Diapsid

Kate Paxman (Plymouth University, Plymouth, UK)

katherine.paxman@plymouth.ac.uk : http://www.hengistburyoverture.blogspot.co.uk

ABSTRACT:

“In a deep cave, under conditions of almost total suppression of sensory input, our mind enters a state of severe ‘stimulus hunger’, and the subjective self emerges forcefully.”1

Diapsid is an immersive, audio visual evocation of our marine edgelands which fills the IVT with the acoustic ecology of the sea caves of the North Devon Biosphere Reserve and the image of their rocky interiors. The Dome appears to become an enclosing space, a dark cave where moments of light illuminate its craggy surface.

The sonic context is composed from field recordings made inside coastal, semi-submerged caves at Hartland Quay. The recordings are choreographed for the immersive, in-the-round sound system, creating a sometimes directional, sometimes saturated bioacoustic environment.

In this concentrated subterranean setting, the dome becomes both virtual sensory suppressor and amplifier, suggesting auditory and visual hallucinations attained from the sensory deprivation experienced deep underground.2

Subject to frequent wave surges, shallow water marine caves are dynamic environments, at risk of complete destruction from extreme storm damage.3 Even the pressure from monitoring or observation can lead to degradation, and so Diapsid is the hallucinatory, virtual recreating of an experience we shouldn’t seek to have, by a fully implicated human author.

keywords: auditory hallucination, visual hallucination, underground marine cave anthropogenic pressure

  1. Yulia Ustinova. (2009). Caves and the Ancient Greek Mind. Oxford University Press.
  2. Clottes, J. (2004). Hallucinations in Caves, Cambridge Archaeological Journal, 14(1), pp. 81–82. doi: 10.1017/S095977430421006X.
  3. Joint Nature Conservation Committee. (August 2004). UK guidance for sea caves. defra.gov.uk/PDF/CSM_marine_sea_caves.pdf

DESCRIPTION:

“The thing that comes most directly to my mind is the question of time,  that is the truth that field recording can reveal”1

Context: Diapsid is an exploration of the vulnerability of the shallow water caves of the North Devon Biosphere Reserve.2

Visual:  A projected animation comprising moving and still images of the interiors of sea caves in the North Devon Biosphere Reserve. The animation brings the surface of the rocky interiors into close focus, and is a slow-moving, slow-paced, evocation of these subterranean marine worlds.

Audio: composed from field recordings and found sounds and taking full advantage of the in-the-round sound system to evoke the bio-acoustic environment of the N.Devon coastal caves. The complex audio-scape is choreographed to shift around the circular space of the IVT, at times emanating from particular points in the theatre and then building to moments of saturation, enveloping audiences and focusing on a collective listening experience.

Work will be approx 6 minutes duration

  1. Lasse-Marc Riek in Cathy Lane and Angus Carlyle. (2013). In the Field. Axminster, Devon. Uniformbooks.
  2. Joint Nature Conservation Committee. (September 2016). Marine Vulnerability Assessments. Retrieved from jncc.defra.gov.uk/page-7298

BIOGRAPHIE:

Kate is a practicing artist and also co-leads Smooth Space, an artist-led initiative founded in 2011. Her work explores the uncertain nature of our current economic and ecological moment: our political and social climate of neoliberalism and austerity, the privatization of art, culture and education, and the ecological crisis we are facing from climate change. Using film, sound, animation and drawing Kate has developed her sensitivity to place and fragile habitats through recent projects including Hengistbury Overture (2016), commissioned by Activate Performing Arts for the 2016 Inside Out Festival, Dorset; Mutability and Beaten Earth (2015) for the Smooth

Space-Torre Abbey Residency Project and Inner Quarry (2012) for ‘over the horizon’, Berry Head NNR, Brixham, Devon, a Smooth Space, Torbay Coast and Countryside Trust partnership project. Kate is currently a Ph.D candidate with the art+sound research group, School of Art, Design and Architecture, Plymouth University.

Smooth Space is the collective name for artists/producers David Harbott and Kate Paxman and was founded in 2011.  They develop residencies and community projects in public spaces, initiating collaborations with a range of partners, to invite conversations about our changing world.

smooth space “always possesses a greater power of deterritorialization than the striated”1

  1. Deleuze, Guattari. 1987. A Thousand Plateaus. USA. University of Minnesota Press.

ELDORADO : Iraq 2012 – 2013 (Designed Soundscape, Unity3D Environment)

Edouard Beau (Director, Photographer, Radio producer, National School of Photography of Arles, Casa de Velazquez; French Academy in Madrid, Le Pictorium Photo Agency, Radio France Culture, Arte, Paris, France).

contact@edouardbeau.com

ABSTRACT:

Eldorado : Iraq 2017 is an experiential, anthropological and cognition system based on three-dimensional virtual reality. It enables poetical and emotional experimentation for the participant and permits a new approach on human studies through immersive and interactive learning processes. As a traveller, the occidental participant discovers unknown soundscapes whereby they can only relate through their own emotional processes and interpretations. The oriental participant could interact with some of the langages spoken in the recorded spatialised sounds that they will encounter whilst walking on the platform. This territory is Iraq at a time of global warming. The sounds were recorded all around the country before the rise of Isis, in 2012 – 2013. Through a Unity3D gaming system we can now enter the unconscious and subjective memory and meteorology of a territory, its complexities and populations semiotics expressed before a civil war, untranslated.

DESCRIPTION:

Eldorado : Iraq 2017 is a Unity3D platform that proposes an immersive discovery of a country concerned with global warming but also with great challenges, recovering from government destruction and a dramatically high rate of inter-ethnic violence which has caused great losses in terms of local, regional, social and economical landscape stability.

The destruction of Iraq unleashed a high rate of dislocation between ethnic communities, each one willing to benefit from the future reconfiguration of the country, including possible geographical and territorial conquests and disputes. As a reporter, film-maker and radio-producer, I was interested in documenting the

Iraq state in 2012-2013, recording sounds, interviews and field recordings that I expose now to experiential analysis inside an interactive, auto-generative virtual environment.

These sound documents were gathered from many different local communities in Iraq, from South to North, such as Yezidis, Kurds, Sunnis, Sufis, Shias, women at prayers, soldiers, shepherds or refugees, each community receiving the same level of attention or even between specific social roles. The recordings were very stochastic due to travelling and security conditions. The system proposed here aims to reproduce and make its own the aleatory behavior of the traveller inside an virtual environment. The different sound layers recorded will act as a subjective media archaeology of the country, carrying in itself some of the interrogations and local, regional and social ingredients for implementing a bright future, or not.

These layers of recent history are represented here and accessible through a discovery behaviour of the participant whilst walking in the Eldorado platform. Each sound source will interact with the participant in its preprogrammed area of interactivity. Then from one sound area to another the participant creates their own immersive narration depending on how much attention they pay to their environment, how much they are interested in discovering as well as their own displacement behaviour in the 3d environment. These three aspects will condition their own interaction, experiential and emotional reaction to the system.

The disorientation that results from immersion in the system is due to the impossibility to fix attention on a known form or language. The only sounds that the participant will recognise are random daily sounds, like cars and songs, traffic etc… On the language side, the musicality of the region will appear totally foreign to the participant (if they are not originally from the region) since it carries sound representations of another cultures social background and embeds other umwelt colors, codes, values, sonority and meaning. This created disorientation can allow and proposes to explore intuitional perception and the possibility to create a shift or a distortion in a self anthropocentrism, by acceptance of immersion in another culture.

This created  cultural paradigm shift can then become a major tool for understanding a « Sense of Place » in  a totally different and precise manner by only relating to intuitional interpretation as an analysis tool, then combined with previous or further transdisciplinarly knowledge.

BIOGRAPHIE:

EDOUARD BEAU

In 2002, he started to document the life of those trying to flee to England, in Calais, France.

In 2009, he was awarded for his film «Searching for Hassan», the First Film prize at FID Marseilles and the Jury’s  Award at the Al Jazeera Documentary Film Festival, Qatar 2010, Prix de Qualité, National Center for Cinematography, 2012.

In 2011 he graduated from National School of Photography, Arles.

In 2007 he narrowly escaped death in an explosion in Mossoul and in 2011 he made a photo and video essay on post-traumatic stress suffered by American veterans after the Iraq war, at the International Center of Photography in New York.

In 2011, he produces his first radiophonic creation on France Culture, french national channel, Irakistan, 55min.

In  2014,  he  became  an artist  member  of  the  French Academy in  Madrid,  Casa  Velazquez,  and  he undertook an immersive sound and photographic research on memories of the Spanish Civil War.

He then went to film the scarifications happening now in the Iraqi Kurdistan conflict with daesh.

Since then he has been working on the geographical and political upheavals in Iraq and Syria.

He today researches on means to portray contemporary history, and to convey emotions through documentary means.

Reflections

Jen Seevinck (Queensland University of Technology, Brisbane, Australia)

jennifer.seevinck@qut.edu.auhttp://www.smArtnoise.net

ABSTRACT:

In Reflections, the imagery is evocative of nature, yet also unexpected. Here the visitor’s gaze is the central activity: perception of the imagery leads to the discovery of new forms. This accompanies a shift in the eyes focal range, itself an activity that occurs when contemplating at the water’s edge. While the analogy of nature soothes, it also disrupts. The audience is returned to their body, to the physiological act of perception as the eye is manipulated to disconnect from the pull of the image. Rather than consume this object of nature, the audience is prompted to consider its paradoxical form in relation to their body and gaze. Through its manipulation of perception and return to our body, Reflections challenges the ego centric assumption of person as separate from environment, an assumption that precludes empathy for climatic catastrophe and those we deem ‘external’ to ourselves.

DESCRIPTION:

Computer generated video for installation. 25 second duration. See vimeo online for this work “Reflections”

AUTHOR BIOGRAPHIE

Jen Seevinck is an artist and researcher. She works to sculpt new and surprising experiences for audiences and to explore the creative process of seeing. She draws on science and art to play with our perception, creating visual rhythms and the opportunity to interpret forms. Jen’s practice and research interests include interactive and concrete art, emergence, experience design, creativity and tangible media. She has worked in electronic art, design, education, scientific research and computer graphics for virtual reality and has developed many interactive designs, mostly using state-of-the-art interaction technologies and applied to art as well as medicine, space, data visualisation and engineering. She has contributed to patents and has several publications in the interactive arts and interaction design fields as well as having won international awards for her work. Her forthcoming book “Emergence in Interactive Art” (Springer International) explores the potential of perception and interaction for new digital arts, drawing on theories of emergence as well as creative works. Her art has been exhibited at conferences and contemporary art galleries in Beijing, Tokyo, Australia and the U.S.A. Jen is currently lecturing at the Queensland University of Technology.

 

M.A.A.R.S. The Atacama’s Journey

Benjamin POTHIER & HERVE Production (planetary Collegium, Plymouth and Paris, UK/FR)

benjamin.pothier@gmail.com

ABSTRACT:

M.A.A.R.S. stands for Mars Atacama Analog Research and Simulation. A team of 7 people will be exploring and investigating the Atacama Desert of Chile and the Ojos Del Salado Volcano in the Andes as an anolog to the environments that Astronauts would find on Mars or the Moon. The 15 day trip will be the opportunity for the team to conduct a variety of experiences and mesurements they prepared for scientific purpose and to get more grip on future space missions, including the test of Astronauts Gloves.  Many members of the expedition are candidates in an commercial Astronauts training program. In addition to the expedition in itself and the beauty of the places we’ll be shooting in 360°, the Atacama journey resonnates with the future of transportation and how this will change our perspection of distance. The Atacama’s journey invites the humanity to consider the place where we live as an experiment for the place where we may be living our future. The expedition will be Leaded by Dr Ulyana Horodyskyj, an Astronaut Candidate in the PoSSUM program and former Mission Commander of the NASA HERA XIII simulation mission.

DESCRIPTION:

A short Documentary full dome movie, [MAARS] brings the audience to the hard daily life of Astronauts candidates and geology researchers during a training expedition to the Atacama desert, the driest desert on Earth and Mars Curiosity’s Rover test site, and the most similar environment to the Mars and Moon on

Earth. From fantastic landscapes that are out of this world to a first person view of the summit of Ojos Del

Salados, the Highest Active Volcano on Earth , To exclusive interviews of a former NASA mission

Commander or the Director of a Commercial Astronaut training program , join the team during this exciting mission, and get a glimpse of the future of Human kind !

 

 

AUTHOR BIOGRAPHIE:

Benjamin Pothier is a French Director and Artist-researcher.

PhD research in Arts/Anthropology/Architecture at the Planetary Collegium, CAIIA hub of Plymouth University (UK)

> Achievements:

  • Crew Member NGOZUMPA Glacier 2016 expedition up to 5500 meters on an unexplored Glacier in the

Himalayas with Glaciologist and Astronaut Candidate Dr Ulyana Horodyskyj

  • Technical advisor and base Camp Crew member for BENDING HORIZONS EVEREST 2015 Art/Science Expedition (2015)
  • Grant recipient of the French Norwegian center in Humanities and Social Sciences (2014) for his researchin Anthropology, Art History and Architecture
  • Second Prize Winner , CREATIVE SPARKS / D.I.Y DAYS PARIS 2014
  • First French Artist selected for the ARS BIO ARCTICA 2014 residency at Kilpisjärvi’s Biological Station in Lapland, organized by the Finnish Bio Art Society,
  • First French Artist invited by THE FARM,INC. a New York based cultural organisation, to participate to the ARCTIC CIRCLE RESIDENCY 2013, in the international territory of Svalbard.

He has presented his work and research internationally:

HERVE is french based Communication agency specialized in Virtual Reality projects. Its aim is to promote VR 360 production, arts and design using new technologies.

“Cosmografias”

Andreia Oliveira, Alexandre Montibeller, Cristiano Figueiró, Evaristo do Nascimento, Fabio Gomes, Matheus Moreno, Muriel Paraboni (Interdisciplinary Interactive Laboratory of Federal University of Santa Maria – LabInter/UFSM).

http://labinter.com.br

andreiaoliveira.br@gmail.com
montibeller.alexandre@gmail.com
figocris@gmail.com
dudenascimento90@gmail.com
falmeida@inf.ufsm.br
mscarqeart@hotmail.com
murielparaboni@gmail.com

ABSTRACT:

“Cosmografias” proposes the construction of open immersive topologies from sonic signals emerging from the cosmos. We start out by elaborating an intrinsically pictorial code with images of topologies in movement and synthesise it with sonic imagery of volume as space, as intensity and as experience. We seek to activate certain imagery that belongs to the celestial world, linking points of light with phantasmal lines to constellate intensities and displacements into a modulation of an affectual spacetime.Our immersive audiovisual propositions look to explore the possibilities of production and creation within the Fulldome format. We compose the works on superposed layers: the foundation layer undoes the form-background relationship with the Fulldome through a celestial field or firmament of infinite spatial depth within and through which the drama of transformation plays out. Immersed in this limitless volume, figures of light interact with each other as variations of colour and intensity to compose rotational movements which generate a moving geometry of processual meshings. We use Adobe AfterEffects software for the composition of the animations. These artistic proposals/propositions for the Fulldome format were developed by Interdisciplinary Interactive Laboratory of the Federal University of Santa Maria/Brazil (LabInter/UFSM).

DESCRIPTION:

Conceptually, “Cosmografias” (Cosmographies) proposes the construction of open immersive topologies from sonic signals emerging from the cosmos. We start out by elaborating an intrinsically pictorial code with images of topologies in movement and synthesise it with sonic imagery of volume as space, as intensity and as experience. We seek to activate certain imagery that belongs to the celestial world, linking points of light with phantasmal lines to constellate intensities and displacements into a modulation of an affectual space-time.

Aesthetically, our immersive audiovisual propositions look to explore the possibilities of production and creation within the Fulldome format. We compose the works on superposed layers: the foundation layer undoes the form-background relationship with the Fulldome through a celestial field or firmament of infinite spatial depth within and through which the drama of transformation plays out. Immersed in this limitless volume, figures of light interact with each other as variations of colour and intensity to compose rotational movements which generate a moving geometry of processual meshings.

Technically, we use Adobe AfterEffects software for the composition of the animations. AfterEffects allows the development of high-resolution imagery within the software itself by composing animation and compositing with archival images, video footage or digital animation objects. The various works were developed using techniques and practices from classical and digital animation, glitch art and 3-D effect plug-ins with the intent of attaining a more intense immersive environmental effect in the spectator.

These artistic proposals/propositions for the Fulldome format were developed by LabInter in 201516 as part of the UVM—Understanding Visual Music Fulldome Workshop sponsored by the CEIArtE/UNTREF and the Galileo Galilei Planetarium in Buenos Aires coordinated by Prof. Dr. Ricardo Dal Farra.

AUTHOR BIOGRAPHIE(S):  

LabInter (Interdisciplinary Interactive Laboratory) is composed by artists, teachers, researchers and students from visual arts, design, music, letters, architecture, cinema, computer engineering and computer science. The lab has developed research projects in game art, interactive applications, augmented reality, mixed reality, interactive installations, visual music, web art, telematic art, and, recently, a Fulldome proposal. LabInter is associated with the Graduate Program in Visual Arts at UFSM/Brazil.

Andréia Machado Oliveira (Porto Alegre/Brazil) has a Doctorate in Computing Technology in Education from UFRGS (Federal University of Rio Grande do Sul), Brazil and the Université de Montreal/UdM in Canadá (2010). She is the founder and Director of LabInter at UFSM since 2012 and Coordinator of gpc.InterArtec/CNPq (2012). Her academic production has been published in books, annals and indexed academic journals and presented at national and international events: STS-Barcelona 2016; ISEA Hong Kong 2016, ISEA Dubai 2015, ISEA Sydney 2014, ISEA Istanbul 2011. She is professor in the Graduate Program in Visual Arts/UFSM/Brazil.

Muriel Paraboni, Matheus Camargo, Fabio Gomes and Evaristo Nascimento: Media artists and masters/undergraduate level students at Graduate Program in Visual Arts/UFSM/Brazil and members of the InterArtec/Cnpq and LabInter/UFSM. Cristiano Figueiro is professor at Federal University of Bahia/UFBA/Brazil.

 

atta

Carol  LaFayette (Department of Visualization, Texas A&M University, USA),  MFA, Frederic  Parke,  Ph.D. (Department of Visualization, Texas A&M University, USA),  Tatsuya  Nakamura (Texas A&M University, USA),  Carl  J.  Pierce (Texas  A&M  University, USA)

carol-lafayette@tamu.edu : http://clafayette.com

parke@viz.tamu.edu : https://viz.arch.tamu.edu/people/profiles/fparke/

tatsuya.nakamura@gmail.com

geoman_ca@yahoo.com

ABSTRACT:  

atta  is  a  10-­year  experiment  in  the  dynamic  process  of  transforming  a  fixed  subject  into  something  shared  across  time  and  space.  atta  began  as  a  Ground  Penetrating  Radar  scan  of  a  vast,  Leafcutting  ant  colony,  and  has  since  been  translated  into  VR  experiences  on  several  different  systems,  changing  with  time  and  platform.  These  experiences  are  at  once  visual  and  physical.  It  would  not  be  possible  to  share  the  ant  colony  —  without  destroying  it  —  unless  we  used  an  algorithm.  For  Balance-­Unbalance,  atta  is  an  interactive  experience  on  the  Microsoft  HoloLens.  Using  gesture,  one  can  place  the  colony  anywhere  in  the  environment,  move  it  around,  and  walk  inside  it.  Voice  commands  can  show  and  hide  layers  to  better  understand  the  spatial  distribution  of  tunnels  and  fungus  caches.  atta  takes  cues  from  the  dynamic  system  of  a  superorganism  as  a  tutor  text  to  inform  reception  in  communities  ranging  from  art  to  science.  One  of  our  goals  is  to  see  how  far  this  ant  colony  might  spread.

DESCRIPTION:

atta  began  in  2007  with  a  scan  of  a  Leafcutting  ant  colony  using  Ground  Penetrating  Radar  (GPR).  As  such,  it  derived  from  a  specific  subject  and  a  particular  form.  After  the  process  of  mapping  and  translation  was  complete,  we  shared  results  with  scientists,  archives,  curators,  and  faculty  in  K-­12  and  higher  education.  atta  was  also  exhibited  in  art  galleries  and  venues  for  artscience.  A  team  of  entomologists  compared  GPR  with  traditional  methods  of  digging,  scraping,  and  measuring  tunnel  openings,  a  process  that  destroys  the  nest.

In  collaborating  across  disciplines  to  explore  this  ant  colony,  our  first  impulse  was  to  create  a  single  work,  but  instead,  atta  became  a  kind  of  fluid  that  seeped  across  boundaries  traditionally  more  impermeable.  atta’s  acceptance  in  divergent  domains  is  an  interesting  phenomenon.  Rather  than  a  group  of  single  insects,  an  ant  colony  is  best  described  as  a  superorganism.  Similarly,  facets  of  the  atta  project  take  on  different  roles  and  forms  depending  on  context  and  audience.

These  experiences  contribute  to  an  understanding  of  challenges  and  opportunities  related  to  collaboration  across  disciplines.  Sometimes  a  particular  project  is  less  important  than  a  processinvolving  transformation,  diffusion,  and  regeneration—moving  with  the  pace  of  change  in  technology.

The  success  of  atta  depends  upon  translation  between  APIs,  disciplines  and  languages:  art,  geophysics,  entomology,  and  computer  science.  The  word  atta  is  a  palindrome.  It  mimics  the  path  of  the  ant  from  field  to  colony  and  back  again,  as  well  as  the  radar  beam  in  its  path  from  sender  to  receiver.  Along  the  path,  the  colony  is  mediated  by  its  means  of  expression,  but  it  retains  some  particular  quality  of  its  creators  —  part  ant  and  part  algorithm.

 

AUTHOR  BIOGRAPHIE(S)

Carol  LaFayette  is  an  artist  who  collaborates  with  scientists  and  engineers  to  invent  unique  ways  to  experience  interconnections  of  flora,  fauna,  and  phenomena  in  rural  areas.  She  is  PI  of  an  NSF  supported  project  to  form  SEAD,  a  national  network  for  collaboration  among  the  sciences,  engineering,  arts,  and  design,  also  supported  by  the  National  Endowment  for  the  Arts  and  the  Smithsonian  Institution.  Her  artwork  is  in  collections  at  the  Museum  of  Modern  Art,  New  Museum  of  Contemporary  Art,  and  the  J.  Paul  Getty  Museum.  She  has  exhibited  worldwide,  including  LAB  ’11,  Sweden;;  SIGGRAPH;;  Zebra  Poetry  on  Film,  Berlin;;  Filmstock,  UK;;  and  Solomon  Projects,  Atlanta.  Reviews  of  her  artwork  have  been  published  in  “BBC  Technology  News,”  “Chronicle  of  Higher  Education”  and  “Wired.”  She  was  awarded  the  Honoris  Causa  doctorate  in  Fine  Arts  from  Moore  College  in  2016.

Frederic  I.  Parke,  Ph.D.,  Professor,  Department  of  Visualization,  Texas  A&M  University.  Fred’s  current  research  focuses  on  the  development  of  lower  cost  immersive  visualization  systems.    His  other  interests  include  character  modeling  and  animation  with  emphasis  on  computer  facial  animation.  He  has  taught  courses  in  image  rendering,  facial  animation,  foundations  of  visualization,  advanced  computer  animation,  computer  hardware  and  software  systems  and  computer  graphics.

Reference

  1. LaFayette, C.  (2009).  atta,  palindrome.  Creative  Data:  Visualization,  Augmentation,  Telepresence  and  Immersion.  Leonardo  Electronic  Almanac,  16,  6  –  7.  http://www.leonardo.info/LEA/CreativeData/CD_Lafayette.pdf

Or

Snow Yunxue Fu (The School of the Art Institute of Chicago, USA)

snowyunxuefu@gmail.com : http://snowyunxuefu.com/home.html

Abstract:

Snow Yunxue Fu’s artwork approaches the subject of the Sublime using topographical computer rendered animation installations. She examines and interprets the world around her through digital reality, where she draws a parallel to the realms of the physical, the virtual, the metaphysical, and multi-dimensionality.

Description:
Modeling her animations on the allegorical paintings of Casper David Fredrich, Fu continues her aspirations in the sublime from her painting background into experimental digital media, exploring the nature of physical and metaphysical limits, as the work also mirrors the fundamental aspect of Chinese Traditional Landscape Painting, which often presents a type of virtual reality where the significance of the individual and linear perspective is blurred into a voluminous landscape. Extending out from the pictorial, Fu’s installation work engages in a metaphoric relationship with physical perception, by which the sublime is framed and the viewer is invited to enter into a liminal interior within a digitally constructed realm.

AUTHOR BIOGRAPHIE:

Snow Yunxue Fu (b. 1987) is a new media artist who lives and works in Chicago and has shown her work internationally and nationally in America. Her artwork approaches the subject of the Sublime using topographical computer rendered animation installation. She exams and interprets the world around her through digital space and virtual reality, where she draws a parallel to the realms of multi-dimensionality, the physical, the virtual, and the metaphysical.

Fu has exhibited her work nationally and internationally, including the Hong Kong Arts Center, ISEA2016 in

Hong Kong, Expo Chicago, Hongli Chen Art Museum, Ammerman Center for Arts and Technology in Connecticut, Digital Culture Center in Mexico City, Zhou B Art Center in Chicago, Chicago Artist Coalition,

Kunsthalle Detroit Museum of Contemporary Art, Chicago Filmmakers, MoMA PopRally Screening, Gene Siskel Film Center, NURTUREart Gallery in Brooklyn, TEMP Art Space in New York, Gallery C Space in Beijing China, West Village Art Gallery in Chengdu China, SIMULTAN Festival in Romania, and 9:16 Film Festival in Australia.

Quantum Consciousness

Paul Thomas (UNSW, Sydney, Australia), Kevin Raxworthy (Curtin University, Perth), Luke Christison (Plymouth University, Plymouth UK).

 

Quantum Consciousness is an audio-visualisation of atomic data which indexes the quantum

“movement” of an electron. This project delivers an aesthetic and immersive experience that enables the viewer to interact with the electrons spin inside the virtual superposition of a sub-atomic particle (i.e. its field of probability). This audiovisual experience establishes a metaphor and indexical map of human thought. The quantum spin of the electron here mapped is serving as the conduit for the form of the sensory stimuli of the work. The broader significance of Quantum Consciousness concerns the possibility of non-human, computational intelligence commingling with human consciousness. This link stems from the fact that the

“material” of the electron and its quantum behaviour is the basis of the possibility of quantum computation.

 

DESCRIPTION:

Quantum Consciousness
: An interactive visual/sonic installation that immerses the viewer in quantum phenomenon.

Quantum Consciousness is an audio-visualisation of atomic data which indexes the quantum “movement” of an electron. This project delivers an aesthetic and immersive experience that enables the viewer to interact with the electrons spin inside the virtual superposition of a sub-atomic particle (i.e. its field of probability). This audiovisual experience establishes a metaphor and indexical map of human thought. The quantum spin of the electron here mapped is serving as the conduit for the form of the sensory stimuli of the work. The broader significance of Quantum Consciousness concerns the possibility of non-human, computational intelligence commingling with human consciousness. This link stems from the fact that the

“material” of the electron and its quantum behaviour is the basis of the possibility of quantum computation.

Quantum Consciousness is in the visualization of the co-emergence of thought-data (viewer) and quantumdata (electron). The scientific research informing the work was conducted in collaboration with Assoc. Professor Andrea Morello. Dr.Morello’s current research looks at controlling the spin of electrons and nuclei for the development of the processor in quantum computer. The experiment makes visible and audible the spin of the superposition of a phosphorous electron that has been bombarded by microwave signals. The paradox of the quantum superposition (best articulated in the Schrodinger’s Cat – thought experiment) exists as an actual and empirical condition in which an electron occupies multiple positions in space simultaneously, but none specifically.

The scientific data for this project is generated from a microwave signal which transforms a reading of Richard Feynman’s (1982) paper on the birth of the quantum computer. The link between the quantum computer, consciousness and artistic expression is presented via the installation through the co-emergence of thought and quantum conditions. Quantum Consciousness is thus an experiment in the imaging and materialising of impossible states of quantum matter and the co-emergence of human consciousness.

AUTHOR BIOGRAPHIE(S):

Professor Paul Thomas is director of the Studio for Transdisciplinary Arts Research at UNSW Art and

Design. He initiated and is the co-chair of the Transdisciplinary Imaging Conference series 2010-2016. In

2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. Thomas is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there. Thomas’s current research

‘Quantum Consciousness’ is based on the experiments being conducted by Professor Andrea Morello, Quantum Nanosystems, UNSW, looking atimmersing the viewer in a visualization and sonification of quantum phenomenon in the development of quantum computing. He has exhibited nationally and Internationally with his pervious nano art works ‘Mulitverse’ based on Richard Feynman’s diagrams on photons reflecting from a mirror, ‘Nanoessence’ which explored the space between life and death at a nano level and ‘Midas’ which researched at a nano level what is transferred when skin touches gold. His current publications are Nanoart: The Immateriality of Art, Relive Media art Histories, co-edited with Sean Cubitt and Interference Strategies and Cloud and Molecular Aesthetics co-edited with Lanfranco Aceti and Edward Colless.