Naturally Artificial Intelligence Art Association
Jānis GARANČS. Visualisation And Sonification Of Financial Trading Data In XR
The presentation (festuring Stereoscopic 3D projection) will introduces a series of XR (Extended Reality) environments, that visualise and sonify time-sequenced changes of multiple numeric values from financial data feeds. The series has common investigative motivation: to explore the potentials proprioceptive audiovisual Gestalts focusing on illusory space (e.g. metaphors of integrated ‘AV-spacetime puppetry’, ‘simulated anisotropy’), interaction and notation for audiovisual environments. Thematically, this work series is critically motivated by the re-emergent prominence of gambling factors in global economic activities – such as institutional promotion of increasingly complex investment products for masses, crypto-asset trading, online casinos, etc. Participation in online infrastructure for trading – through easily accessible interfaces, provides new tools for masses, promising control, but, at the same time, becomes surveillance tools for organised value brokers, setting preconditions for unfair competitiveness, ‘rigged game’. Behaviour patterns in trader psychology that get transferred to masses, has caught attention not only in sociology, as a symptom of serious social ‘disease’ – but also caused legal interventions of large supervisory bodies managing legislation frameworks for investments and finance. This practice is also related to the emerging research area of Immersive Analytics, which is considered a fusion of recent developments in visualisation, auditory displays, computing, and machine learning.
Jānis Garančs is an artist and immersive media researcher. He initially studied classical fine arts in Riga, and further: computer arts at the Royal Institute of Art in Stockholm, and Academy of Media Arts, Cologne. Since 2000 he works primarily with multi-media installations and performances, using stereoscopic imagery and 3D sound. He investigates perceptual phenomenology of immersive audiovisual experiences, both in individual and social contexts. Over the years, he has regularly contributed to various international media art community events like Transmediale, ISEA, Ars Electronica, and received several international artist residency grants. Currently he is in doing his doctoral research in Riga Technical University / Liepaja Academy and is also a visiting researcher at Aalto University in Finland.
Sandris MŪRIŅŠ. Olfaction Media: Scents For Extended Memories And Emotions CompMonks. Stargazer: Two Columns From Neural Potentials
In the talk “Olfaction media: scents for extended memories and emotions” the authour will explain how olfaction works, how and why it impacts memories and emotions, and scent technologies that could be used for triggering olfaction bulb. It will give and show example how Scent Camera works and will provide insights and collaboration opportunities with scientific network created for developing scent related techologies.
Chris WILLE, Brian Patrick FRANKLIN. Flood-Tide Below Me, I See You Face To Face
Flood-tide below me, I see you face to face is a kinetic installation looking at humans’ interactions with their environment in the act of creation and destruction. As individuals populate the gallery, the carbon dioxide they emit is logged by the installation. When viewers approach the work, their presence is captured and converted into lines of hydrated chia seeds that trace their movement through the space. These lines are extruded onto a mosaic landscape of tiles showing the topography of all places Franklin and Wille have individually called home. The more people interact with the installation, the more chia seeds are laid down on the landscape.
The installation acts as an analog of the climate for this chia, carefully watering it in cycles to help it sprout and grow. However, as more people populate the space and interact with the work, the higher the carbon dioxide levels rise, and the installation responds by lengthening the interval of time between each watering cycle. Eventually, the overwhelming presence of viewers choke out the sprouts as they try to grow in their environment.
Brian Patrick Franklin received a BFA from the State University of New York at Fredonia, and a MFA from Penn State University. He is a professor in the Wonsook Kim School of Art at Illinois State University where he teaches courses in digital fabrication and interactive sculpture. Franklin’s interdisciplinary work has been shown in venues ranging from traditional galleries and festivals to takeovers of public space in the United States, Europe and Asia. As a member of the band TiF, an experiment in online culture, performance art, and video games, he traveled across the United States performing in concert halls, youth centers, bars, and living rooms. Franklin is a member of the artist collective Sphere, whose body of work explores the ambiguous relationship between physical and virtual activity.
Yi Qing NG, Nathan WILLIAMS. Layers of Bias
“Layers of Bias” is an interactive physical installation that delves into the intricate ways different layers of biases influences our understanding of information in the digital age. This multi-user experience uses hardware, electronics, microcontrollers and a digital interface to explore how biases—whether from machine learning algorithms, image generation models, or inherent human perspectives—affect the interpretation of media.
Two users, each wearing noise-cancelling headphones, engage with the installation from opposite ends, separated by a monitor. One participant describes a journalistic image from a real-life, polarizing event which is then displayed on the screen. Their description is then used to generate an AI-created image. The monitor turns around, and this newly generated image is shown to the second participant, who repeats the process. After several rounds, both users are shown all AI-generated images alongside the original, revealing the layers of distortion introduced at each step.
“Layers of Bias” is a critical examination of media representation in the digital age. It addresses the distortion of information on current media platforms, prompting reflection on how our perceptions are shaped and reshaped by multiple layers of bias, ultimately altering our understanding of primary sources.
Pepi is a NYC-based multimedia creative technologist and community organizer. They create conceptual physical installations consisting of electronics, hardware, microcontrollers, and sensors. Their work explores concepts of gender, global politics, technology, and culture. Born and raised in Singapore, Pepi is excited about sharing South-East Asian and global narratives that subvert western perspectives.
Nathan Williams is a New York City-based and Estonian-born designer/artist specializing in information design and data visualization. He is interested in the communication of information through various systems and exploring social themes through research and visualization, specifically in the realm of journalism and media platforms.
Pepi and Nathan are currently both fourth year undergraduate students in the Design and Technology Program at Parsons School of Design.
Nikolaus GANSTERER, Mariella GREIL, Peter KOZEK and Lucie STRECKER, in collaboration with Victor JASCHKE. Shaken Grounds, Shifting Skies
The video Shaken Grounds, Shifting Skies showcases film scenes from explorations of Campi Flegrei, Mount Vesuvius, Volcano Island in Italy, the Pasterze glacier in Austria, and the art studio. It also features excerpts from interviews with art historians, philosophers, and geologists. These film fragments are designed to raise questions about how the external environment resonates within our physical bodies. The film serves as a document of art-based research in the field of seismography.
Concept and performance by Nikolaus Gansterer, Mariella Greil, Peter Kozek and Lucie Strecker in collaboration with Arno Böhler, Oscar Fernandez, Nicolas Freytag, Sabine Folie, Nicola Fornoni, Sylvia Scheidl, VestAndPage (Andrea Pagenes/Verena Stenke), Mauro di Vito and Sandro de Vita; film concept, camera, and postproduction by Victor Jaschke; sound by Werner Moebius.
Supported by the Austrian Ministry of European and International Affairs, the Austrian Cultural Forum, Rome, the University of Applied Arts Vienna, the Angewandte Performance Lab (APL), Support Art and Research, and the Austrian Science Fund (FWF). The research proposal PEEK AR 780, DOI 10.55776 has been co-authored 2022 by Nikolaus Gansterer, Dominika Glogowski, Mariella Greil, Peter Kozek and Lucie Strecker.
Nikolaus Gansterer is an artist who incorporates performances, blackboard assemblages and maps as part of a practice that explores the relation between micro and macro systems, atmospheres and geological sites. Drawing, thinking and action are intertwined in dynamic seismographic diagrams. www.gansterer.org
Mariella Greil focuses on contemporary performance, especially its ramifications into the choreographic and the ethical. She develops a politicized and ethico-aesthetic practice and asks how artistic strategies can support the development of future scenarios of living responding to global urgencies. mariellagreil.net
Victor Jaschke, a filmmaker, and interactor, approaches people as animals, with a provoked basic trust in our essentiality. After four decades, he is still amazed by the concentrated images that enter the quiet chamber of his camera: what there is to see when you look back, free from expectations of interaction! A camera makes love easy. victorja.com
Peter Kozek takes a nuanced yet personal artistic perspective to work on local conditions and landscapes, and their histories, presents, and futures, as well as their economic and social nature. Through his art and performance practice, regions become transfer spaces between myths, realities, and fictional and constructed worlds. kozekhoerlonski.com
Werner Moebius works between visual art and music in the expanded field of sonic art and aesthetic practice. He deals with the plasticity of sounds in acoustic, intermedial and performative contexts and facilitates dialogues in the field between new music, electroacoustic improvisation, conceptual art, weird beats and artistic research. For his work he has been awarded, among others, the City of Vienna Prize and BMUKK scholarships for Chicago and Mexico City. wernermoebius.net
Lucie Strecker is an artist, performer, and researcher with a focus on experimental systems within performance art. She considers microperformativity as a way to question human levels of perception––both spatial and temporal— emphasizing biological and technological micro-agencies in relation to art and history. luciestrecker.com
Yoon Chung HAN. Sea Unseen
Marine plastic pollution is a critical environmental issue, with plastic waste contaminating nearly all marine habitats. The project “Sea Unseen” is an interactive bio art installation designed to raise awareness about the impact of plastic in the ocean by depicting a virtual, hypothetical future landscape overwhelmed by plastic waste. This work includes three main components: an interactive installation, digital prints, and 3D-printed sculptures. By scanning QR codes attached to plastic products, viewers trigger real-time projections of bizarrely morphed coral reefs, fish, and other sea creatures. This installation provides an immersive experience, allowing audiences to confront the reality of climate change and inspiring them to reflect on their own behavior and its environmental consequences.