Donna Davis’ DE-compose works’, by Adjunct Associate Professor Lisa Chandler University of Sunshine Coast, Australia, August 2022.)

Created in response to an art-science residency embedded within The Wood, Termite & Fungi Project, an international research project, led by University of Miami, studying tropical deadwood carbon fluxes, in order to improve current carbon models used for climate forecast modelling. Donna Davis The Artist:

Donna Davis is a multi-disciplinary artist who examines human and non-human relationships with respect to ecological health. Exploring the intersections between art and science she is often embedded within ecological research projects. Her work tells stories that examine the science through a creative lens; exploring imagined futures and constructing new ways of ‘seeing’ complex natural systems and our role within them.

Davis has undertaken a number of residencies, including: Queensland State Archives, Brisbane Botanic Gardens, Queensland Herbarium, Department of Environment and Science and is currently artist in resident on projects with Australian Tropical Herbarium and University of Miami. Davis holds a Bachelor of Arts (ART) from Curtin University and has works held in both public and private collections. She has exhibited widely in both solo and selected group exhibitions; and had her work feature in state and national touring exhibitions.

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Dolphins in the Reservoir

Dolphins in the Reservoir
Will Luers (coding and images), Hazel Smith (text) and Roger Dean (sound)

Dolphins in the Reservoir: Play the interactive work here
(Opens in new tab)

Date: 2022
Media: An interactive recombinant work of text, image and sound.
Link to Will Luers
Link to Hazel Smith & Roger Dean Dolphins Dolphins in the Reservoir is an interactive and recombinant work that employs moving images, text and sound. It envisages a society stretching into the future, through fragmented and transitory evocations of what our society is like now and how we might understand it. It confronts the many social challenges (climate, disease, authoritarianism and technological change) we face through the subjective, contradictory and often uncanny experiences of individuals. Saturated with media, the individual experiences a multimodal montage of the imaginal and the mundane, the institutional and the vernacular, the dystopian and utopian, the human and the non-human; discourses over which they have limited control.

The interface, a programmed montage of media elements, evokes a murky, liminal realm. The piece is structured in six distinct cycles, which repeat with considerable variation. V/users can either drive the piece with clicks, or use the autoplay facility. In either case they can click and drag to rearrange elements in each cycle.

The screened text ranges between short narratives, poems and aphoristic statements contained in boxes of varying sizes that both complement and jostle against each other. Thematically it passes through six topics that impinge on society now and the development of future societies. These topics are challenges to health, the environment, and our fast-eroding democracy; our attempts to educate order out of chaos; philosophical and scientific ways of thinking about consciousness; and the possibilities and challenges the future presents including the rise of AI. A distinct metaphorical text about dolphins, which transmutes many of the ideas in the boxed text, creates a dialogue between the human and non-human on several different levels (mammalian, technological and environmental). It consists of fourteen sections that are sequenced one per cycle and then repeat.

Animated loops with images suggesting a passing material age (container ships, tanks, oil rigs) are layered with those of an information age (mapped and encoded models of bodies, molecular structures and virtual architecture. A single cycle of the work grows from isolated media fragments towards a dense plurality and diversity, arriving at a composition of inclusive abstraction, before returning again to the singular and fragmented.

The musical narratives move at different paces and with varying relationship to text, image and user interaction. The three preformed musical sources juxtapose environmental and machine sounds, acoustic and digitally transformed instrumental sound. They also include sound progressions that sonify the statistics of waves of Covid-19 in the world at large, juxtaposed with those of one particular country. One of the three preformed tracks features trumpet playing by internationally renowned soloist John Wallace, a long term collaborator in (austra)LYSIS, the creative ensemble of which all three authors are part. As the work progresses, the sound fields become more dense, though they continually fight for survival, and occasionally become submerged. They also undergo increasing real-time and variable transformations, so that the textures change over long periods.

The juxtaposition and multilayering of text, images and sound also employs polysemy and synaesthesia to enhance multiple dimensions of sensation and understanding.

The Artists:

Will Luers is digital artist, writer and media arts teacher. In the Creative Media & Digital Culture program at Washington State University Vancouver, he teaches multimedia authoring, creative programming, digital storytelling and digital cinema. As an artist-researcher in academic and experimental digital publishing, he created the international online journal The Digital Review and is the current Managing Editor of its sister journal, electronic book review.

Hazel Smith is a poet, performer, new media artist and academic. She has published five volumes of poetry and short prose including The Erotics of Geography (with CD Rom), Tinfish Press, Kaneohe, Hawaii, 2008, Word Migrants, Giramondo, 2016 and Ecliptical, Spineless Wonders, Sydney, 2022. Hazel has published two CDs of poetry and numerous performance and multimedia works; she has also performed and broadcast her work extensively nationally and internationally. In 2017, her multimedia collaboration with Will Luers and Roger Dean, novelling, was shortlisted for the Turn on Literature Prize, an initiative of the Creative Europe Program of the European Union. In 2018 novelling was awarded First Prize in the international Electronic Literature Organisation’s Robert Coover Award. Hazel is Emeritus Professor in the Writing and Society Research Centre, Western Sydney University. She has authored several academic books including The Contemporary Literature-Music Relationship, Routledge, 2016. She is a founding member of the sound and multimedia ensemble austraLYSIS and her website is at www.australysis.com.

Roger Dean is a composer/improviser/performer and researcher. He has created, presented and published several hundred compositions and sound works for intermedia art collaborations, and made numerous recordings. He is a represented composer of the Australian Music Centre, of which he has also been chair. His creative work appears on sixty LP/CD releases. Dean’s output ranges from acoustic to electroacoustic composition both for performers and for real-time algorithmic generation, as well as acousmatic (completely pre-composed and digitally recorded) music for live projection in concert. His music is often computer-interactive, and much involves improvisation. Many of his compositions are intermedia works for radio, DVD, and the Internet.

Dean’s composition and improvisation is deeply informed by his breadth of performing experience, both as pianist and laptop artist, and formerly as double bass player. He has worked in most of the leading new music ensembles in London and Sydney. He is founder and director of the sound and multimedia ensemble LYSIS, which became austraLYSIS when it moved to Australia in 1989. Dean has also been very active in European and Australian jazz.


Ghost Plant Radio

Ghost Plant Radio by Polina Enuvesta

Explore the interactive work on Mozilla Hubs
(Opens in new tab)

Year: 2021
Media: XR Data Visualisation in Mozilla Hubs
Link to Polina Enuvesta

The Ghost Plant, also known as Monotropastrum, is an unusual flower that has white stem and leaves and is unable to perform photosynthesis. It assembles mycoheterotrophic relationships with the kingdom of fungi in order to survive. Plant and fungus populations are known to distribute information across long distances. Underground connections create a kind of communication network which allows us to imagine how nonhuman agents interact. What will ghost plant radio broadcast across Japan?

The concept is presented as creative data visualization in XR. Open biodiversity data from gbif.org is used to create a 3D communication network model in the boundaries of Japan island, exposed in Mozilla Hubs. Ghost Plant Radio The Artist:

Polina Enuvesta is an emerging digital artist with a degree in Sociology and professional retraining in Moscow School of Contemporary Arts as a specialist in New Media. The main theme covered by the artist is reimagining technology by the means of speculative design, 3D and VR in order to explore alternate ways of development. Enuvesta’s practice focuses on preserving the value of hand-crafted in digital environments, poetic imagery and overcoming the feeling of fatality by keeping connection between human, nature and technology. In 2023 Polina Enuvesta took part in Digital Air artist residency by CCI Fabrika and 8XR.


Guardian of the mirage

Guardian Of The Mirage by Liudmila Fridman

Year: 2022
Media: Generative Art
Link to Luidmila Fridman



“Guardian of the mirage” belongs to the collection "terra_futura_vita.exe ". I began its creation, inspired by cyberculture and its influence on the construction of concepts for the future of humanity. Thinking about the coming era, I discourse of spirituality and materialistic tendencies of modern science, fantasize about the synergy of the emotional and the synthesized, about the junction of the natural and the innovative, how once imagined scenarios can be made true and evaluated empirically. This artwork is an attempt at reflection on the development of network technologies. It shows a metaphysical mirage materializing into reality under the supervision of a guardian. The silent caretaker is connected to a network that communicates the surrounding high-tech facilities and the natural environment.

I draw attention to utopian theories of modern reality transformation, generated by transhumanism, which turns an individual out of a subject of social and spiritual relations into an object of techno-informational modifications that has no bodily and local limitations. Thus, many concepts of overcoming physical limits, on the one hand, reveal new ideas and have the potential to control the evolution of human nature, and the process of formation of a connected cluster of information technologies, biotechnologies, nanotechnologies and cognitive sciences can be the apogee of the development of a cybernetic society. On the other hand, it generates a number of ethical problems approved by the anthropocentric principle of being.

In this regard, such main question as: "Will there be a need for a human spirit in all–encompassing holistic view of the planet, the macrocosm and itself - as a cosmic being, the subject of cosmic evolution?” is reflected in this artwork.

I invite the viewer into the prosperous pictures of the distant future, in which creativity, spirituality, faith and idealism are opposed to the burden of hegemonization, pragmatism and materialism of the current era, indulge in dreams of the times when a person's understanding of himself as part of a single harmonious cyber community will become the norm, and rethinking physical boundaries in conjunction with humanism and sustainable development will turn out to be relevant trends for research. Lucien.Art The Artist:

Liudmila Fridman is a visual artist and photographer who uses a pseudonym “Lucien.Art”. Her specializations are digital art projects, short music videos, mixed media projects and photography. In collection “terra_futura_vita.exe” Lucien.Art uses generative art and data visualizations (including artificial intelligence and machine learning based works), author's methods of color correction, as well as sound engineering. Forming images and soundings, she shows mirages of abstract cybersociety. Sensations, elements, time, sounds, people and neural networks are woven together in her digital art project. The author pays special attention to the phenomena of “posthuman” and "cyberreality", which, in her opinion, are the keys to understanding the socio-cultural consequences of the technocratic era. Lucien.Art depicts how humanity, using the achievements of the modern cluster of sciences, creates new spaces for life, cognition, creativity and communication. Her works remind us that we are all manifested as particles of a single world, and our planet is our common heritage. Each of the artworks is an attempt to rethink the problematic of a technocratic utopia and imagine a future reality that opens the way to fantastic opportunities.


Lifeline

Lifeline by Krista Leigh Steinke

Year: 2021
Media: Digital Video
Audio, graphics, and musical score by Sherman Finch
Link to Krista Steinke
Link to Sherman Finch

“Lifeline” is an abstract visualization of the flow of water – our planet’s lifeline. In this piece, each line of video is a sample extracted from footage of various bodies of water collected across the country. Similar, in a way, to a doctor drawing blood or a scientist collecting a water specimen to test the health of a lake. In the resulting work, the layered audio of a heartbeat monitor draws parallels to the human body as lines move across the composition like veins or air passages. The 5-minute. video starts slow, changes, builds to a crescendo, then slows down to end or repeat. Lifeline The Artists:

Krista Leigh Steinke is an interdisciplinary lens-based artist working in moving image, experimental photography, installation, and collage. She regularly exhibits and screens her work in museums, galleries, and film festivals across the country, as well as internationally. Her work has received support from the Pennsylvania Council on the Arts, the Puffin Foundation, the Sustainable Arts Foundation, the Glasscock Center for Humanities, and a Fellowship from the Howard Foundation. She has been invited to be a visiting artist at numerous colleges and universities and has participated in several art and media festivals as an exhibiting artist, speaker, or curator. She currently teaches at Texas A&M and divides her time between Houston, TX and rural New York State.

Sherman Finch is an artist, musician, and educator with over 20 years of experience. His work ranges from interactive research, kinetic sculpture, sound art, musical composition, to graphic design. Since 2000, he has collaborated with Steinke on several film and video projects as a sound artist, interactive programmer, and graphic designer. Their past projects have been screened and exhibited both nationally and internationally. He currently teaches in the College of Art & Media at Sam Houston University.


Listening in the Wild

Listening in the Wild: Reimagined Listening in the Wild by Leah Barclay
With Lyndon Davis & Tricia King

Listening in the Wild: See the work here
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Year: 2020-2022
Media: Sound with imagery
Find the Artist Listening Listening in the Wild: Reimagined Listening in the Wild is a series of immersive soundscapes and site-specific photography exploring environments across the Sunshine Coast in Queensland, Australia. The project was commissioned for Horizon Festival 2020 in Australia and produced live and streamed for listeners at home as remote experiences during Covid-19 lockdowns. These experiences are created by artists Lyndon Davis, Dr Leah Barclay and Dr Tricia King as transient listening experiences interwoven with Kabi Kabi stories. The locations include virtual sound walks through Eudlo Creek National Park, a journey along the Maroochy River and an ocean expedition from Mooloolaba Beach with all audio produced and mixed live by Leah Barclay. Each soundscape is accompanied by site-specific photography by documentary photographer Tricia King.

These virtual listening experiences are interwoven with Kabi Kabi stories from Lyndon Davis and investigate how remote embodied experiences of natural environments can facilitate ecological empathy, cultural knowledge and connection to place. Listening in the Wild builds on a large-body of research in immersive media art responding to ecological crisis and climate action. Under the cultural guidance of Kabi Kabi artist Lyndon Davis, Listening in the Wild explored new ways of using virtual technologies with live soundscapes and site-specific photography to connect audiences to locations and cultural knowledge across the Sunshine Coast. The project developed new tools for streaming audio in a high-quality format and asked how we can appropriately and effectively use audio-visual experiences to connect communities to place and develop a deeper understanding of cultural and environmental knowledge. Listening The project was awarded the 2021 APRA Art Music Award for Excellence in Experimental Music – the highest accolade for experimental music in Australia. Judges’ comments included ‘There are no projects more exciting and necessary in Australia at this time.’ Listening The Artist:

Leah Barclay is a sound artist, designer and researcher who works at the intersection of art, science and technology. Leah's research and creative work over the last decade has investigated innovative approaches to recording and disseminating the soundscapes of terrestrial and aquatic ecosystems to inform conservation, scientific research and public engagement. Her work explores ways we can use creativity, new technologies and emerging science to reconnect communities to the environment and inspire climate action. Leah has been the recipient of numerous awards and her work has been commissioned, performed and exhibited to wide acclaim internationally by organisations including the Smithsonian Museum, UNESCO, Ear to the Earth, Streaming Museum, Al Gore’s Climate Reality and the IUCN. Leah’s augmented reality sound installations have been presented across the world from Times Square in New York City to the Eiffel Tower in Paris for COP21. Leah leads several research projects including Biosphere Soundscapes and River Listening that focus on advancing the field of ecoacoustics. The design of these interdisciplinary projects are responsive to the needs of collaborating communities and involve the development of new technologies including remote sensing devices for the rainforest canopy and hydrophone recording arrays in aquatic ecosystems. Listening


Men in Jeans

Men in Jeans by Sophie Hilbert

Year: 2018
Media: Digital Video
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A digital video montage showing men staging themselves and their jeans in muddy settings. Originally shown as YouTube content, the insight into the online community around such content highlights scenes in which protagonists appear alone in nature. Omnipresent marketing campaigns that associate jeans with a particular brand of masculinity and myths of the working class are assimilated into a playful mix of mud, nature, body and pants that goes beyond the intended consumer relationship. Thereby casting the environment as a creative partner to play and engage with. The diegetic sound was subsequently recorded in a studio. Men in Jeans The Artist:

Sophie Hilbert (* 1996 in Werdau) studied in the fine arts department of Kunsthochschule Kassel and was a participant in the Goldrausch program for women artists Berlin 2022. Her video works were shown at the B3 Biennial of the Moving Image (Frankfurt am Main) Internationale Kurzfilmtagen Oberhausen (online), Werkleitz Festival and Kommunale Galerie Berlin. She is a member of the exhibition collective f r e e e n t r y and Tokonoma, a platform for young art and clubculture in Kassel.


Mikrokosmika

Mikrokosmika by Alejandro Brianza, Jessica Rodríguez & Luis Guzmán

Year: 2015
Media: Mono-channel digital video
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Events occur, happen, and overlap constantly – most of which are not given any social, cultural or personal importance. Miniature worlds escape our sight (and all senses) daily. Mikrokosmika tries to evoke the feeling of attending to one of these miniature universes, and the casual behaviors generated by their habitants in their fast-paced lives. Imagine... How interesting it would be to listen through a microscope? Mikrokosmika The Artists:

Alejandro Brianza [Argentina]
Composer, researcher and teacher. Master in Methodology of Scientific Research. Currently, he is a PhD candidate in Humanities – Music at the Universidad Nacional del Litoral. He teaches at the Universidad del Salvador, Universidad de Buenos Aires and Universidad Nacional de Lanús, where he is also part of research related to sound technology, electroacoustic music, artistic research and contemporary languages, of which he has given talks, lectures and workshops at congresses, festivals and various national and international academic meetings.

Jessica Arianne Rodriguez [Mexico]
Multimedia artist, designer and researcher. She is currently studying a doctorate program in Communications, New Media, & Cultural Studies at McMaster. Her practice and research projects focus on audiovisual practices such as visual music, electronic literature, video experimentation, sound art, visualization/sonification, live coding, among others, collaborating with composers, writers, designers, and other visual artists.

Luis Manuel Guzmán [Mexico]
With a degree in arts and a keen user of computers and systems, he is interested in the implications of creativity and programming for activism and social development. The use of open source platforms and web spaces is the current forum for his research.

The collaboration:

Andamio is a collaboration platform where producers from different backgrounds can be found, generating long distance projects. Sound is the basic element that we understand as image and text at the same time. The raw material of Andamio is the confrontation of these codes, apparently contradictory but that share narratives, both in construction and production.

Andamio works within three lines: production, research and education. All are related not only to the union and develop of sound in other disciplines, but also in the use of different technologies to produce experiences. Such experiences are shared through our memories, forming constantly mutating narratives. Collaboration is an axis of work in Andamio, even-though we have people that constantly work in the projects, Andamio also seeks to work with other artists that can provide alternative perspectives.


Re:Peat



Re:Peat by Anne Yoncha
Collaborative sound piece with composer Daniel Townsend

Year: 2022
Media: Stereo microscopy images of preserved sphagnum moss plant from conserved peatland, field recordings from Latvasuo & Pikkusaarisuo peatland extraction sites, hyperspectral imaging of soil core samples read as graphic music notation.
Find the Artist

Re:Peat is a recent EDUFI Fulbright Finland Fellowship research project focusing on peatland extraction and restoration in Finland. Our hyperspectral images were made with a Specim FX-17 camera using wavelengths of 900 – 1700 nanometers. These images allow us to see details in soil structure invisible to the naked eye. We hear two sonified core samples, the unrestored sample panned left and restored panned right, moving low to high. Ash, an industrial byproduct from burning peat for power and heat at Toppila station in Oulu, has been used to treat the soil, de-acidifying it and perhaps leading to a viable novel ecosystem for reindeer forage.

My work combines experimental art + ecological science to explore mechanics of plant physiology. By translating these processes into artworks, I aim to build affinity with unfamiliar ecologies apparently out of sight or possessing different temporalities than our own. My practice combines digital sensing technology, such as bio-data sonification, and analog processes including painting with ink I make from locally-sourced plant matter – so the materials used in the piece add another layer of data.

When public understanding of ecological problems is limited, creative artists have been historically successful in uncovering background narratives, thereby shaping how scientifically-declared emergencies are perceived and acted upon. How do we balance a sense of urgency in the time of climate change with potential unintended consequences of our interventions? Re:Peat The Artist:

Anne Yoncha (US) is Assistant Professor of Art at East Central University in Ada, Oklahoma. Born and raised in Wilmington, Delaware, she earned her MFA at the University of Montana and recently completed a Fulbright fellowship at the Natural Resources Institute Finland, working with restorationists to make collaborative art-science work about former peat extraction sites outside Oulu. Her practice combines digital sensing technology, such as bio-data sonification, and analog, traditional processes including painting with ink she makes from locally-sourced plant matter. Her ongoing research with the HAB (High Altitude Bioprospecting) working group began in Fall 2019 at Field_Notes, a residency of Finland’s Bio Art Society at Kilpisjärvi Biological Station in subarctic Lapland, where she worked with artists, biologists, and programmers to attempt to detect high-altitude microbes using a heli-kite. Outside the studio she can often be found doing another kind of environmental “research” via bicycle. Re:Peat


slugs'n'tongues

slugs'n'tongues by Margareta Klose & Peter Várnai (Studio Matchka)

Year:2022
Media: Oral poem animation



we are more-than-human within
our microbial spacetimes
we are heterotopia
more-than-human relations

slugs'n'tongues considers a fantasmatic parallel reality where (multi)species morph between slugs and tongues like microbes. As they do, they produce velar, uvular and glottal noises, and perform love poems.

slugs'n'tongues was exhibited at Parallel Vienna, 18th Athens Animfest, Best Austrian Animation festival, Tricky Women Festival Vienna and Fest Anča in Žilina, Slovakia. Studio Matchka The Artists:

Since 2022 the duo Studio Matchka, Margareta Klose & Peter Várnai have been creating poetic 3D animations of fantasmatic parallel realities where multispecies morph between cyborgs and surreal creatures, performing love poems and sounds. We freak the boundaries between human beings, microbes, viruses, genders, animals, things, machines, science fiction and science facts, while freaking out about the dichotomies that constitute us in a lifelong transformation process full of surprising kinships and caring with each other.


The Museum of Ecological Racism and Human-Animal Connection

The Museum of Ecological Racism and Human-Animal Connection
by Jaewook Lee

The Museum of Ecological Racism and Human-Animal Connection: Explore the VR work here
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Year: 2022
Media: Virtual Reality Virtual Exhibition
Find the Artist Jaewook Lee The Museum of Ecological Racism and Human-Animal Connection is an innovative virtual exhibition within the Metaverse that confronts the intricate and frequently underappreciated issues surrounding environmental justice, the struggles of marginalized communities, and the symbiotic relationship between human and non-human species. Utilizing the Metaverse, the Spatial.io platform, this VR exhibition aims to provide an immersive and boundary-defying experience, bringing together individuals from various backgrounds to engage in meaningful discussions about the systemic environmental challenges communities worldwide face.

As an artist, my motivation is rooted in the conviction that art can catalyze significant conversations, raise awareness, and challenge conventional viewpoints. Through the Spatial.io Metaverse platform, I aim to establish an all-encompassing and captivating virtual environment, enabling visitors to delve into the unsettling reality of environmental racism and the deep connections that unite us with the natural world.

This VR space seeks to illuminate the stories and struggles of those most affected by these challenges, highlighting the need for equitable solutions and sustainable practices. The Water Justice Hall urges visitors to confront the realities of environmental injustice and reflect on their roles and responsibilities in addressing these issues.

The Museum of Ecological Racism and Human-Animal Connection transcends the limitations of traditional exhibitions by fostering a sense of global unity and shared responsibility. By immersing visitors in the pressing issues of our time, it aims to inspire empathy, understanding, and collective action toward a more equitable and environmentally-conscious future. As an artist, I hope this virtual exhibition will serve as a platform for change, encouraging individuals from all walks of life to join in pursuing environmental justice and preserving our shared planet.

The Artist:

Jaewook Lee is an artist using AR, VR, 3D animation, video game, and video installation as artistic media. Lee’s work addresses issues of environmental justice and presents the intertwined relationship between culture, nature, and politics. Lee is the recipient of awards such as the 4th SINAP (Sindoh Artist Support Program) and the SeMA Emerging Artists and Curators Supporting Program by the Seoul Museum of Art. Lee has participated in exhibitions, talks, performances, and screenings at such venues as Santa Fe Art Institute (2022), Museo de Antofagasta in Chile (2020), Hong-Gah Museum in Taiwan (2018), Art Sonje Center in Seoul (2017), the Guggenheim Museum in New York (2017), MEINBLAU Projektraum in Berlin (2016), NURTUREart in New York (2014), and the Museo Juan Manuel Blanes in Montevideo (2014), among others. Sculpture Magazine featured Lee’s work in May 2017. Lee’s work is in the permanent collections of several institutions, including the Gyeonggi Museum of Modern Art in Ansan, South Korea, and the Jordan National Gallery of Fine Arts in Amman, Jordan. Lee received MFAs from Carnegie Mellon University and the School of Visual Arts. Lee is an Associate Professor of New Media Art at Northern Arizona University.


The Patterns of the Past - The Promise of Tomorrow

The Patterns of the Past - The Promise of Tomorrow
by Grayson Cooke
Sound composition by Dugal McKinnon

Year: 2022
Media: Digital Video
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“The Patterns of the Past – The Promise of Tomorrow”, was commissioned by Geoscience Australia to represent Australian innovation in using satellite data for climate science at the COP27 climate conference in Egypt in 2022. Produced by media artist Grayson Cooke and composer Dugal McKinnon, the film uses satellite data from the Digital Earth Australia and Digital Earth Africa platforms to demonstrate how Earth Observation contributes to strategies for both visualising and measuring change, and supporting better decision making on climate adaptation and mitigation. The film shows changing patterns of landscapes and waterways between 2018 and 2021, tracking key environments in Queensland, South Australia and New South Wales in Australia, and in the African countries of Nigeria, Botswana, Mali, Senegal, Algeria, Tunisia, Namibia, Ethiopia and Mauritania. Cooke The Artists:

Grayson Cooke is an interdisciplinary scholar and media artist, Associate Professor of Media at Southern Cross University. He has exhibited and performed internationally, in major forums including the Japan Media Arts Festival and the Imagine Science Film Festival in New York. www.graysoncooke.com

Dugal McKinnon is the Deputy Director of the New Zealand School of Music and Co-Director of the Lilburn Studios for Electronic Music. He is a composer and sound artist whose output encompasses electronic, acoustic and text media. Together, Dugal and Grayson have produced audiovisual works screened and exhibited around the world.


Vaches

Vaches by Jean-Michel Rolland

Year: 2018 –
Media: Audiovisual ‘photovideographies’
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“The time will come when men such as I will look upon the murder of animals as they now look on the murder of men.” (Leonardo da Vinci)

‘Vaches’ is a series of 5 videos that questions our relationship to the animal world. Are we hopelessly carnivorous or is veganism the future of humanity? Will we ever be compassionate enough to give up our animality and satisfy our appetites without killing?

The videos in the ‘Vaches’ series are what I call photovideographies, they are photographs (or photographic series) to which I give a temporality. Since January 2018, I have decided to reinvest the still image as a basic material for new audiovisual experiments aimed at demonstrating that video art can be based on snapshots. Photographic art thus changes status by acquiring temporality and becomes video art. In the history of non-digital photography, only the succession of still images, such as chronophotography, made it possible to introduce a deployment in time. But with digital art it is possible to achieve a chrono-visual variation by asking the colors to move within the pixels of the image.

By manipulating the pixels of the original images according to algorithms generated with Processing software, they represent the torments that we inflict on so-called cattle animals. Vaches The Artist:

Jean-Michel Rolland is a French artist born in 1972. A long time a musician and a painter, he brings together his two passions - the sound and the image - in digital arts since 2010.

Through video artworks, generative art, audiovisual performances and interactive installations, he questions the temporality, a genuine fourth dimension inherent to moving image, as well as the duality between his two favorite mediums, the sound and the visual.

His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.

His works, always very experimental, are a reflection of the sometimes unexpected internal world of their author and are however the object of an important diffusion abroad. Several have been rewarded for their originality, by United Nations University (Dresden Germany), Digital Graffiti in Miami (USA), Multimatograf (Russia), dokumentART (Germany and Poland), the University of North Carolina (USA), Festival do Minuto (Brazil), Artaq (France), ArchiShorts (Canada) and The International Video Art Review (Poland).


We do not ride on the railroad; it rides upon us

We do not ride on the railroad; it rides upon us
by Eamon O'Kane

Year: 2017-2019
Media: Three-screen video installation (video extract)
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We do not ride on the railroad; it rides upon us, explores the psychology of climate change and carbon as a material. This video piece is presented as a three-screen installation or two projection installation that examines carbon in all its forms. The title is a quote from Walden by Henry David Thoreau, and the work investigates humankind’s relationship to the natural world, entropy and the Anthropocene. The film includes diagrams of the molecular make up of carbon as well as images of the earth taken from outer space and images of the solar system from NASA’s archive. Part of the narrative is taken from Primo Levi’s book The Periodic Table and his chapter on carbon and it also explores the psychology of climate change.

The film attempts to highlight the interconnectedness of things on earth and in the universe and in this way could be seen to be a Hyperobject. In fact Timothy Morton’s book Hyperobjects which elaborates on this concept outlines the beginning of the coal revolution and the steam engine as a Hyperobject and also as the start of the journey towards the development of the Anthropocene where a fine layer of soot is deposited all over the world followed up by the atomic age in the 1940s and 50s where radioactive material is deposited over all things on earth through the detonation of many atomic bombs and later with disasters such as Chernobyl. eamon okane The Artist:

O'Kane has had over forty solo exhibitions including shows in Berlin, Frankfurt, Dublin, Zurich, New York, London and Copenhagen. He was short-listed for the Jerwood Drawing Prize in London in 2007. His artwork is in numerous public and private collections worldwide including Deutsche Bank; Burda Museum, Baden Baden, Germany; Sammlung Südhausbau, Munich; Limerick City Gallery; FORTIS; DUBLIN 98FM Radio Station; Microsoft; Bank of Ireland Collection; Irish Contemporary Arts Society; Country Bank, New York; Office of Public Works; P.M.P.A. and Guardian Insurance; Donegal County Library; UNIBANK, Denmark; NKT Denmark; HK, Denmark; Den Danske Bank, Denmark; Sammlung Strack, Cologne, Germany; Letterkenny Institute of Technology; University Of Ulster, Belfast; Sammlung Winzer, Coburg, Germany; British American Tobacco, Bayreuth, Germany; Aspen RE, London; Rugby Art Gallery and Museum Collection.

Eamon O'Kane has taken part in many residencies including ARP at The Irish Museum of Modern Art (2004), The Derek Hill Foundation Scholarship at the BSR in Rome (2006) and at Centre Culturel Irlandais in Paris (2008).