Sahej Rahal: Comic – The Etymology of Insaan
Yvette Granata: Creative short text, co-authored by the AI RNN in the Data-Slime piece.
Hadi Bastani: Towards a Decelerationist Manifesto
Bochra Taboubi: Identifying Drive System .
Sepideh Majidi & Zohreh Eksiri : Translation of ‘Undercover Softness’, By Reza Negarestani to Farsi
Kiran Mehra: Neu Theory
Kaushik Varma: Noema: Conception of Form and Meaning in AI
Sepideh Majidi: 0Ocean
Hallidonto: cyborgia manifesto
Sabeen Chaudhry: #Cloudbusting
Gerard Carson: Coalition 32
Julian Mathews: Beyond_Woke_Problematic
Bochra Taboubi: HUMAN ABYSS
Rodrigo Gutierrez: The Stone and The Ripples
Gagan Singh: The imagined Erotic World
Kaushik Varma: Noema: Conception of Form and Meaning in AI
Sepideh Majidi: Degenerative Architecture
VR, Games, Interactive art
Yvette Granata: Xenovision (Artifacts of Parabiological Bias), VR, 2020 & Data-Slime, VR, 2019
Sahej Rahal: an AI program - Juggernaut & Shrota
Hallidonto: Cyborg Cadavers piece
Sahej Rahal: Forerunner- Film
Umber Majeed: Hypersurface of the Present & Trans-Pakistan Zindabad (Long Live Trans-Pakistan)
Gerard Carson: Emergence (animation)
Bochra Taboubi: HUMAN ABYSS & Identifying Drive System
Rodrigo Gutierrez: The Stone and The Ripples
Ash Coates: Mycolinguistics: Rubico-Sterolosis or Oneness & Mycorrhizal: It Comes In Waves
Hallidonto: Omega Externo & Hivemind Omega (video collaborations with Black Matter Reality)
Sepideh Majidi: Island
Hoçâ Cové-Mbede: ReifiCO2tion: Into the packaging aesthetics of CO2-Necrophilia
Diane Edwards: Sour Dirt
Lecture Performance-Artist talk -
Ash Coates: Plastitrophy - Metamorphosis or Dysregulation Within the Communication and Feeding Networks of Earth’s Biosphere as a Form of World Building, Resulting in Synthetic Landscapes.
Gagan Singh: Drawing workshop
Hoçâ Cové-Mbede ReifiCO2tion: Into the packaging aesthetics of CO2-Necrophilia
Here, we are looking at the methodologies of the local phenomena that allow positive transformations at the level of global structures. What are the transformative powers of local formations? And what are Transformative Formations?
At first glance totality of the global structure--the structures that are not capitalistic by nature; in fact, totality is an metaphysical idea. From the totality of the monstrous global construct, comes the rigid correlations between the functions of capitalism and it’s structural base.
Local phenomena are not fully methodological collectives to allow for transformation; these local political/social formations don’t reach transformative power to alter the global structure. What we have here is methodological individualism, which is a liberal point of view. .
In Search of Local solutions at first I am looking at:
Dynamics of the Global Functions
Maximization of Positive Freedom
Structural Continuity of the Global
1-Rigidity of the Global Construct and Dynamics of the Global Functions
How can we avoid reducing the dynamicity of the function to the totality of the structure.
Can we use the dynamicity of the functions to create transformation in the deeper levels of the system.?
2-Also, addressing the agency, and the enablement of agency, within the project of the very intelligibility of itself--that which is capable of cultivating itself via self transformation.
How can the functions be enhanced?
difference between actions and functions within the agential domain:
--Norms of function create different sets of realizers. Realization of the function, qua activity or behavior of the system, can be understood as how a set of realizers organize this behavior or leads to this realization.
--Functions are also materially constrained by how mechanisms and processes are organizing functions at the material substrate.
--The different qualitative, distinct activities of functions distributed across the different levels of structure. This is dimensionally varied and multiplies constrained functions. (some notes from Reza).
3-Structural Continuity of the Global / Discontinuity of the Functions - Discrete Locals
The spirit, bundled together by certain uniformities--the collection of rational agents in the social community of concept and language users- bundles could be configured and understood and recconfigured in the subspace- So to avoid that, There are many other ways to look at the structural contituty here. But since I am looking at the pragmatic functions as a way of agency and personal discontinuity, enhancement of responsibility promotes the account of structural continuity. ..
Entangle for the Alien to Continue-Nadim Choufi
Shorta- Sahej Rahal
Describe your image
What Nebula, What Hyperbolic Light, What Flora and Fauna (WNWHLWFF) is the second work of an ongoing project G=A=R=D=E=N. Through multimedia installations and performances, the series speculates on the idea of “habitat” in the context of technological acceleration and urban sprawl. It uses “garden” as a metaphor for re-imagining an ideal habitat where human, natural and man-made materials coexist. WNWHLWFF is a 3D animation essay about dwelling in such accelerated future of landscapes, where silicon and carbon-based matters are hybrided, e-waste became organisms, and abandoned motherboards are enlarged into construction sites, oil rigs and building blocks...
Data-slime is a journey through a surreal landscape in which an AI writes social media posts. The visitor explores an imaginary landscape constructed from various kinds of data — 3D scanned bodies, generated surfaces, and Facebook data tuned into abstract structures. It is a fictional data swamp that reorganizes data collected by social media platforms, changing it instead into a surreal space-time inhabited by an AI trained with a Recurrent Neural Network. As the viewer explores the swamp, the AI entity posts new comments trained to write based on social media posts. The AI populates the landscape with new ideas and stories as the data-swamp continuously grows and updates as the AI model learns...
An AI program that speculates the nature of sentience from the vantage of Artificial intelligence. Inside the simulation program, an AI-controlled blob wanders about a desert. As it moves, it finds the remains of ruined untimely architecture littered about a digital landscape. Soon this coded mind learns how to navigate this space and pick up objects in the landscape. Further, it starts to use these objects as limbs, creating new forms around itself. Each time the program is run, the AI blob begins this entire process anew...
Kink Retrograde presents a speculative allegory whose protagonists live in a world and city presided over by shocks that come to resemble the apparent retrograde motion of celestial bodies: cyclical and seemingly backwards moving. The intoxicated characters decide that the social contract between themselves and the sovereign powers has always been breached, and so they must devise a new and transparent contract aware of its own abjectness, risk, and deviance — one of total kink.
The project comprises video and virtual environment, installation, and text. The interactive web environment, syscare, is accessible freely online. The video, Kink Retrograde, is a short fiction film essay that tells the story of protagonists living in toxic space-times ...
Petronics is a blending of material temporalities, where the deep-time of lithic and organic processes mix with accelerated technological programming, whereby matter conjugates in coalitions of precarity and mutability. Objects are estranged from their exploitation as tools and resources; they are rendered into queer remixes that possess alien agencies which are perpetually turbulent. By materials that are neither settled nor fully known (concrete, silicone, bio-plastics, 3d printing), Petronics seeks to produce zones of enmeshment, wherein indeterminate vectors continually mutate and shift, producing emergent subjectivities oriented within a speculative expanse...
Hallidonto’s work relates to his “Cyborgia Manifesto” his main focus is drawing; The essence of the cyborg became my own. The cyborg image has been an integral part of my childhood. The cold war had just ended – the cultural landscape of the ’80s was very much rooted in the future, the natural feeling of that time was dystopia from the cartoons/films, I watched as a kid, the advent of console gaming: Nintendo, etc. The image of man was always his metamorphism into the machine, or the machines taking over. I identified with the cyborg image, and I wanted to be one. I identified with the concept of such a being, and it has informed my work to date. They are infantile and simplistic in their appearance but not in their construction, being drawn in one continuous line. The continuous line has such intrigue the build-up of lines mirrors the essence of double helix structures akin to DNA, that create these lifeforms.
1984 marks the midpoint of the two bookends of our research/investigation. It is the year of the seminal essay A Cyborg Manifesto by Donna Haraway. The first bookend: 57 years prior (1927) marked the beginning of the popular depiction of the female body fused with technology in the Fritz Lang film Metropolis. The second bookend: 57 years after Haraway’s essay, we will explore the trope of the female cyborg in popular culture as well as alternative depictions. We will also pivot to more speculative iterations between the years 2020-2041.
Content is both web-based as well as exhibition based. The content is produced utilizing a fusion of different software that each artist has been working with.....
The portrayal of the nude in accordance to an artistic vision always entailed a submission of the body to the viewer's demands. Intrinsic to such a portrayal is the judgement, more often than not, of a woman as an object of vision, a sight
While an objectification of the subject in an image (the body as an appearance) is unavoidable, it seems probable to isolate the body (subject) from the individual and in doing so, free the woman from a submission of her body…
A generative neural network, in accommodating the features of the body into its distribution, separates the individualist spirit from the subject while retaining the essence of the body itself.
Entangle for the Alien to Continue
On earth and other planets, extreme climate conditions have shifted the nature of living space. The problems of space are no longer physical; they are biological and are seen in biotech and architecture firms designing at the limits of life. Yet 100-year architectural plans for Mars colonies and bioengineered extremophiles are produced for an unsustainable survival of capitalism that seeks to overcome its own ecological limits. Entangle for the Alien to Continue is a series of 3D infrastructures that exist as sculptures and in a video essay that deals with the material trajectory of evolution through design and a reconfiguring of efficiency to eco-efficiency, where the care for entanglement replaces production as an evolutionary scheme.
The video essay begins by tracing the influence of the pet-toy Sea Monkeys, marketed as Instant Life, on bioengineering and multi-planetary architecture ... Learn More
ODE (Ordinary Differential Equations) to Länadk is a life project summarized here with a multimedia representation. It explores the thresholds overlapping and differentiating philosophy, spirituality, art and science. The philosophical concept is rooted in self-reflections about human’s counterproductive behavior which brings grief upon ourselves, showing symptoms of a sick society.
Bacterial sample dying by means of electrochemichal processes. An analogy with the predator-prey mathematical model of Lotka-Volterra, for example, is made to represent this recurrent tension of the underlying ancient mind-matter problem. Furthermore, visual and auditory elements are part of an external representation of the human Nervous System functions that take place under fight or flight vs. rest and digest states, i.e., footage of a specific bacteria species sample, which underpin the health of our large intestine and live in a dynamic ecosystem Learn More
The Human abyss is a representation of the depths of Man. An "anthropoabysal" world that retraces the zoning of the structure of psyche, the "creatures" and the subtracts of the human subconscious through reading into the subconscious and the common imagination. I dove into a world that represents a space-time quantum with an original logic. It is a journey towards the unknown within Humans retracing everything they suppress, this mechanism of internal censoring they've blocked and lost.
I made samples of human depths with an imaginary taxonomy of species that each represent a substrate human trait where every zone holds traits unique to it; its composition, its atmosphere, its source of energy, and the creatures that live within it etc .. As well as the analyses and the creation of fauna of each zone. Every creature has its own descriptive chart in the form of a monograph that includes a nomenclature.
This journey into the depths is a surrealistic experience through drawings, animated images, sound effects and music. A total immersion in a “world model”." ...Learn More
"Are there other islands in the ocean, where other agents live, and other worlds can exist? Outside the limits of all the possible experiences within this territory, which understanding allows me to engage with? What conceptual creation leads to certain experiences unlike mine, and their representations?"
So, we can say she cannot separate from the island; they both have to transform interdependently. The local constitution of the transcendental subject (she) and the conditions of possibilities of this particular transcendental subject: the island itself. They do not exist with or without each other--their bodies, their sensible qualities, their configurations, and quantitative qualities...
Veda Thozhur Kolleri
My practice stems from observations of processes of decay, sedimentation, accretion, accumulation, growth and the disappearance of apparent signs of life. I work with organic found objects, papier mache, plaster of paris, refurbished glass, iron, video, and use drawing as a means to imitate these processes - by overlaying, overdrawing; layering.
I attempt methods of preservation through collecting objects and embedding them in plaster of paris, sandwiching them between glass and papier mache, or engraving the movement of the force of water or the passage of clouds on pieces of glass - drawings that are displayed as shadows. I simultaneously express a letting go by working with dust, soil, evaporating water, and perishable organic material.
Working with organic or (sub)urban detritus, and engaging the linguistic and material vocabulary of the organic or mortal world, are attempts to overcome it. I have recently begun to use Arduino boards to control movement or life in an installation and am working towards developing one whose process can sustain itself in my absence...Learn More
Pain is a critical component of trauma, the primary mode of the claim of reason, when there is a longing to express something inexpressible. To see pain as a language, pain has its own semiotics. As it passes through thresholds between violence and trauma, violence and power, it maps the Totalization of the Immanent on the prefigurations of virtuality. It Bounds and Unbounds between the morphological and dredged zones of Indistinctions and Inevitable transcendence. As it crawls upon the body, the body enters the space that has other virtualities—the morphogenic invariances that have yet to be politically over-coded.
World-forming of the pain, alters the distinction between ‘in the world’ and ‘no world’, the human/animal distinction. By hunting the human as human animal, it is the Dehumanization of horror, which is the human/human relation. It carries the dark becoming. A critical threshold of plasticity of no exit from that which is called subjectivity.
The pain re-grounds the Desire. It Is a torsion between the human and nonhuman on a molecular level...Learn More
Founded in 2189CE, by a small group of bunker fugues, former researchers, and prols, this organisation’s goal is to leave a record of the last stages of Homo sapiens. We will continue to gather information, retrieve data, and collect field samples for as long as this is possible. Data and information is presented here and sat-cast to whomever may receive. Samples, if alive and deemed non-threat, are boxed to limit further threat and collect further data from observation and mechanical means. If samples are deemed a plus high risk, they are silenced. Tissue and cell samples are stored, gene-logged, and cultured until data is collected.
After the glitch and the final collapse, most rec-stores were either destroyed or lost. What we present here is the rebuild effort to the best of our skill and ability. Plus-note, this is not meant to be the singular historic notation, but may very be, simply do to lack of survivors.
My experiments with form stem from conceptual projections and generate questions about memory, legacy, and social roles while exploring the poetic horizon of materials. Producing and according to a material presence is a way of thinking for me. Having recently taken an interest in the materiality of digital media, I seek to reconcile theory and practice by unpacking entanglements of memory, digital media, and the environmental burden of related technologies.
My practice involves research and open-ended experiments on the memory of materials, objects, and environments with the aim of examining how digital media modifies social dynamics and rituals. It maintains a focus on the processes through which obsolete memory technologies are destroyed and their traces are erased, as well as on how memory is recorded, replaced, or deleted.
I primarily focus on how digital media modifies the ways in which social dynamics and rituals are conceptualized and enacted, with particular interest in our growing reliance on digital media as a record of collective experience and memory... Learn More
My thoughts extended into the idea of depth in Line; from exploring through carving--making a line into an object such as piece of wood, to seeing lines in erotic comics and comics in general, to the shift of drawing in a sketchbook, to its projection on a surface. Also looking at line drawing works of artists considered as Outsiders, such as Art Brut artists. The past three months took me on a troubled journey which raised many questions: what is the scale of an object, how do I react to material, how do I react to sites in the city, and what is it that I am seeing, perceiving and the drawing.
I'm less interested in the act of drawing, but rather on its outcome; the transformation when it is mixed into other formats. As an example, the drawing printed on a cloth, the drawing within software, in virtual space, the work carved or printed out on a 3D printer. What is this transformation of the line into its relation to a given medium?
The Imaginary world from the drawing on paper finds new directions, new collisions with new materials....