M.A.A.R.S. Moon Bounce

Benjamin POTHIER (Planetary Collegium) in collaboration with Daniela de Paulis & HERVE Production (ASCA (Amsterdam School for Cultural Analysis), University of Amsterdam, Dwingeloo radio telescope , Netherlands)






M.A.A.R.S : Mars Atacama Analog Research and Simulation.

In february 2017 a team of 7 people including Astronauts Candidates will explore the Mars Curiosity test site in the Atacama Desert, an environment similar to Mars or the Moon. 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  mission.  Mr  Pothier will be part of this expedition and will develop the project in Collaboration with Madame  De Paulis, Mr Nutbean and  360 VR studio Herve.

Moon Bounce:

Technique developed by  Daniela De paulis to send images to the moon and back through radio waves.

The work will consist of a Live audio-visual feed from the Mars Curiosity test site with a satellite terminal,  including Landscape photographs that will be sent thereafter to the Moon and Back from a Radiotelescope.

The original Image and the one sent by a satellite phone then to the moon, showing technological alterations will be exhibited together with sand samples from the site and 360° photographs.

Through the use of multiple transmission processes and ways of being displayed, the installation will challenge the public perception of space, technology and distance.


The installation will consist of a projected video (Or photographic prints) of an original Landscape photograph taken at Mars Curiosity Rover test site in the Atacama desert in Chile, and a copy of this image that will be send with a satellite phone from Atacama Desert to plymouth, then through the internet to the Netherlands, where it will be sent to the moon and back from Dwingeloo radio telescope before being exhibited.  Samples of Atacama desert sands will be exhibited near the projection in a display case, and a VR video or set of 360 degree photographs of the Landscape will be available for the public at the same location.


Benjamin Pothier is a Film Director and a PhD Student in Arts/Anthropology/Architecture at the Planetary Collegium, CAIIA hub of Plymouth University (UK) Achievements:

  • Crew Member NGOZUMPA2016 expedition up to 5500 meters on an unexplored Glacier in the Himalayaswith Glaciologist and Astronaut Candidate Dr Ulyana Horodyskyj
  • Technical advisor and base Camp Crew member for BENDING HORIZONS EVEREST 2015 Art/Science Expedition (2015)
  • First French Artist selected for the ARS BIO ARCTICA 2014 residency at Kilpisjärvi’s Biological Station in Lapland
  • First French Artist invited by THE FARM,INC. a New York based cultural organisation, for the ARCTIC CIRCLE RESIDENCY 2013, in the international territory of Svalbard.

Daniela de Paulis is an interdisciplinary artist based in The Netherlands. She exhibits internationally, often collaborating with other artists, scientists and radio amateurs. She holds a BA from the Academy of Fine Arts in Rome, Italy, and a Master Degree in Media Arts from Plymouth University, UK. Since October 2009 she is the first artist in residence at the Dwingeloo radio telescope

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


Avifauna of Estrogenic Paradise.

Byron Rich, MFA (Assistant Professor of Electronic Art & Intermedia)




ABSTRACT (ready for dissemination. 200 words maximum):

ANnIE pushes back against techno-solutionism, providing a glimpse into a world environmentally and socially inverted by the intersecting realities of AI and climate change. The futility of applying such sophisticated technology to extending the capabilities of terrestrial ecosystems by giving them flight and internet connectivity offers viewers a beautiful, poetic, yet unsettling vision of how interactions between culture, technology and ‘nature’ may appear in the not too distant future.


ANnIE speculates on how AI can spread beyond simply automating human work, but also how AI could extend the capabilities of non-human actors in response to the Anthropocene. As climatic conditions continue to be altered by human activity, re-envisioning the ‘natural’ landscape as it may look at the intersection of irreversible environmental impact and the emergence of AI as the dominant technological paradigm seems befitting. The semi-dystopian, yet powerfully playful image of a tribe of nomadic ecosystems taking flight and vying for space in narrowing regions of viable space plays to human desires for techno-solutionism while offering what would be ultimately a futile attempt at preserving life as it once was. I envision the project as an Anthropocene version of the Hanging Gardens of Babylon.

Visitors will be confronted with a room or space where a series of 10-15 small autonomous dirigibles or blimps are silently floating in a self-choreographed pattern as they search for conditions more optimal for the ecosystem they carry onboard. The dirigible will be outfitted with solar panels and electrical reclamation systems integrated within the onboard ecosystem. The two will be inexorably intertwined.

As viewers pass between these 0.5-2m long dirigibles as they search for optimal conditions, viewers will notice the flight pattern of the tribe change to stay away from human influence. The tribe of nomadic dirigibles will attempt to stay physically separate from viewers, always out of reach.

In a gallery setting, the dirigibles will simply move about in their autonomously choreographed dance, fruitlessly searching for rain, wind, fresh air. Onboard sensors will monitor conditions in the gallery, and the data will be presented on a screen. The location data of each one will be tracked, creating a kind of Laban Notation on screen.

If released outside, the tribe of nomadic systems will collectively search for living conditions more optimal to the needs of their onboard ecosystems while still avoiding human contact. Slowly, the tribe will embark on a journey towards their destination.

Aesthetically, the work will be a mix between the rendering I have included below, and “La Minerve”, an 19th century speculative balloon conveyance.

La Minerve, Etienne Robertson, 1803


ANnIE (Speculative design image)




Byron Rich

Byron Rich is an Artist and Professor born in Calgary, Canada, currently based in Pennsylvania where he serves as Assistant Professor of Electronic Art & Intermedia at Allegheny College. He has recently been Artist-inResidence at Ars Bioarctica in Kilpisjarvi, Finland, MediaLab Prado for Ineractivos16, and will be an upcoming

Artist-in-Residence at Coalesce at The University at Buffalo. He has had recent exhibitions at ZKM in Karlsruhe, Flux Factory in NYC, LifeSpace in Dundee, and has shown at the last three ISEAs. As a speaker, he was featured recently at WAAG Society, Border Sessions, FSCONS and AMRO and is currently Artist in Residence at The University at Buffalo’s Coalesce Center for Bioart.



Anastasia Tyurina (Griffith University, Brisbane, Australia)




The main purpose of my doctoral visual art project is to uncover the inherent features of water that are invisible to the eye through using the Scanning Electron Microscope (SEM) and, by doing so, to use the process of evaporation as an alternative and unusual artistic method of visually presenting the composition of water. I do so in an attempt to discover morphological features of the patterns related to water contamination and thus to turn scientific photography into a creative art form. My approach is unique in the specific way in which I use water to create images using the SEM. This process of revealing the nature of water (water chemistry) allows me to play with it like an artist. I am not aiming to produce scientific records through my use of the SEM; instead, like several artists before me, I am using scientific photography methods to create aesthetic images. My artistic intervention of a scientific process through experimenting with the SEM is a way to find what potentially different things my images can say about water to a viewer.


Anastasia Tyurina is an Associate Professor at the National Research University of Electronic Technology, Moscow, where she teaches Graphic Design and Photography. She is currently undertaking her PhD in the interdisciplinary field of Artistic Photomicrography at the Queensland College of Art, Griffith University. Throughout her academic and artistic career, Anastasia has been interested in obtaining new knowledge of the relationship between science and art. Therefore, she uses scientific machines, particularly X-rays devices and microscopes, in a variety of art projects. Her doctoral visual art project is concentrated in the specific area of scientific photography made by the Scanning Electron Microscope (SEM), a tool that has expanded the boundaries of observation and representation of the micro world since it was introduced to scientific research in the mid-1960s. By exploring the interplay between the indexical and iconic modalities in the process of evaluating scientific photomicrographs, Anastasia tries to imbue them with new meanings and thus turn scientific photography into a creative source of communication to a general public.



Universal Objects: Park1

Tanja Vujinović (Ljubljana, Slovenia)

tanja.vujinovic@gmail.com : http://www.ultramono.org


3D work in real time made within a game engine

Production: Ultramono, 2016

Park1 is a realtime 3D work built in a video game engine made for contemplative play and is filled with animistic and anthropomorphic data. Park, a work belonging to the Universal Objects series and similar to other works from the cycle, is made of excavations and interventions within the material infrastructure of the digital. It is a vast digital environment occupied by mutated digital objects. It is a contemplative environment made of fifteen different fields, thirteen “performative” houses, bots that perform rituals, and digital artworks for public space from the Universal Objects collection. Visitors can enjoy random walks, they can jog through the park, or systematically visit the whole park by observing one segment at a time.


Visitors use arrow keys, the shift key and space bar on a keyboard to move their avatar through digital space.

Materials needed for presentation of this work are any newer PC capable of playing mid-level computer games, and eventually computer can be connected to either projector or larger TV/monitor, and keyboard and mouse for navigation through work.


Since 1997 Tanja Vujinović’s audio-visual works, digital prints and installations have been exhibited at numerous galleries and museums, such as the Strasbourg Museum of Modern and Contemporary Art, the Museum Kunst Palast in Düsseldorf, the Museum of Contemporary Art – Denver, Kunsthaus Meran, the Medienturm International Forum in Graz, the Cornerhouse Gallery in Manchester, the Istanbul Contemporary Art Museum, MMC Kibla Maribor and Kapelica Gallery in Ljubljana. Her works have been presented at festivals, such as ISEA2009, The 15th International Symposium on Electronic Art, Ars Electronica Linz, Kinetica Art Fair in London, the Spor Festival in Arhus, the Zeppelin Sound Art Festival in Barcelona, FILE – Electronic Language International Festival in Sao Paulo and FILE RIO in Rio de Janeiro, among others. She has also presented her work at events, such as the Madrid Abierto in Madrid, Euroscreen21 at various locations, Continental Breakfast in Maribor, and Nuit Blanche in Paris. She has presented her Internet-based works as part of the Ctheory Multimedia’s NetNoise, the Web Biennial Istanbul, Helium by Ballongmagasinet and NIFCA, and Sinnlos WebArt.

She graduated from the Faculty of Fine Arts in Belgrade in the year 1999 at the painting department and has been a guest student at the Kunstakademie in Düsseldorf. She also holds a Ph.D in Philosophy and Theory of Visual Culture from the Faculty of Humanities Koper.


“BEES DO IT” 3D printed Pollen”

María José Leaño (Teacher/Student Los Andes University, Core Group Biomimicry Bogota (Biomimicry Research Group), Project b-all. Bogota, Colombia.)


This installation shows a collection of 3D printed pollen grains, with images of flowers and pollinators found in and around Bogota.
In order to reproduce and create healthy seeds, plants utilize flowers to attract animals help them transport the pollen from one plant to another. In exchange, flowers offer them nectar and pollen as water and food, chemicals for pheromones and poisons, and places to rest and nest. These interactions have evolved for millions of years in win-win relationships. In some cases, taking away one kind of plant can send an entire animal population to extinction, and vice-versa. In this installation, it is possible to see details of these wonders using microscopes, 3D printing and other modern visual aid. This work awakens an awareness of our surroundings, and the effect that we have in the environment.
To observe pollen grains I have augmented each one a thousand (1000) times using a special process. In this way, a pollen grain that measures 50 µm in diameter measures now 5 cm, a fair size to hold in your hand. Imagine that, if a common bee measures around 1,5 cm, enhanced 1000 times it will measure 15 m.
Pollen grains measure between 5 and 200 µm.



I live in Bogota, the capital city of Colombia. Although it is located in the Tropics, it is cold because it is 2.600 m over sea level, right on top of the Andean Mountains, on the outskirts of a hill, in the eastern side of the Cundiboyacense plateau. It has no seasons, being the average temperature 14.5 °C, with dry and rainy seasons alternating throughout the year, which makes it a nice place for a wide variety of animals and plants. Before Bogota was founded in 1539, it was a wonderful rainforest with creeks running down the mountain to a lake. Today the city has a population of about 8.8 million people in an area of 1,587 km2, where the diversity of fauna and flora has decreased drastically. It is not easy to observe nature in the city, there are some natural parks, and some neighbourhoods have trees and beautiful gardens, but it’s not enough to compensate for the huge amount of cars and pollution. The Botanical Garden has being planting native trees on the sidewalks to help clean the air, and also for their beauty. People that still have gardens select plants with colourful and attractive flowers, most of them introduced, reducing the number of native plants, and their related pollinators.
Most people around the world love colourful flowers, hummingbirds and butterflies, but hate or are scared of other insects and animals, including bees or worms, mostly the caterpillars of butterflies, making it a great excuse to select plants that do not attract animals at all. Only the strongest survive. Native biodiversity has disappeared and plants are mostly there just for their looks.
Observing flowers I have seen that pollinators in Bogota have been reduced to the common honeybee, the Apis mellifera. The bee found in Bogota is a combination of both a European and an African type, created to adapt better to the tropical conditions. This bee is quite aggressive and has succeeded in adapting to many places, like Bogota. Near the mountain outskirts and other green areas it is possible to see hummingbirds and butterflies pollinating, depending on the types of plants as well.
This project started out of curiosity, learning to use microscopes to observe and print pollen in 3D, but has grown to a scientific and educational project used to help people understand how pollination works and why it is so important for humans. We constantly hear that bees are disappearing, and that it is going to affect humans somehow, but we don’t even understand how this is happening. For this reason I am preparing this work, to help people understand how pollination work and, in the long run, give everyone a chance to do something, before it is too late.
This is a work in progress, supported by the Microscopy Centre, the Research Vicerrectory and the departments of Biology and Design from Los Andes University in Bogota.


María José Leaño
I am a Colombian-German Textile Designer from los Andes University in Bogota, 1990, Master of Science in Textile Print Design from the University of Philadelphia, 1994, actually studying a Masters degree in Biomedical Engineering at los Andes University. My main field of research is the combination of Microscopy and Biomimicry, to develop smart and sustainable materials for packaging and textiles.
After graduating I lived and worked in Germany as a textile consultant, with my own company Papaya Design, creating print designs and helping develop software for the textile industry. After more than 12 years overseas I came back to Colombia where I continued working and teaching at various design schools and developing an exclusive line of objects with my own digital prints.
Concerned with the impact that textiles and clothing have in the environment, and seeing how my favourite inspiration subject, Nature, is being affected by the textile and packaging industry, I started studying Biomimicry and Microscopes on my own, a perfect combination for my actual and future projects.
Right now and together with the Biomimicry Research Group, I am developing the business model for the project b-all, certified by the Biomimicry Institute.

Comestible: Seven-Day Meal Plan

Pat Badani (Editor, Artelogie, EHESS, Paris, France / ISEA International Board of Directors, Canada/USA)



Keywords: food security, meals, home, intimate place, nurture, sustainability, environment, cookbook, recipes, culinary instructions, health, sustenance, consumption.


The daily meal is a powerful human institution and the family dinner table a site where food and home meld into an ‘intimate place’ of nurture. But, in times when climate change jeopardizes food security the question of ‘what will we eat in the future?’ has become worrisome. With this concern in mind, Comestible: Seven-Day Meal Plan is a cookbook about food and sustainability that the visitor interacts with by turning the pages of a virtual flipbook on a touch-sensitive screen. The seven meals with photos and corresponding recipes (created by the artist with sustainable ingredients) meld together poetic narratives, notations, instructions, and warnings that sum up the entanglements on the role of food in present and future balance. As if at the edge of language, these recipes are ironic propositions departing from culinary directives. Instead, they explore current societal trends over “what we eat”, depicted in recipes appropriately titled “Changing Climate and Your Greens”, “Water Stress”, “Liberalized Trade”, and so forth. Organized with headings habitually found in pharmaceutical products, the recipes are sorted by “Ingredients”, “Directions”, “Uses”, and “Warnings”, implying that food is seen as a “prescription” for health. Concerned with food-insecure homes, ecological health, and concepts of sustenance, consumption, and nutrition, the artist’s food preparation becomes activism and her recipe writing a critical agent. In the spirit that guided the evolution of these recipes, the book invites the reader to travel with the author to new insights, transformations, and actions.


The proposal for Balance-Unbalance 2017 presents an interactive installation about food and sustainability titled Comestible: Seven-Day Meal Plan. The piece is ideally screened at large scale, either onto a custom-built triangular booth or against the corner of a gallery space (Figure 1). Visitors read the speculative recipes and view accompanying photography by turning the pages of the virtual flipbook on iPad connected via Wi-Fi to a data projector.

At first appearing as a typical cookbook, Comestible: Seven-Day Meal Plan shows seven meals with photos and corresponding recipes. That’s where the similarity ends. The visitor reads through whimsical recipes that meld together everything from poetry to children’s rhymes to informed science. Yet these recipes are ironic propositions, departing from culinary instructions. Instead, they explore current societal trends over “what we eat,” depicted in recipes appropriately titled “Changing Climate and Your Greens”, “Water Stress”, “Liberalized Trade”, and so forth (Figure 2). Because I plan to promote awareness and influence food consumption, I’ve organized recipes with headings habitually found in pharmaceutical products. With recipes sorted by “Ingredients”, “Directions”, “Uses”, and “Warnings”, I imply that food is seen as a “prescription” for health (Figure 3).

Food is a unifying element – surrounded by concepts of intimate place and home. Our “everyday” meals function as cultural tools. They illustrate models of behavior indicating the habits, customs, laws, and rituals that bind people together over breakfast, lunch, and dinner (as well as occasions like birthdays, weddings, funerals, and religious festivities). Because meals have a universal ability to connect individuals, foods we eat and their production reflect ongoing social issues…from 1930’s dust bowl scarcity to today’s threat of climate change and its menace of starvation through environmental degradation. The question “What’s for dinner?” animates the minds of an increasing number of people consuming blogs, films, and TV shows about the importance (and deliciousness) of food.

With these ideas in mind (and wanting to bolster my own sense of home around daily meals), in 2010, I embarked upon an on-going kitchen excursion. With carefully selected, sustainable ingredients, I began inventing my own cuisine – photographing each dish before it was eaten. In 2016, these gastronomic creations formed the basis of Comestible: Seven-Day Meal Plan: an illustrated cookbook that is both a “feast for the eyes” and an examination of food’s social construction. Less concerned with feeding the body than feeding the mind, my quirky recipes view food as an instrument; summing up ideas about meals we eat at home and their relationship to environmental sustainability and health.

Concerned with food-insecure homes, ecological health, and concepts of sustenance, consumption, and nutrition, my food preparation becomes activism and my recipe writing a critical agent. I purposely took on recipe writing and found the practice a particularly well-suited literary form for me. My texts center on the sense of transformation inherent in recipes, as well as treating my scripts as calls to action. The recipe form allows me to intertwine an imperative tone with instructions; embedding narratives on existing or challenging new realities about food. Following this logic, if the recipe is a script or set of instructions to be acted upon, then it demands an active reader who will – in mind or matter – complete the dish.

Having produced work in a similar spirit, Tommaso Marinetti and Martha Rosler are influential forerunners.

Marinetti wrote The Futurist Cookbook in 1932. His texts did not contain a collection of recipes for self-nourishment. Rather, Marinetti composed an avant-garde experiment, instigating a culinary revolution that would radically change eating habits – wrenching food out of the 19th Century and bringing it into the dynamic, industrialized, technological, urban 20th Century. Much later in 1999, Martha Rosler wrote Romances of the Meal, critiquing the system Marinetti promoted. Rosler condemned the industrial kitchen – a site of food production away from the home – as a systematized food elaboration process; a space of hardened productivity and efficacy with output consumed rather than celebrated. Comestible: Seven-Day Meal Plan is certainly aligned with Rosler’s position.

The daily meal is a powerful human institution and the family dinner table a site where food and home meld into an “intimate place” of nurture. Further, daily meals are enmeshed with external forces related to the politics and economy of food. Whether visible or invisible to the person who assembles the ingredients for their daily meal, these forces impact human and environmental health. In times when food security and environmental sustainability have become urgent matters, Comestible: Seven-Day Meal Plan acts as a tool to deal with the centrality of food, today. As if at the edge of language, these recipes include poetic narratives, notations, instructions, and warnings that sum up, in a biting way, in-sight and out-of-sight entanglements on food’s role in present and future balance. In the spirit that guided the evolution of these recipes, the book invites the reader to travel with the artist/author to new insights, transformations, and actions.

Figure 1, gallery visitor (simulation) interacting with the book on iPad

Figure 2. The‘cookbook’s’ Index

Figure 3. Thursday’s meal (above) and recipe (below): “Climate Friendly Protein”


Pat Badani is an artist, researcher, educator and editor who draws from the fields of art, science, and technology to create interactive and participatory projects. She exhibits her projects broadly in North and South America, Europe and Asia, and participates in international symposia with her works and papers. Texts have been published internationally in numerous symposia proceedings (ISEA, FILE, Transmediale), in journals (Leonardo, MIT Press), and in thematic anthologies (“Extranjeros en la Tecnologia y en la Cultura,” Ed: Néstor García Canclini, Fundacion Telefonica -2009; “Advances in Visual Methodology,” Ed: Sarah Pink, Sage -2012). Badani has received over twenty awards and distinctions for her multiyear projects such as “Where are you from?_Stories” (2002-2012); “AL GRANO” (2010-ongoing); and “Comestible”(2010-ongoing). The artist (b. Argentina) is a citizen of Canada and the USA, and she has lived and worked out of studios in Chicago, USA; Buenos Aires, Argentina; Mexico City, Mexico; Eastern and Western Canada; and Paris, France. Badani received an MFA from the School of the Art Institute of Chicago (USA) and her academic trajectory include: Integrated Media Professor at the School of Art, Illinois State University; Interdisciplinary Media Arts graduate program acting Director at Columbia College Chicago; Editor-in-Chief of MediaN Journal, the New Media Caucus; and Guest Editor of “Artelogie,” EHESS (France). – http://www.patbadani.net/

Trees & Keys

Michael Denton (Overlap, UK)


Recent Overlap works explore the relationship between still and moving imagery through use of discreet picture planes, obscuration techniques and implied motion within transitions. The view is in movie time but limited to flat photographic space, seen through a perceptual keyhole more akin to memories and dreams.

To create Trees & Keys Overlap took short sequences of photos in East Sussex, Bordeaux, San Diego and Riverside Counties, California: one frame every ten paces, or one every 30 degrees in a 360 pan. These ‘stills’ were animated and time stretched to create single component movie sequences, which when overlayed and keyed using Resolume video mixing software, generated illusions of movement, magical complexity, discrepancies, blur, multiple focal planes and voids. This mix of disparate locations captures something of our experience of place.

Wherever we are, we are looking through a memory tinted lens which we inevitably overlay onto what we see. If the present is like a 30 frame per second movie, our consciousness is running other fragmented layers simultaneously, but not necessarily at the same rates of playback. Overlap’s technique of fragmenting and re arranging vista aims for something that parallels this weave of fragments. In an Overlap landscape, harmonics are dominant and time and place non specific. Multi-layered branches abrade into water like flow, solid colour voids become doors to another place.



Trees & Keys – Mix 1.4, electrifies visions and arrangements of the tree. Combining their melodic-minimal music and visual multi layering, referencing the textural mastery of printmakers such as Hercules Seghers, Overlap create an atmospheric and romantic look at the middle distance tree.

The title Trees & Keys refers to both the moods of trees in relation to musical keys and the act of keying images through each other – a practice that goes back, via analogue vision mixers (TV), to the process of reworking etchings – for example Rembrandt’s adding imagery to Hercules Seghers plates years after his death.



Michael Denton and Anna McCrickard formed Overlap in 1999 as a platform for music, electronic art and music industry, festival and gallery activities including single screen videos,VJing, audiovisual performances and installations. Overlap have developed a style outside film, TV and video art – a way of abstracting and combining imagery that has a musical or painterly logic rather than a narrative based or conceptual one. A visual take on serialism – wallpaper with conceits.

Recent Overlap works explore the relationship between still and moving imagery through use of discreet picture planes, obscuration techniques and implied motion within transitions. The view is in movie time but limited to flat photographic space, seen through a perceptual keyhole more akin to memories and dreams.

Overlap’s melodic minimalist music is created alongside their imagery. Experiments with sound and image are distilled into single screen pieces – Lazy Wave, Running Forest, Nearfield – useful components for mixing into audiovisual polyphonies in installations and live performances. Inspired by landscape in all its forms, their working process involves adding and removing layers, degrees of opportunism and systematized chance.

Limited edition artworks available on s[edition]. Overlap Recordings on Soundcloud.

The Home Planet

Samuel Pellman (music), Lauren Koss (video) (Hamilton College (Pellman), independent artist (Koss), Clinton, NY USA)

spellman@hamilton.edu : http://www.musicfromspace.com


The Home Planet consists almost exclusively of environmental sounds that were recorded within a short distance of my home. As with many of the classic concrète works of the 1950’s, the listener can often identify familiar sounds (for instance, of birds singing at dawn, the bells of a nearby church, telephone touch-tones, lambs and chickens on a friend’s farm, an auctioneer, a toy train whistle, a passing truck, children’s voices, a brook in a nearby woods, etc.). These familiar sounds are, in effect, “themes” and are subjected to an enormous range of transformation by such classical techniques as speed transposition, reversal, multiple-delay, and filtering, as well as more recent techniques, such as granulation, time stretching, and vocoding. Perhaps this digital musique concrète can provide a sense of the musicality that can be heard in the sounds of a summer day in upstate New York.

The video, shot over two years, spans the East coast of the United States, from Florida to Maine. These beautiful images, along with the sounds, remind us of the possibility that our home planet may be uniquely congenial to life in the universe and remind us of our imperative to take better care with it.


Samuel Pellman has been creating electro-acoustic and microtonal music for nearly four decades. Many of his works can be heard on recordings by the Musical Heritage Society, Move Records, innova recordings, and Ravello Records. Recently his music has been presented at festivals and conferences in Melbourne, Paris, Basel, Vienna, Montreal, New York City, Beijing, Capetown, Buenos Aires, Taiwan, Perth, and Prague. He is also the author of An Introduction to the Creation of Electroacoustic Music, a widely-used textbook. He teaches music theory and composition at Hamilton College, in Clinton, NY, and is co-director of its Studio for Transmedia Arts and Related Studies (STARS). Further information about his music can be found at www.musicfromspace.com .

Lauren Koss has found her home in Downeast Maine, working at The Tides Institute & Museum of Art, in the quirky and gorgeous city of Eastport, easternmost city in the U.S. Lauren’s video works have been screened in Paris, South Carolina, Connecticut, New York City, Beijing, and Cologne, among other places.

SHRINE v2.4.2

Francesca Giuliani, Lino Mocerino (SEMIOSPHERA , Italy)

SHRINE is an impermanent writing assembly. Wandering through abandoned industrial sites and collecting data findings on the tracks of a WWI fourteen kilometers cableway, the process is in a costant change. With a Strugatsky Brothers recombining imagery, it splices an audiovisual and otherwise impossible post-anthropocene τόπος. We must think, says Donna Haraway.

And think we must.



Semiosphera is a New Media Art project.

Provided with different backgrounds, Lino Mocerino and Francesca Giuliani started in 2013 a series of Art-related works.

Lino has a musician past as LIED32, publishing in the early 90s singles and collective tape works with Le Forbici di Manitù and Kirlian Camera, among others.

Francesca, 25 years old, is provided with a Graphic Design degree and Crafting Design skills. She joined Lino in 2013, eager to wade across the several possibilities of the Performance Art. Their secret consists of small irreconcilable traits. Somewhat working, actually.


Jol Thomson (Germany)

G24|0vßß is an audiovisual composition investigating new forms of relation, degrees of sensitivity and modes of observation achieved through highly unusual means: engaging the imperceptible, intangible and entangled worlds announced through technologies in neutrino physics. The project grapples with the challenges and aesthetic adventures unfurled through these technologies and their collaborative relationships with non-human beings, matters and ecologies. The artist has developed a novel aesthetic for diffracting the entangled site of the CUORE experiment and allowed himself to dream into the coldest piece of matter in the universe, resulting in an original musical composition and the film G24|0vßß.

G24|0vßß is filmed entirely in and around one of the world’s leading neutrino and dark matter physics sites, the Laboratori Nazionali del Gran Sasso (LNGS) of the INFN, Italy. The experiment known as CUORE, hosts the largest, coldest object in the observable universe – a volume of matter cooled to near absolute zero, or 10 milli-Kelvin. This is an incredible and unprecedented feat. Inside the experiment’s cooling cryostat, a cubic-meter sculpture composed of Tellurium crystal and copper becomes colder than the coldest phenomena known to exist in the universe: that of the Cosmic Microwave Background (itself only 2.7 Kelvin). For the next five years, the Tellurium sculpture will communicate to scientists from beyond the thermal horizon; from outside of ‘nature’, human sense and thought.

Equally intriguing is the fact that CUORE collaborates with ancient lead retrieved from a two thousand year old shipwreck in the Mediterranean. This Roman-era lead shields the Tellurium heart of our mountains core from unnecessary radioactive decay. Crucially, the Gran Sasso mountain is itself essential to the experiment, protecting the cryostat from the abundant high energy particles in our atmosphere: the mountain has become indistinguishable from technology – and technology inseparable from mountain.