In the impossibility of holding a physical exhibition, we will be having a talk with the participating artists to discuss their work. The documentation of some of the pieces can be watched on Friday 24, in the final conference video program. Here you can see a list of all the installations and performances selected for the event.
V[R]ignettes: A Microstory Series (2019)
A series of VR microstories by Mez Breeze
Originally titled A Million and Two, V[R]ignettes is a series comprised of virtual reality crafted microstories. Each individual microstory, or vignette, is designed to encourage a kind of “narrative smearing”. This narrative smearing encourages a rethink of the norms governing traditional interactive storytelling techniques, where narrative building blocks are truncated and mutated into “smears” (kinetic actions and mechanics/collage-like layered building blocks/visual distortions/two-tiered text annotations) which requires a reader to make active interactive choices in order to navigate each microstory space (storybox). Each storybox contains a microstory that uses both emotive language and such narrative smears to evoke a sense of disquiet, reflection and story development in the audience, where spatial technology is key. V[R]ignettes: A VR Microstories Series is a work produced under the banner of Extended Reality Literature which captures my growing passion with making new types of Spatial Computing Storytelling and Virtual Reality Literature accessible, as well as embodying social commentary. Just as VR Literature can work to extend and explore the creation of accessible electronic literature beyond the text-centric to truly encapsulate the haptic and the spatially-oriented, V[R]ignettes: A VR Microstories Series illustrates how XR projects can act as relevant social commentary at a time when it is sorely needed.
An audiovisual installation by Coletivo Telemusik (Dudu Tsuda & Marcus Bastos)
Incertezas_Caminhada is a video installation that discusses recent episodes of violence against indigenous populations, destruction, burning, and deforestation taking place in the Amazon region, in Alter do Chão and in the Cerrado of the Brazilian Midwest. It derives from the audiovisual performance Incertezas. In this installation version, we incorporated recent research on sonic and visual language continuing the compositional investigation already in practice. We developed further the overlapping generative sound textures and the feeling of retina persistence and opacity in the videos, reinforcing the continuous dramaturgical flow that oscillates between saturation and repetition.
Light and Shadow (2020)
An audiovisual installation by Tiago Cruz
Light & Shadow is a two-channel piece that uses algorithmic manipulation to produce and explore an audiovisual universe on the border between the private and the public, intimacy and exposure, inside and outside. Establishing a direct relationship with the concepts of privacy and intimacy, in a reflexive attitude, the text presents the context and process of the project development.
Double Agent (2018)
An interactive augmented environment by Simon Biggs
Double Agent is an interactive augmented environment, commissioned by the Museum of Discovery (MOD), Adelaide (premiered as part of the MOD.ify exhibition, May 10, 2018). People physically interact with two projected virtual ‘agents’ within a large-scale three-dimensional projection. The agents are composed from hundreds of small elements that are both drawn to and repelled by the movement of human bodies in the installation space, visualised as complex tensile and fluid structures. One agent (the lower) interacts directly with people in the installation space. The other agent (the higher) interacts with a simulated human which has learned how to dance. Employing many hours of dance data, acquired through the motion capture of dancer’s improvising within Double Agent, the agent has, through the use of machine-learning algorithms (a Long Short-Term Memory Recurrent Neural Network), developed the ability to improvise its own dance movements, responding to the presence of viewers who co-habit the installation space.
Robalo em Prato Inflamado (2019)
A sound installation by Dudu Tsuda
Series of pieces / sound installation that questions the growing devaluation of life in face of the financial market, manifested in the recent environmental catastrophes and the systematic dismantling of social and human rights. Robalo in a flamed dish discuss the environmental and social impact caused by oil spills on the beaches of northeastern Brazil. Living in warm waters of the northeastern Brazilian coast and mating in the mouths of rivers and mangroves, the robalo was one of the species by most affected the contamination. Scientists estimate that the contamination could make the fish inedible, causing irreversible damage to the local economies that live from fishing and marketing. Due to robalo’s high price, its trade is extremely important for coastal municipalities and villages. The fish is consumed abundantly in the Brazilian southeast, in Europe, in Japan, and in the USA, and a decrease in its population and / or a limitation in its fishing would bring about the end of countless jobs and companies that constitute its extensive productive chain.
@#D: on digital physiognomy and spatial justice (2019)
A video installation by Gaspar Cohen
@#D reflects on the poiesis of migrant digital states and what can be thought of as 3D phantasmagoria. How does a deterritorialized body recollects people? By being perceived and re-rendered by computer vision, photogrammetry and locative media technologies, a phantasmagoric spatial state becomes critical. As facial recognition becomes a capturing device of identity and affect in a selfie culture, such digital physiognomy turns key to approach a very animal ability to communicate and express emotions. Such computation reshapes the persistence of memory, faces and beings.
They built the widened coral reef (2019)
A video installation by Mark Tholander
In They built the widened coral reef, we find ourselves in an unnamed compound with a group of co-workers, engaged in conversations balancing between the intimate, unseen, latent and public small-talk. It seems that there are constantly something unsaid hidden in the conversations, something which has already happened and something which are still about to happen. Only when something disruptive enters the narrative, like a parasite, does disorientation arise.
Digital Fossil_Corrupt Galatian (2020)
A videoinstallation by Milos Peskir
The evolutionary closeness of humans and digital artefacts is the aesthetic/ontological base for the concept of Digital Fossil. Corrupt Galatian represents the struggle for life of a/v elements – the physical fragility of digital material and human perceptive adaptation – understanding the abstract language. Facing the echoes of our digital remains, from self corrupt to self culturcide, brings the affinity for inner values over physically fragile identities.