RIXC Art Science Festival 2021


September 23 - 25, 2021



Early Bird Registration is open until September 22, 2021!



PostSensorium festival aims to provide a platform for artistic interventions and critical discussions on the 21st-century's virtual sensing technologies, science, and aesthetics, reconsidering the relations between the actual and virtual, organic and artificial, natural and techno-social, human and “more-than-human”...

Festival program features:

Open Fields Conference

PostSENSORIUM Exhibition Opening

WebVR Exhibition, Screening Program, Concert, and Performances


OF 2021 PostSensorium Conference

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Art and AI
Opening Keynote by Christiane Paul

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Plant Senses and AI
Day 1 Keynote by Špela Petrič

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in the Arts
Day 2 Keynote by Douglas Kahn

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Stranger Senses
Young Artist Program

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Live Concert
Hearing Notes Performances

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WebVR space

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Green Revisited
Featured Panels

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Renewable Futures
Conference – Satellite Event

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Golem-Labor MR Workshop
Collaboration with Goethe Institute

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Immersive Excursions
and Guided Tours

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María Castellanos and Alberto Valverde

The Plants Sense, 2018, Alive installation

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Santa France

My Left Ear Enjoyed This Video, 2021, Video, audio, 3D animation

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David Haines and Joyce Hinterding

The GroundingUngrounding, 2019, HD-video, 13:48 min, colour, BW, sound

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Daniel Hengst

Blooming Love, 2021, video, photo

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Thulhu, Thu, Thu, before the sun harms you, 2020, Installation, Video

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Kristīne Krauze-Slucka

Vibrations of the Material Universe. Thirst for Gold, 2020-2021, photo

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Vanessa Lorenzo

Mari mutare, 2020/2021, Mixed media: spinach leaves, blood, video, digital AR filter

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Špela Petrič

Deep Phytocracy: Feral Songs, 2018, video

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Tivon Rice

Models for Environmental Literacy, 2020, 4K video, computer-generated text, sound

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Clement Valla

2016/2021, software, print

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Rihards Vītols

Forest, 2021, Webpage

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NB! The time zone below is Riga time / EEST - Eastern European Summer Time (UCT +3)
The first Plenary Session on Thursday, September 23, 2021 begins:
14.00 / 2PM (EEST - Riga time) / which is 1 PM (CET - Berlin) / 12.00 PM (BST - London) / 

7 AM (ECT - Boston) /  7 PM (CST - Beijing) / please use to double check your time zone

9/23/21 10:00 am - 9/23/21 10:30 am

Press conference and guided tour by curators through the exhibition.

The National Library of Latvia / Zoom

9/23/21 2:00 pm - 9/23/21 3:45 pm

Plenary Session: GREEN Revisited – Encountering Emerging NatureCultures


Adam BROWN. Shadows from the Walls of Death: Remediating Green.
Kristin BERGAUST. FELT – Living Technologies and Renewable Futures in Oslo
María CASTELLANOS VICENTE. The Plants Sense. A multispecies cyborg garden.

. Shadows from the Walls of Death: Remediating Green.

Shadows from the Walls of Death: Remediating Green is a series of artworks that deconstructs the symbolic and superficial use of “green” as a pretense, synonymous with ecological and vegetal health, by recreating a highly toxic pigment called Paris Green and deadly wallpaper, thus ironically re-establishing humans’ material connection to the color green. By synthesizing this hyper-toxic green pigment, far from the images of the idealized pastoral nature, the performance draws its inspiration from the chemist Dr Robert Kedzie who, in 1874, wrote a book of the same title in an effort to raise public awareness about the dangers of arsenic-pigmented wallpaper. The Industrial Revolution of the 18th and 19th centuries had given rise to modern cities removing humans from an entangled connection with nature. While a growing body of genetic, physiological and psychological evidence suggests that humans have evolved biologically and culturally to be attracted to greenness, this human drive to recreate greenness within urban settings led, however, to a series of paradoxes and contradictions: The very chemical processes artificially employed to bring greenness back into people’s lives paralleled the anthropogenic destruction of the environment. Mass produced toxic pigments were used – by artists, in printed wallpaper, and even as a colorant for candy – to replace the ‘nature’ that the Industrial Revolution was eroding. Painters armed with a relatively inexpensive palette of bright prismatic colors – such as Paris Green – emboldened artists to paint symbolic illusions of the natural world.
In the performance Shadows from the Walls of Death, Paris Green is synthesized in order to reproduce the deadly wallpaper. Finally, a Van Gogh referenced image is painted in Paris Green, only to be further bioremediated and detoxified by bacteria and fungi-based micro ecologies. Micro-ecologies capable of detoxifying arsenic exist due to the ecological principle summarized by Baas Becking hypothesis: ‘Everything is everywhere, but the environment selects.’ Here, these non-human micro ecologies not only help us out of this toxic environmental predicament but also deconstruct ontologies acknowledging only human individuality. As an indexical act this artistic action opens up fields of questioning beyond the symbolic, and emphasizes the importance of a material, epistemological and art politics, since the chemical synthesis of toxic pigments radically altered the course of art history itself. The concept of the Anthropocene demands a form of remediated, indeed bioremediated art that can operate on multiple scales, independent of human belief or desires.

Adam W. Brown is an Intermedia artist, scholar, and researcher. His work incorporates art and science hybrids including living and biological systems, robotics, molecular chemistry, and emerging technologies that take the form of installations, interactive objects, video, performance and photography. Brown is a Full Professor at Michigan State University where he created a new area of study called Electronic Art & Intermedia and directs the Bridge Artist in Residency Program. Brown has exhibited widely in international venues in North and South America as well as in Europe, and received awards including several honorary mentions at the Prix Ars Electronica. In 2020 Brown received the Grand Prize for [ir]reverent: Miracles on Demand, in the 23rd Japan Media Arts Festival.

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María CASTELLANOS VICENTE. The Plants Sense. A multispecies cyborg garden.

The Plants Sense, exhibited in the PostSensorium exhibition, is an alive installation, a cyborg garden that allows the audience to know and experience the secret language of plants.
In this multiespecies garden, plants and machines cohabit together in an ecosystem–also altered by the presence of humans–, that aims to figure out more about the language of plants.
The work consists of an interactive garden in which different sensors measure the electrical oscillations of the connected plants, and show their biochemical reactions to the human presence and the environment that surrounds them. All this information is processed and translated into vibrations, movements and sound that allow the visitor to perceive the plants through several interfaces.
In other words, all the connected plants works like a big brain that controls the machines that are installed in the garden. This is possible through use of an algorithm; a self-organizing map, SOM. That allow us to order and organize the data received from the plants in a server
This interaction makes possible the communication between humans and plants, thus reaching the understanding of the vegetal language thought the visualization of patterns along the time. So, the installation translates and transmits precisely those signals that humans, due to our limited perceptual system, cannot receive in other way.

María Castellanos is an artist and researcher working at the intersection of art, science, technology and society. She holds a Bachelor’s degree and a Doctorate in Contemporary Arts Practices from the University of Vigo (SP), with an Extraordinary Phd Award 2016. Currently she is postdoctoral researcher at OsloMet in the framework of FeLT Project –Futures of Living Technologies–
Her work was exhibited and performed at venues and festivals such as Ars Electronica Festival (AT), LABoral Art Centre (SP) , Athens Digital Arts Festival (GR), Onassis Stegi (GR), House of electronic Arts Basel(CH), La Gâite Lyrique Museum (FR), DRIVE Volskwagen (DE), Matatero Madrid (SP), Bozar Electronic Art Festival (BE), Arts Santa Mónica (SP), Touch me Festival (CH), CEBIT Festival (DE).

9/23/21 3:45 pm - 9/23/21 4:00 pm


9/23/21 4:00 pm - 9/23/21 5:15 pm


Christiane PAUL. Art and AI – Automating the Sensorium

Christiane PAUL. Art and AI – Automating the Sensorium

Over the past years artificial intelligence has moved to the center of technology discussions due to the rapidly increasing role of ‘machine learning’ in data processing and decision making for the purposes of commerce, labor, surveillance, and entertainment, among other areas. Digital art has critically investigated the developments of AI and the social and cultural transformations generated by it, including the effects of the automation of our senses. The talk gives an overview of artworks that have explored vision as it is reflected in image recognition; speech and voice in relation to issues of sentience and personality; as well as the construction of knowledge. Exposing bias and contextual misunderstandings or drawing attention to underrepresented data sets, these artworks explore how AI learns to see and classifies images or tells stories. The talk also considers the automated sensorium’s aesthetics and potential for creative expression.

Christiane Paul is Professor in the School of Media Studies at The New School, as well as Adjunct Curator of Digital Art at the Whitney Museum of American Art. She is the recipient of the Thoma Foundation’s 2016 Arts Writing Award in Digital Art, and her books are A Companion to Digital Art (Blackwell-Wiley, May 2016); Digital Art (Thames and Hudson, 2003, 2008, 2015); Context Providers – Conditions of Meaning in Media Arts(Intellect, 2011; Chinese edition, 2012); and New Media in the White Cube and Beyond (UC Press, 2008). At the Whitney Museum she curated exhibitions including Programmed: Rules, Codes, and Choreographies in Art 1965 – 2018 (2018/19), Cory Arcangel: Pro Tools (2011) and Profiling (2007), and is responsible for artport, the museum’s portal to Internet art. Other curatorial work includes The Question of Intelligence (Kellen Gallery, The New School, NYC, 2020). Little Sister (is watching you, too) (Pratt Manhattan Gallery, NYC, 2015); and What Lies Beneath (Borusan Contemporary, Istanbul, 2015).

9/23/21 6:00 pm

POSTSENSORIUM Exhibition Opening

Guided tour by curator Raitis SMITS
Venue: the National Library of Latvia

The exhibition artists: Maria CASTELLANOS and Alberto VALVERDE (ES), Santa FRANCE (LV), David HAINES and Joyce HINTERDING (AU), Knowbotiq (CH/AT), Kristīne KRAUZE-SLUCKA (LV), Vanessa LORENZO (CH/ES), Špela PETRIČ (SI), Tivon RICE (US/NL), Clement VALLA (FR/US), Rihards VĪTOLS (LV) / The National Library of Latvia from 24.09.2021-12.11.2021 // Daniel HENGST (DE) / RIXC Gallery from 1.10.2021-12.11.2021.

9/24/21 11:00 am - 9/24/21 11:10 am

Welcome by Conference Chairs and Curators Rasa SMITE and Raitis SMITS. Introducing the Festival Program.

Participants split in two breakout rooms for parallel sessions A and B.
Each panelist has 20 min time for the presentation including 1-2 questions.

9/24/21 11:10 am - 9/24/21 1:00 pm




Eva SJUVE. In Situ Suspension with Ontological Interfaces
Andrew BURRELL. “Every Act of Reading Performs the Work“ – Navigating Virtual Environments
via Physical and Narrative Portals.
Lily DÍAZ-KOMMONEN, Cvijeta MILJAK. Making and Sharing Stories – Immersive Experiments
in Sharing Knowledge for Cultural Heritage
Jonas KELLERMEYER, Jan TORPUS. Iterative Sensing & Sense-Making in Extended Realities – “ubiCombs”
as a spatial means of investigating the condition of contemporary techno-social hybridity
Da Ye KIM. Embodied Experience of the Ultimate Border: DMZ in Virtual Reality

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Eva SJUVE. In Situ Suspension with Ontological Interfaces

This presentation discusses the investigation of situated kinesthetic disassociation and sensory
glitches as alternative methods to shift our perception, and alter our frame of reference of external reality. This artistic exploration with ontological interfaces to mediate data is offering an alternative to how sensation and reflection are produced. The question is how to activate operational vectors between the proximal stimulus and the distal periphane, in man, machine, and environment. Sylvie Wynter writes on the importance of acts to resist and destabilize, in order to allow for renewed perspectives. Embodied and situated movements, of temporal suspension, and auditory patterns support intervention in the perceptual system, a way to break the habitual as a necessary activity, according to Henri Bergson. Katherine Hayles in her writing discusses our extended embodied awareness, in situ and material ways, aided by electronic prosthesis, to renew our existing models of reflection.

Eva Sjuve is a Swedish media artist and designer. She is working with revealing underlying invisible structures in our environment and society. Her recent work Fungi Orchestra (2021) models of communication between man-machine and more-than-human is explored. The work Metopia (2014-2021) investigated our relation to air pollution, complex data, and sonification. She received several awards, including the New York Exposition of short film and video in 1996 and CYNETart in 2001. In addition, she was commissioned from New Composers Series in New York to develop new technology for her sound performance at the Performa 07 Biennale. Eva’s curatorial work includes ORB, the first WiFi outdoor exhibition in Copenhagen in 2003, a distributed art exhibition including The Chemical Art Ensemble, Trebor Scholz, and Turbo Twins, followed by the show Struktur in NYC, including Ilze Black, Wim Salke, and Jim Costanzo.
Her work has been exhibited at Kiasma Museum of Contemporary Art in Helsinki; Istanbul Biennale; CAEIT Experiments in Art, Information and Technology at CalArts; The Museum of Contemporary Arts in Chicago; City Exhibition Hall in Sydney, and at the National Museum of Fine Arts in Havana, Cuba amongst others. In addition, she presented artistic research at the International Symposium for Electronic Arts, 08/14/15/16/19, Creativity & Cognition 09, Open Fields Conferences in Riga 16/17/19/20, the International Computer Music Conference 16/18, Hybrid City 2013 in Athens, and MediaCity 2010 at Bauhaus University. In 2017 she was a Keynote speaker at Arts in the environment in Helsinki.
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. “Every Act of Reading Performs the Work“ – Navigating Virtual Environments via Physical and Narrative Portals.

“Every Act of Reading Performs the Work” (EARPAW) is a collaboration between contemporary artist Agatha Goth-Snape and new-media artist and design researcher Andrew Burrell. It is a project that sits across multiple realities, and where the artists’ presence shifts between the physical and the virtual as a form of medium or guide to an extensive virtual world. The audience is only ever allowed glimpses of this world through several portals in both the gallery and in performance events. One such portal is a 2 meter-tall LED screen in the proportions of a doorway through which a viewer may view, but never truly enter, the world. The audience is constantly in a process of being both invited into and distanced from, this world.
The world of EARPAW was created in a VR headset, scrawled in what is reminiscent of a relational mind-map, featuring nodes of interconnected texts and virtual doorways, yet the viewer is never invited to experience it through the headset. They are instead guided by a computational agent, “The Daemon”, as it traverses a path through the world, or through the performative interventions of Gothe-Snape as an “Apparitional Surge” via her presence in the world as a real-time ghostly avatar. Finally, an audience has the world revealed to them as a “Rogue Monologue” performed live on stage with the virtual world unfolding in a projection behind Gothe-Snape as she narrates a passage through it.
This paper explores the world building potential of Virtual Environments using EARPAW as a case study and invites a consideration of alternatives to the headset in exploring the potential for complex audience experiences of Virtual Environments as narrative spaces.

Andrew Burrell
is a practice-based researcher and educator exploring virtual and digitally mediated environments as a site for the construction, experience and exploration of memory as narrative. His process is one of worlding in virtual space—visualising otherwise unseen connections and entanglements. His ongoing research investigates the relationship between imagined and remembered narrative and how the multi-layered biological and technological encoding of human subjectivity may be portrayed within, and inform the design of, virtual environments. He is a Senior Lecturer in Visual Communication, faculty of Design, Architecture and Building at the University of Technology Sydney. He lives and works on Gadigal Country.

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Lily DÍAZ-KOMMONEN, Cvijeta MILJAK. Making and Sharing Stories – Immersive Experiments in Sharing Knowledge for Cultural Heritage

Recently, during ongoing global pandemic restrictions, we have found virtuality imposed upon many of our everyday activities, experiences and interactions. Remote, mediated collaboration presented itself as nearly only way of working within the international Creative Europe research project ‘Beyond Matter – Cultural Heritage on the Verge of Virtual Reality’ which gathers diverse actors committed to arts, culture and heritage. At Aalto University, our work centres on further developing a research framework using co-creative embodied practices and artistic and humanities-oriented methodologies. We seek to learn more about deeper meanings that often come about as a result of culture and heritage experiences. How, when and why do exhibitions touch their visitors in meaningful ways?
In this paper we discuss the design process leading to the first pilot in a series of experimental participatory PORE workshops (Performance-Oriented Research Methods for Audience Studies and Exhibition Evaluation). The workshop was created as an online experience for the open-source Mozilla Hubs platform, where participants interacted as avatars. Parting ways with fascination for (hyper)realism we are relying on sensibilities of artistic praxis to experiment with aesthetics of the medium while posing ethical questions about what sustainability could mean in the context of interdisciplinary collaboration, participatory engagement and communication.

Lily Díaz-Kommonen is full professor of new media at Aalto University. She began her research career with a Fulbright fellowship for independent work at theArchive of the Indies in Seville on the topic of visualization in 16th century science (1990-1991). She completed her doctorate in 2001 on the topic of Art, Fact, and Artefact production. Design Research and Multi-disciplinary Collaboration. Member of the Jury in II Bienal Iberoamericana de Diseño/BID 2010 and Co-curator of Designing Knowledge, ACM SIGGRAPH 2018. She is director and producer of award-winning art and design installations that combine artistic, humanistic and scientific knowledge. Among her latest publications are, Ubiquitous Computing, Complexity and Culture (Routledge, 2016) and Adaptation and Convergence of Media (AaltoARTS Books, 2018) See:

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Cvijeta Miljak is a designer and artist. She works as a researcher at Systems of Representation at Media Lab of Aalto University. She is currently involved in ongoing practice-based doctoral research, as part of a Creative Europe interdisciplinary project Beyond Matter – Cultural Heritage on the Verge of Virtual Reality, which focuses on developing novel solutions for creative participatory practices and community involvement with culture and heritage. Miljak’s educational background is in the visual culture domains of graphic design, photography, new media and moving image, and going further back, in linguistics and literature. She has been practising for more than two decades mainly in cultural and educational, but also in corporate environments. Her works have been shown and awarded internationally.

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Jonas KELLERMEYER, Jan TORPUS. Iterative Sensing & Sense-Making in Extended Realities – “ubiCombs” as a spatial means of investigating the condition of contemporary techno-social hybridity

With this contribution we would like to present and discuss the approach of the artistic research project “Technology – Human – Design. Paradigms of ubiquitous Computing” (funded by the Swiss National Science Foundation, 2019-2022), underlying theoretical implications, applied methods and first results. The interactive installation „ubiCombs” ( is an integral part of this project, which serves as the basis for our critical investigations of contemporary human-computer interaction.

The main questions connected to the setup of the research project as well as to the associated installation cluster around three main topics, which conceptually intersect to a great extent:

1. Technology: How do technological entities perceive the world? Which sensing routines are successively applied in resonance with and in contrast to human actors?

2. Human: What strategies do human actors in return develop to cognitively and emotionally open up a technologically expanded, responsive environment? How can they form lasting bonds with technological entities, successively even merging with them?

3. Design: Which design principles can be derived for an equitable and environmentally driven human-machine interaction? How does agency emerge from such a coupling process and to which degree does the design of linkages make a difference?

Jonas Kellermeyer is a cultural critic and a junior researcher at the Institute of Experimental Design and Media Cultures. He is currently pursuing his PhD within the SNSF-funded project “Paradigms of UbiComp.
” His interests lie in the field of translational strategies between techno- and socio-logics. Interfaces – understood as fundamental translational structures that make it possible to bridge gaps and amplify them at the same time – and their relevance in relation to (human and non-human) perception, are his main concern.

Jan Torpus
is a design and art researcher who develops practice-oriented research projects, works in interdisciplinary teams, and publishes primarily in the context of HCI. He investigates future and alternative techno-social lifeworlds and mindsets. Based on technological developments such as augmented reality and ubiquitous computing, he stages physical, immersive, interactive research settings that he examines with test persons to draw conclusions about experience, perception, behavior, and sense-making. Recently, he also applies his approach to ecology and biodiversity promotion in urban and recreational areas.

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. Embodied Experience of the Ultimate Border: DMZ in Virtual Reality

The DMZ (Demilitarized Zone) that divides the Korean peninsula into two ideologically opposing countries is a small strip of land full of paradox. It was first intended to symbolize a temporary cease-fire during the Korean War, but eventually became one of the most heavily fortified borders on earth. While the DMZ embodies the continuing remnants of war traumas, the no man’s land has been free of human development since the 1950s and thus ironically preserved as a “pristine ecological sanctuary”. It is an intriguing space where time is suspended.
This presentation looks into recent virtual reality (VR) films that deal with such unique characteristics of the DMZ. The embodied experience promised by VR technology allows the artists to immerse their viewers in the inaccessible space. I analyze how various artists have employed the technology to portray the DMZ as a utopic space of possibilities where temporal, spatial, and political borders are challenged. Hayoun Kwon’s 489 Years (2016), a documentary animation VR that recreates the DMZ by following the memories of a former soldier who had served in the area, and Fabienne Giezendanner’s Dreamin’ Zone (2020), a VR animation that depicts a young girl’s adventure into the DMZ in search of her lost father during the war, will be the two case studies.

Da Ye Kim
is a fourth-year doctoral candidate in Cinema Studies at the Tisch School of the Arts, New York University. She holds a BA in Psychology from Johns Hopkins University and an MA in Cinema Studies from NYU. Currently based in Seoul, her dissertation project envisions an extensive cartography of the VR mediascape, paying a particular attention to cinematic sites and laboring bodies that mobilize, structure and capitalize the emerging VR ecosystem. Her research interests include virtual reality, new media theories, cultural studies, Korean cinema and transnational media studies.

9/24/21 11:10 am - 9/24/21 1:00 pm

Parallel Sessions / Panel 1B. (VR/SENSE1) VIRTUAL SENSING AND

Sander VEENHOF / Oksana CHEPELIK / Jānis GARANČS /


Sander VEENHOF. Zoom Ballet
Oksana CHEPELIK. Drift from Immersive Environments to VR: Ukrainian projects on Mozilla Hubs
Jānis GARANČS. Simulated Sensorium for Immersive Mappings of Ephemeral values in time
Dimitra KOUSTERIDOU. Surfaces In Becoming.
Paula VĪTOLA. Experiencing electricity

Sander VEENHOF. Zoom Ballet

For more than a year our day to day reality consisted of videoconferencing. Our work life and much of our personal encounters happened in Zoom or Teams sessions. Some of us tried to make the best of it, experimenting with virtual backgrounds or AR facefilter effects. Sometimes, everyone started activating new filters every second. But instead of bringing a sense of togetherness, the feeling that gave was often one of being isolated, all enjoying our filter finds individually.
“Zoom ballet” is different, in many ways. It uses some of the filter functionality, but not to enhance people with fluffy bunny ears, which is fun for just a few seconds. Zoom ballet is based on a very minimalistic effect, just the movement of the screen.
Another aspect of Zoom ballet which empowers the experience is the synchronization. Thanks to a timer script, all movements of all people in one Zoom session are happening in sync. This ‘facefilter’ effect isn’t about an individual show-off but it’s a collective experience.
An adrenaline pumping experience too! Because after spending a year being a digital presence appearing in a virtual grid-organised world of little screens, a jumpy window almost feels like a physical experience. And a bit of adrenaline is what we might need, if this temporary reality is here to stay for a little longer.

Sander Veenhof (NL, 1973) loves to spend time in semi-digital worlds. Programmable environments in particular. Although his curiosity relates to a far away future society in which we all live in a mixed reality universe, his art practice is hands-on and situated in the present. His present. Thanks to AR he is able to stage his own speculative real life versions of an imaginary universe, and live in it. By doing so he is able explore new (tech) domains from the inside out, with a focus on what it is like to become a semi-digital being enhanced with new super powers but limited by new boundaries too. Veenhof started creating cross-reality projects a decade ago in the avatar world Second Life, then moved on to AR and last year his playground was our Zoom reality. It turned us all into (programmable) digital appearances, so sitting still wasn’t an option for Veenhof. Nor for the attendees of his invite-only interactive Zoom sessions in which he tested various multi-user synchronised AR effects.
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. Drift from Immersive Environments to VR: Ukrainian projects on Mozilla Hubs

The properties of the technological part of the environment, providing the psychological state of human, in which his “I” perceives himself wrapped, included and interacting with a certain environment, providing him/her with a continuous flow of stimulus-reactions and experience with reference to “Liquid Times” (Zygmunt Bauman, 2006) in the projects: “Meta-Physical Time-Space”, “Refraction of Reality”, when uncertainty becomes a constant and fluidity – a new urgency.
Projects ARTEFACT Chornobyl+MADATAC, “GENESIS”, “VR Collider” on Mozilla Hubs are in the focus of presentation. VR COLLIDER on Hubs is an architecture structure consisting of 4 platforms, which hang as a space station in the orbit of the planet Earth, capturing and decoding the vibrations of our time:
Through spatial ideas, the project searches for Universe understanding referring to quantum physics, human consciousness in the age of algorithmic society, and postsensorium, as Chernobyl tragedy is an example of the biggest information catastrophe, when silence, manipulation, fake propaganda of the authority led to the real victims. Prypiat Room with GENESIS project works as a real-time birth-rate monitoring in Ukraine. It is a space shaped by walls-screens with 2D and 3D USE videos of the fetus and the body of a pregnant woman:,

Dr. Oksana Chepelyk is a leading researcher of the New Technologies Department, Modern Art Research Institute of Ukraine, author of book “The Interaction of Architectural Spaces, Contemporary Art and New Technologies” (2009) and curator of International Festival of Social Sculpture, Kyiv. Oksana studied art in Kyiv, followed PhD course, Moscow, Amsterdam University, Banff Centre, Canada, Bauhaus, Germany, Fulbright Research Program, UCLA, USA. Awards: ArtsLink1997/2007 Award (USA), FilmVideo99 (Italy), EMAF2003 Werklietz Award 2003 (Germany), Artraker Award2013 (UK), Best Project2018 (Taiwan). Works shown: MOMA, NY; MMA, Zagreb; German Historical Museum, Berlin and Munich; Museum of the Arts History, Vienna; MCA, Skopje; MJT, LA; Art Arsenal Museum, Kyiv; “DIGITAL MEDIA Valencia”, Spain; MACZUL, Maracaibo, Venezuela, “The File”, Sao Paolo; LPM-2016/2017 Amsterdam; MADATAC-2020, Madrid.

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Jānis GARANČS. Simulated Sensorium for Immersive Mappings of Ephemeral values in time

This presentation highlights main concepts and reflects on results of artwork/etude series that feature mappings the change of multiple values in feeds of ‘time-series data’ from e.g. financial transactions. These etudes are conceived as an interactive VR/AR installation and audiovisual performance interface. Ephemeral relationships are revealed and emphasized by the spatially organized audio-visual cues (perspective, sharpness/blur manipulation), audio-panning and timbral modulation (using 3D VR engine, live audio packages and sound spatialization). Various sound properties, such as pitch, timbre, rhythmic elements make mutual transition with visual representations of reference grids across curvilinear parameters.
These artwork series are thematically motivated by re-emergent and growing prominence of gambling factor in global economic activities (institutional promotion of investment products for masses, crypto-asset trading, online casinos, etc.). It appears that value storage and trading infrastructure increasingly merge with methods of manipulation of the human attention and emotions, and are mediated by computer networks, and increasingly – AI (Artificial Intelligence).
The investigative aspects are embedded in the emerging research area of immersive analytics, that is considered as a fusion of more recent developments in visualization, auditory displays, computing and machine learning, that has been developing in an ad-hoc way, and there have been recent efforts of elaborating the definition and proposing and organizing framework for the further research (Skarbez, Polys, Ogle, North, Bowman, 2019).
Else, the phenomenological mechanisms of the (somewhat speculative concept of) induced or ‘artificial synaesthesia’ are investigated, e.g. either as consequence from hypermedia (Bolter, 1991) or creating specific conditions where ‘Adults Can Be Trained to Acquire Synesthetic Experiences’ (Bor, D., Rothen, N., Schwartzman, D. et al, 2015), these etudes also investigate potentials of spatially expressive, ‘synthetic anisotropy instruments’ for the VR/AR staging of live data and are theoretical and practical investigation into the continuum between immersive analytics and VR/AR artwork.

Initially trained in classical arts, Jānis Garančs primarily works in technological and algorithmic art genres – interactive multi-media installations and performances, Virtual Reality. Since 2000 J.G. focuses on stereoscopic imagery, immersive 3D sound and combination of complex programmed, algorithmic structures with spontaneous gestures and live improvisation on-stage. He has exhibited and presented his work internationally at venues and events including Ars Electronica (1997,1998,2002), DEAF (Rotterdam), Transmediale (Berlin), ISEA (Helsinki 2004, Montreal 2020), Society for Art and Technology (Montreal), RIXC Art and Science Festival (Riga), EVA-LONDON, Banff New Media Institute, EXPO 2000 World Exhibition Hanover, and others. During 2006-2008 he was researcher team of EU -IST international research consortium ‘Live’ ( Institute for Media and Imaging Technologies / University of Applied Sciences, Cologne) – focusing on future interactive TV formats.

. Surfaces In Becoming.

I would like to propose a piece situated between a performance and a sound installation exploring the concept of sym-poiesis simply translated as “making-with” which is in contrast to auto-poiesis, or self-making. The author Donna J. Haraway offers a redefinition of the Anthropocene, describing our epoch as one in which the human and nonhuman are inextricably linked in symbiotic practices. I refer to viewpoint through the use of acoustics and built sound environments in which I employ found and self-made instruments, objects that channel and transpose the sound like a fixed piano, DIY circuits, piezo microphones, slow-drying matter such as clay, all connected rhizomatically and acting as a singular organism. The sympoetic system can be left to sound by itself, letting the environment cause the materials to undergo micro changes, determining the piece’s sonic structure, engaging the performer as a component of its circuit. I translate the capacity of the material itself to undergo microstructural and subtle changes in real time, revealing the potentiality of producing, not just parts and visual compositions that are assembled together, but vibrations that are captured as sound waves, rhythms that escape from within themselves. By exploring a field of vitality including the non-living realms, resonances between the rhythmic interfaces of the body, the observer and the living material assemblages, the circulation of energy and the alteration of matter, are composing new echosystems.

Dimitra Kousteridou (GR) is a multidisciplinary artist, currently lives and works in Athens, GR. Her Diploma in Art and Design was received from Akto Art and Design College, her Bachelor degree in Fine Arts from the Hanze University|Academy Minerva, Groningen, NL and obtaining a Master degree in Music Composition with New Media from the Musicology of National and Kapodistrian University Athens, GR.​
Her work is driven by a desire to invent a language in composition that examines tactile and sound aspects within site specific art installations, painting and improvisation. ​Through multidisciplinary forms that include installations, ephemeral situations and fractures of object ,she creates a space for research, while using the sound and aesthetics of the materials in time. Recently working on improvised sound compositions with handmade instruments (interactive handmade synthesizers). She has performed and exhibited in the UK,
the Netherlands, Germany, Norway, Portugal, Serbia and Greece.

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Paula VĪTOLA. Experiencing the Electricity

We don’t spend too much time thinking about electricity, signals and inner workings of technological devices around us until something stops working. Modern technologies have become so complex that a lot of it is impossible to comprehend even by experts.
Can we see and experience technology in a way that it makes sense without learning complicated technological concepts?
In my presentation I will discuss how artistic explorations in electrical signals might help us understand technology and shape our relationship with it.

Paula Vitola is a Latvian media artist based in Liepāja, mainly interested in art as research, art and science and media archeology.
In her recent works — Sun Tracks (2017) and Waves-lights-shadows (2018–ongoing) — Vitola explores artistic applications for recording and playing sound using light.
Vitola has graduated from the New Media Art bachelor and masters programme in Liepaja University and she is currently at work on her practice-lead doctoral thesis on Electric Art.

9/24/21 1:00 pm - 9/24/21 1:10 pm


9/24/21 1:10 pm - 9/24/21 3:00 pm


Geraldine WHARRY / Paola TOGNAZZI / Raivo KELOMEES
Moderator Maija DEMITERE

Geraldine WHARRY. Humans as Living code: Has data and code become the new skin?

As the lines between our bodies, skin, and data blur, will our sense of self and, in turn our sense of beauty, start being defined by data? ‘Being human’ is a concept in flux – the lines between our bodies, skin, and data are blurring. As we collectively adopt biometrics, facial recognition, and surveillance capitalism, our identity is being redefined in what could be ‘the coded self’. What does our sense of beauty and self mean if what defines us most is our data, more than our own skin?
Human beings in a digital environment are becoming more and more like machines essentially defined by digital materials whilst the algorithms are becoming more and more like living entities. They act as if they are our evolutionary successors. We are creating a society where people will not be considered beautiful based on their physical attributes but mainly on their data and this will be considered their true selves, the data could be beautiful, it could be “ugly”, it reveals what we would rather hide. There is a sense what we are doing with data and machines is cannibalistic.


Paola TOGNAZZI. AxX Be my skin, Protect Me, Feel Me, Carve yourself from my experiences

AxX Be my skin, Protect Me, Feel Me, Carve yourself from my experiences is a practice based PHD on shapeshifting tapestries able to dance, and touch our skin, to amplify our sensorial perception and augment our reality. The title refers to programmable woven textiles able to feel and record the movement memories of the wearer, to then actively reproduce them, so the wearers can consciously feel them on their skins or transfer them to other persons faraway. The context of the study is human-interactive textiles relation and interfaces as source of pleasure. It emphasizes the central roles of material tactility in tapestry, to transfer information, of the skin to mediate human sensory perception and of interactivity to amplify the listening ability of the body. Together, they build a system of embodied experiences that moves away from tapestry as material representation towards tapestry as Material Art that allows humans to transform and feel themselves. Materials and garments already store traces of the memory of past movements, the question of this research is how to capture, reproduce and control the directions of these movements, integrating soft robotics with tapestry techniques to intentionally transfer them in such a way to touch, communicate and produce a narrative of feelings in the body. It proposes techniques to embed movement in woven textiles and create adaptative patterns, able to support and accommodate the movement directions sent by the soft robotic actuators, to create a symbiotic process of shape transformation between the textile and real time data instructions.
Bio: Paola Tognazzi artist and physical interaction design.In 2008 founded Wearable_Dynamics specialised in the production of immersive interactive environments that invite participants to become performers. Her expertise lies in movement patterns recognition, body anatomy, deep procedural routines to analyse filter, map data that make movements individual, special, different, and the application of movement capture sensors to create body informed mutually informing systems.
In 2014 she has proven the concept of REACTIVE 3D PRINTED WEARABLES with The Dragon is Alive, a 3D printed wearable skin able to change shape, interacting with the movements of the wearer. The project was developed at the Wearable Senses department of the Tu/e University of Eindhoven in collaboration with the dutch companies Xsens and Freadom of creation (3D Systems) and fashion designer Pauline Van Dongen.Currently she is doing a PHD at the Universities of Napier and the University of Edinburgh collaborating with Dovecot Studio on: Future Skins, 21st Century tapestry. Interactive performing textiles able to amplify our sensorial perception and augment our reality.

Paola Tognazzi artist and physical interaction design. In 2008 founded Wearable_Dynamics an art company specialised in the production of interactive wearables that give superpowers, enhance physical awareness and invite wearers to become performers. In 2014 she has proven the concept of REACTIVE 3D PRINTED WEARABLES with The Dragon is Alive, a 3D printed wearable skin able to change shape, interacting with the movements of the wearer. The project was developed at the Wearable Senses department of the Tu/e University of Eindhoven. Currently she is doing a PHD at the Universities of Napier and Edinburgh collaborating with Dovecot Studio on: Future Skins, 21st Century tapestry. Interactive performing textiles able to amplify our sensorial perception and augment our reality.


Raivo KELOMEES. Cooperative Aesthetics and Embodied Multi-user Interaction

As a rule, interactive artworks are used by a single person. However there are works which are open to simultaneous participation of several people. It could be an additional option of work, not even meant by the author. My goal is to follow artworks which are designed for multiple users and interactors and which artistic content evolve in collaboration of two or more persons. The artwork’s cooperative features are conceptually embedded into the artwork.
I am discussing several works from different decades and end the talk with examples where participants of the work are physically, chemically and bio-sensorially part of the artwork. As it is evident with the works of Rafael Lozano-Hemmer “Vicious Circular Breathing” (2013) Lisa Jevbratt’i, Anne-Marie Hansen and Dan Overholt “Pulse” (2006), Karen Lancel’i ja Hermen Maat’i “E.E.G. Kiss” (2014) the participants are sharing and combining their physiological information to become a synergetic collaborative body.
Also I would like to discuss the concept of “cooperative aesthetics” of professor Gerhard Funk and environments where several users can build cooperative visual environments.

Works for discussion:
G.R.A.V. “Day in the Street” (1966)
Kit Galloway and Sherrie Rabinowitz „Hole in Space“ 1980)
Radúz Činčera “Kino-automat“
“Cause & Effect” Chris Hales and Teijo Pellinen
Rafael Lozano-Hemmer “Pulse Room”, “Pulse Index”, “Vicious Circular Breathing”, “People on People” (2010), “Zoom Pavilion” (2015)
Ulrike Gabriel’i “terrain_02”
Sommereri/Mignonneau “Mobile Feelings” (2002-3)
Sonia Cillari “Se mi sei vicino” (2006)
Golan Levin’i “Dialtones” (A Telesymphony, 2001)
You Must Relax (Riin Rõõs, Eve Arpo) “A Day without a Mobile Phone” 2007, “Musical Etude for Mobile Phones”, 2009
“Bump”, C. Smretschnig, M. Bieglmayer, R. Graf, W. Schmid, 2001
Maurice Benayoun and Jean-Baptiste Barierre “World Skin (1997)
Karen Lancel and Hermen Maat “E.E.G. Kiss”
Lisa Jevbratt, Anne-Marie Hansen, Dan Overholt’i “Pulse” (2006)
Gerhard Funk “Cooperative aesthetics” project
Erik Alalooga “Cinematic Mystery” 2009-2018
Reimo Võsa-Tangsoo “We wanted the Best” (2010)
Juhan Soomets “Artists’ Room” (2016)
Raivo Kelomees “List of Insults” (2015)


. Making room for the body: a multisensory sketching tool for architectural design

Grounded in a critique of ocularcentrism in contemporary architecture, this paper introduces a novel multisensory sketching tool for architects, and explains how embodied interaction design methods may offer possibilities that expand the exclusively visual process of architectural ideation. It is based on a project called “SOUNDMAT: A Sonic and Kinesthetic Tool for Architects”. Situated in the genre of physical computing, this project involved the design of a prototype that lets users sketch embodied spatial experiences while immersed in an interactive soundscape. Apart from helping architects and other spacemakers renew their focus on the embodied nature of lived experience, the innovation of this paper is to examine non-sight-centered, full-body spatial sketching, a topic that has not been widely explored, triggering discussions between disciplines such as architecture, interaction design, and the arts. The methods used in the present paper are shaped by three main areas of theory: embodied interaction design theory, phenomenology, and a contemporary view of the self as an inseparable whole of mind and body. Lastly, this paper attempts to critically evaluate this novel sketching tool, discussing the risks that may arise from its use, and the potential that its use might hold.

Maria Nikoli holds a master’s degree in Architecture from the Democritus University of Thrace, and is an MSc candidate in Interaction Design at Malmö University. She is currently a Teaching Assistant in the Malmö University based “Institute of Interactive Objects”. She has previously worked as a web designer, as a lead architect in the restoration of a historical residence in Greece, and as a researcher at Interreg PALIMPSEST, an EU-funded research project that involved the design of an interactive, mixed-reality museum of storytelling in Greece and Italy. Her work and research in designing interactive objects and spaces has been awarded and published in international conferences.


Leo SCARIN. Remote Embodiments: Collaborative Photogrammetry-making as a Bridge for Distant Bodies

In the context of a global isolation, video-conferences and social media have played a center role in bridging human distances through net-communication. However—in lack of physical interactions—we developed a new connotation of tangibility, as well as alternative experiential implications. In fact, the advancement of digital technologies paved the way for hyper-real experiences, allowing us to augment, or else escape our reality, yet undervaluing our very first media of communication: the body and the memory.
In his work, interactive media artist Leo Scarin explores photogrammetry technologies as a way to bridge the distance with his intimatest friends. They are instructed to produce 3D scans of their living spaces to share with him, in a collaborative effort to communicate on a more spatial and bodily level. An emotional process matures along the work as they give away an intimate look into their life, transfered into a safe space in virtual reality. They can be with each other, remotely embodied, with their memories together present.
How do we design the future experiences of digital interaction bringing back our attention to the body and the memory?

The conference will include questions and conclusions from my thesis “Loading Title… (on loss of tangibility in digitization)” along with the artistic and technical process employed for my work Variations on a Remote Room and for my new upcoming work Fragments.

Thesis –
Work impressions –
Work walkthrough –

🦁 Leo Scarin is a new media artist and designer from Italy, based in The Hague, NL.

🎯 In his artistic practice, Leo investigates the bridge between new technologies and the human senses, by creating spaces for more intimate and conscious digital interactions. His research sparks from the aesthetics and techniques of bodily and sensorial digitization.

🤖 Growing up as part of a digital generation Leo’s body of work integrates media such as video art, audiovisual performances and interactive installations, mixing media and systems. The interdisciplinary nature of Leo’s work brings him to collaborate with sound, dance, and theatre artists, transforming his work into a tool for extended contexts of performance.

🎓 He graduated in Interactive/Media/Design at the Royal Academy of Art in The Hague, in 2021. His work has been included in exhibition and residency programs by the Eye Filmmuseum, TodaysArt, V2_Lab for Unstable Media, The Grey Space in the Middle and Stroom.

9/24/21 1:10 pm - 9/24/21 3:00 pm

Parallel Sessions / Panel 2B. (VR/SENSE2) VIRTUAL SENSING

Moderator Solvita ZARINA

Karla BRUNET. Narratives of Nature: Ebro Delta’s Artistic-Scientific insights (Brazil)
Paul WIERSBINSKI. Remote Rules and Rituals
Julian PRIEST. Expeditionary Reconnections
Anna PRIEDOLA. Tasting Information
Pavel RUZYAK. Filming Technology for Visually Impaired People


Karla BRUNET. Narratives of Nature: Ebro Delta’s Artistic-Scientific insights (Brazil)

This talk intends to present the creative process of sensing and experience the region of Ebro Delta. As part of a larger project about the Mediterranean Sea, these insights from the Ebro River constructed narratives collected during the days in locuo. It is a mixture of collected data as the salinity, ph, and conductivity of the river and seawater with stories heard and recorded during the field trips.
A bicycle and a kayak were the locomotion mean to reach different points of the Delta. Digital portable water testers were the way to perceive the water trying to understand its data. Video and photo cameras were the way to record a more subjective view of the landscapes experienced. Maps, trackers, and a GPS watch were the tools for the geographic visualization of the place and the journeys undergone.
The process of sensing the Delta through experiential art practice created nature narratives and enhanced my sensibility to this region where the river encounters the sea, and the sea is influenced by the river.

Karla Brunet is an artist and researcher, holds a PhD in Audiovisual Communication (UPF, Spain – CAPES Scholarship) and a Masters in Arts (Academy of Art University, USA – CAPES Scholarship). In 2009-2011, Karla coordinated the Labdebug, a laboratory focused on women and free technologies. In 2012 she was curator of FACMIL/LabMAM, a media art lab at MAM Bahia. In 2014, she carried out postdoctoral research at UDK, Berlin. She is currently a visiting researcher at UPV, Spain. Karla is a professor at IHAC/UFBA and coordinates Ecoarte, an interdisciplinary group on art, technology and the environment. Her artistic practices involve photography, video art, data visualization, sensory environment, hybrid art, audiovisual performance, webart, artistic mapping and game, always focusing on experiences in nature.


Paul WIERSBINSKI. Remote Rules and Rituals

How can the rituals of theater be used to portray the ritualism of spiritual machines. How do we use them to make predictions about an uncertain future?
The audience was invited to participate actively in a collective ritual, exploring their living spaces and charging everyday objects with new meaning without leaving their home.
The French mathematician Jean-Luc-Chabert stated that “algorithms have been around since the beginning of time. They are a set of step-by-step instructions, to be carried out quite mechanically”. Algorithms could therefore be seen as ancient as human civilization itself. Our rituals, our dances, indigenous techniques to navigate have always been rulesets to discover patterns and with their help make predictions.
The aim of the project is for viewers to follow the camera movement of a live stream on their smartphone as if in a choreography, which creates “agency”, the strange feeling of being active themselves and of becoming the director of this virtual gaze and not just being a consumer of a pre-produced digital experience. Always with the ulterior motive that illusion, originally literally “in-lusio”, describes nothing more than “entering the game”.
Passwort: RRR docu


Julian PRIEST. Expeditionary Reconnections

In an increasingly digital, urbanised and anthropogenic world, an experience of direct connection with the local physical, cultural, ecological, network, and technological environments is often lost. Experience is continually mediated and abstracted by multiple layers creating a distance between individual experience and the supporting ecology. This distance can work against the possibility of environmental action. Re-connection can be established through an expeditionary residency technique where a group journeys through a land or sea scape, in the context of local knowledge producing new cultural work in the process.

Expeditionary reconnections reflects on the experience of the 2009-11 Slow Flow series of interdisciplinary river expeditions in New Zealand, and outlines ongoing attempts to generalise the methodology using the SÆT framework as a starting point for a new expedition series for the Baltic region.

Julian Priest (1968) is a NZ/UK artist currently living in Denmark and exhibiting internationally. His early work was with community free wireless networks, radio spectrum and the Internet. He now uses a wide range of participatory and technological forms exploring themes including infrastructures, time, energy, security, space, environment, gravity and communications.
His most recent artwork ‘The Weight of Information’ was an art satellite which was in low earth orbit between Nov 2018 and March 2019. This was accompanied by a participatory installation at the Thomas King Observatory in Wellington. Currently he is developing new work using expeditionary methodologies in the Baltic region.
He has lectured at A.U.T University, Massey University and Victoria University of Wellington, and is currently working with student satellites at IT University of Copenhagen.


Anna PRIEDOLA. Tasting Information

Smell and taste have been essential senses for human survival and development but have lost their importance in an environment of rapidly changing visual and audial signals and stimuli. The overload of visual information can become a background noise and thus filtered out by the human perception.
In their latest art project author is exploring dementia and loss of cognitive abilities presenting global and local dementia statistics in edible data visualisations, and running Mindful Meal workshops with dementia patients stimulating embodied perception of abstract information (especially when the ability for abstract expression in language is lost). Growing amount of research also links the importance of diet to sustain cognitive health for seniors. Thus the art project serves both as an informative and healing experience for the participants and spectators.
The sensory – tactile, olfactory and gustatory – perception of today’s consumer is put to a test in the project “The Book of Food” – a cook book made of edible pages to be smelled, licked and used as a starter for the meal.

Anna Priedola is an interdisciplinary artist that has explored data visualisations using food as a material in art since 2017, showcasing social and economic issues of the “data recipes”.


Pavel RUZYAK. Cinema Technology for Visually Impaired People

I am a film-maker who is now leading my own unique social and artistic project – a film club for visually impaired children. Here, the handicapped children are able to learn film-making and create their own films through innovative methods.
During the lessons with children though, we have found one major setback – the work with camera and editing software is quite challenging for children who do not see, as they need constant assistance because the hard-/soft- ware is not meant for visually handicapped people.
This is exactly what I want to research and change, proposing a break-through project that connects science, arts and social aspects. The topics to be addresses is AI, image-to-voice recognition of the camera, voice assistance, simple design of hardware, voice assistance for software…
At the conference, I would like to share my experience with a film club I am leading and also about our concept in development of the special hardware and software ideas.

Pavel Ruzyak
is a film-maker also active in social field, working on fiction and documentary films with social topics, along with developing a film club for visually impaired young people. Currently working on a
connected technological project facilitating cinema and visual handicap. Co-operating on the project
with an NGO Osvěta z.s. in Prague, Czech Republic, where he is based.

9/24/21 3:00 pm - 9/24/21 4:00 pm

Lunch time

Guided Tour through the Exhibition

9/24/21 9:00 pm - 9/24/21 10:00 pm


with short online presentations by young artists from ACT at MIT – Kwan Q Li (HK/US), Pohao CHI (TW/US), Weihan JIANG (CN/US), Weilu GE (CN/US), Kelon CEN (CN/US) / Liepaja MPLab – Ieva Viksne (LV) / HfG Kalrsruhe – Jung Eun Lee (KR/DE).
Online in Zoom / Onsite in RIXC Gallery, Lencu iela 2, Riga, Latvia

9/24/21 4:00 pm - 9/24/21 5:30 pm


Moderator Solvita ZARINA

Byron RICH, Kylie RIMES, Kai’lani WOODARD. The Suburbs of Accra

The Suburbs of Accra uses augmented reality to unveil the often hidden ramifications of technological obsolescence by using augmented reality to place family photos and information harvested from hard drives at e-waste sites in Accra, Ghana. The project is intended to demonstrate how neocolonialism manifests in the continued marginalization of people living in emerging economies and developing countries. Additionally, The Suburbs of Ghana calls attention to the environmental devastation levied on developing nations via e-waste sites.
Intended as a comment on the hidden, or more accurately, ignored human and environmental cost of our societal obsession with ‘newness’, The Suburbs of Accra is the first of a series of new works that will use AR to facilitate exploration of locales where neocolonialism is taking a devastating toll on the environment and its human and non-human inhabitants. As heavy metals become more difficult to mine, recycling obsolete technologies becomes increasingly important, however like ship breaking and plastics recycling (the subjects of two subsequent works in the series) emerging economies and developing nations bear the majority of the costs associated with enabling the cycle of unnecessary replacement perpetuated by a concerted effort between corporations and governments aimed at maximizing shareholder returns.
We would love to speak about the work and the complex, intertwining factors that underpin its development.

Byron Rich is an artist, professor and lecturer born in Calgary, Alberta, Canada. His work exploring speculative design, biology futures and tactical media has been widely shown and spoken about internationally. He pursued a degree in New-Media at The University of Calgary before relocating to Buffalo, New York where he obtained an MFA in Emerging Practices at The University at Buffalo.He was the runner up for the 2016 BioArt & Design Award, and the recipient of an Honorary Mention at the 2017 Prix Ars Electronica. He now serves as Director of Academic Innovation Partnerships, and Associate Professor of Art at Allegheny College in Meadville, Pennsylvania. Kylie Rimes (she/they) is a research assistant at Allegheny College, coming from Pittsburgh, Pennsylvania and pursuing a major in Business and a double minor in Communications and Art, Science, and Innovation. They are in a Sorority, KKG, and the Rotaract Club, holding a board position as head PR. Kai’lani Woodard is a student and research assistant from Kittanning, PA. She is currently pursuing a bachelor’s degree in Computer Science and Art, Science and Innovation at Allegheny College. She is a member of the Kappa Kappa Gamma Gamma Rho chapter and serves as the Public Relations Chairman.


Maija DEMITERE. Lifestyle Trends and Deep Sustainability

Living a sustainable lifestyle is essentially very straightforward and very boring (consume less, consume local, eat less, eat local, eat vegan). The presentation will explore how unique and valid are ecological ideas and policies that are in the zeitgeist, popularised in the social media and mainstream journalism today – being ecological in the times of fitfluencers, vegan-moms and internet-assembled philosophies.

Maija Demitere is an artist, researcher and a doctoral student at Liepaja University. Her main fields of research are deep sustainability, slow media art, developing art research and presentation methods that could offer different lifestyles – promoting individual self-sustainability.


Riad SALAMEH. Biopolitics of post-biological bodies on the web: Performance of the internet self as an agent of surveillance capitalism

This research examines the post-biological body’s entanglement with surveillance capitalism through a central research question: how does the internet’s infrastructure transform the nature of bodies in relation to biopower? To address it, I examine the transformative turn of using bodies as tools of material and immaterial labor into the extraction of bodies into a commodity for surveillance capitalism. Critical phenomenology provides a method for understanding how models of surveillance function, specifically concerning bodies that do not fit within the normative categories and universalizing assumptions that internet systems are predicated on. Feminist, queer thinking, and imaginative computation can be seen as models to reshape this infrastructure. I investigate why algorithmic systems are designed to erase a particular set of identities and question whether it is possible for the labor of artists/activists working on the internet to move beyond the binaries of algorithmic classifications. This research established a net-performance titled Economy of my body, as to provide a lived account of the experience of the economy and labor attached with being online. Auto-ethnography is part of the critically reflexive practice that allows one to experience the body more deeply as it is perceived, optimized, essentialized, and co-opted by neoliberal forms of power.

Riad Salameh
is a researcher and art practitioner with a graphic design, art mediation and media arts cultures background. His work often follows a praxis method that uses micro-transformations as to respond to the urgency of collective socio-economic transformations. Looking into the ownership of bodies in cyberspaces, investigating internet capital and physiological needs of the everyday, he critically investigates economies and its interlink to biopower. His interests relate to the abstraction of the physical and digital self through performance, web-navigation, irony, humor and intimacy. He has exhibited in Lebanon, Denmark, Georgia, England, Pakistan and online. He is currently a digital design resident at Fikra Designs in Sharjah.


Alla SEMENOVSKAYA, Eva LINDSAY, Dhruv Shah aka LODAYA. Microplot: genomic technologies as a potential tool of revelation for deliberate terraforming

The project is a call to recalibrate the approach to design by recognizing the microbiome as an additional parameter and overlooked agent of terraforming. The technological mediation of the continuous, interchangeable and entangled relationships between microbiomes, environments and ourselves allows for higher resolutions of perception in the way we compose synthetic landscapes.
When germ theory originally framed microbes as pathogens, design was driven by “sterilization” and aimed at the “extermination” of microbial life and the production of highly tempered and sealed environments, propelling a culture of cleanliness. With the potential advancement and accessibility of metagenomic sequencing, we may be at the cusp of refining our understanding of these microbial systems, and reframing our design practices from the reactory to the nuanced, adaptive, and proactive.
Manifesting alternative, more precise compositions across various sites and scales of intervention, the project narrates how sequencing could become a potential design tool to inform deliberate terraforming.

Alla Semenovskaya is an interdisciplinary researcher and consultant based in Russia, with a background in strategic business development and launching emerging technologies. She is a graduate in Asian and African Studies from National Research University Higher School of Economics (HSE) in Moscow, and a fellow of the postgraduate design-research program «The Terraforming» of the Strelka Institute for Media, Architecture and Design. Her recent work has specialised in research projects and site specific collaborative practices, exploring comparative governance, climate policies, and implications of computational technologies. She is interested in how interspecies connections inform our perception of assembled ecosystems.,

Eva Lindsay is an architect and set designer. Since graduating from the Glasgow School of Art she has worked in various design studios in Rotterdam, Paris, Brussels and Berlin. Recently she took part in a second cycle research program “The Terraforming” at the Strelka Institute. Eva’s work has specialised in research projects ranging from problematising planning systems to futureproofing infrastructure space. The work has been displayed in various formats including exhibitions, films and publications.,

Dhruv Shah Aka Lodaya is an Architect and Architectural Historian residing in Vadodara, India. After completing his Bachelor of Architecture in India, Dhruv has graduated with a master’s in Architectural History from University College London (UCL) Bartlett, London, UK. He was also a part of the second cycle of the Terraforming research program run at the Strelka Institute, Moscow. He is currently working as an assistant professor at Anant University In India, involved in academia, research, and curatorial architectural practice. Working closely with the medium of Text and Image, his interests lie in the intersection of projected power, politics, and placemaking.,

9/24/21 9:00 pm - 9/24/21 10:00 pm

STRANGER SENSES – Screening Program

with short online presentations by young artists from ACT at MIT – Kwan Q Li (HK/US), Pohao CHI (TW/US), Weihan JIANG (CN/US), Weilu GE (CN/US), Kelon CEN (CN/US) / Liepaja MPLab – Ieva Viksne (LV) / HfG Kalrsruhe – Jung Eun Lee (KR/DE).
Online in Zoom / Onsite in RIXC Gallery, Lencu iela 2, Riga, Latvia

with short online presentations by young artists from ACT at MIT – Kwan Q Li (HK/US), Pohao CHI (TW/US), Weihan JIANG (CN/US), Weilu GE (CN/US), Kelon CEN (CN/US) / Liepaja MPLab – Ieva Viksne (LV) / HfG Kalrsruhe – Jung Eun Lee (KR/DE).

9/24/21 6:00 pm - 9/24/21 6:40 pm


Špela PETRIČ. Of Algos, Plants and the Vegetariat
Moderator Rasa SMITE

Špela PETRIČ. Of Algos, Plants and the Vegetariat

CONFRONTING VEGETAL OTHERNESS (2015-2018) and the PLANT-MACHINE (2018-ongoing) are two art-research opuses within which I examine the possibilities of post-anthropocentric relationships with plants. Oftentimes developed in interdisciplinary collaboration, the artworks are rooted in the realisation that the contemporary (bio)technological subsumption of life requires ever-adapting modes of social and political engagement. Underpinned by (bio)informatics, the algorithmically-enhanced form of biopolitics decodes people in fragmented contexts of connections and dependencies, and which uncannily resembles the traditional understanding of plants. In Western thought, plants are conceived of as beings simple enough to be discerned, fully comprehended and subsequently controlled/managed. In the presented series of artworks I insist on intensifying the relationship between information technology and plants, identifying in it two critical features of the current situation: the urgency to reconstruct our relationship to plants, and the ontological flattening in which plants and the statistical human essentially become equal. Despite questioning the use and power of technology and its tools, I refuse to critique from a safe distance, instead experimenting with appropriation or subversion. In the context of the artworks, bodies and data become the raw material for non-utilitarian, speculative representations of plant life in the sphere of information.

Špela Petrič
is a Ljubljana and Amsterdam based new media artist who has been trained in the natural sciences and holds a PhD in biology, currently working as a researcher at the Vrije Universiteit Amsterdam. Her artistic practice combines the natural sciences, wet biomedia practices, performance, and critically examines the limits of anthropocentrism via multi-species endeavours. She envisions artistic experiments that enact strange relations to reveal the ontological and epistemological underpinnings of our (bio)technological societies. Petrič received several awards, such as the White Aphroid for outstanding artistic achievement (Slovenia), the Bioart and Design Award (Netherlands), and an Award of Distinction at Prix Ars Electronica (Austria).

9/24/21 6:40 pm - 9/24/21 8:00 pm


Clement VALLA / Daniel HENGST / Carly LAVE
Moderator Rasa SMITE

Clement VALLA. Pointcloud Garden
Daniel HENGST. Plants Per Second ‒ Towards a Plant Oriented Rendering Methodology.
Carly LAVE. The Golem-Labor: Researching Motion Capture Technology + Dance

Clement VALLA
. Pointcloud Garden

The artist will discuss his works that come from an interest in how contemporary digital pictures of nature are constructed. The artists discusses his pictures, how they feel, how they translate space into a a flat surface, and how they situate an audience in an ambiguous time and a different kind of space.

Clement Valla
is a New York based artist whose work considers how humans and computers are increasingly entangled in making, seeing and reading pictures.
He has had recent solo exhibitions at PC Galleries in Providence, XPO Gallery in Paris and Transfer Gallery in Brooklyn. His work has also been exhibited at ZKM, Karlsruhe, Germany; Draiflessen Collection, Mettingen, Germany; Stedelijk Museum, Breda, Netherlands; Bitforms Gallery, New York; Musée Cognacq-Jay, Paris, France; Haus der Photographie, Hamburg, Germany; Museum of the Moving Image, New York; KIM Contemporary Art Center, Riga, Latvia; Contemporary Art Museum, Raleigh; and The Indianapolis Museum of Art, Indianapolis;
His work has been cited in The Guardian, Wall Street Journal, TIME Magazine, El Pais, Huffington Post, Rhizome, Domus, Wired, The Brooklyn Rail, Liberation, and on BBC television. Valla received a BA in Architecture from Columbia University and an MFA from the Rhode Island School of Design in Digital+Media. He is currently an associate professor at the Rhode Island School of Design.


. Plants Per Second ‒ Towards a Plant Oriented Rendering Methodology.

Plants appear in many digital environments in various forms. Compared to human bodies or human artifacts, they mostly appear highly stylized. They seem to be a part of the background against which the main action, usually human action, takes place. Thereby, their actual morphology, their species or/and biological community in which they can exist is very rarely of interest. Their visibility is therefore very low. As in the real world, plants are meant to serve humans and human self-realization.
How can a methodology be imagined that allows plants to have explicit visibility in digital environments? A lot of people visit more often digital environments than natural ones. Digital plants can represent and speak for themselves and can help to overcome a widespread blindness for plants. Detailed modeled plant avatars can show their beauty and their unconditional love for all other living beings, and thereby ignite in humans a passionate relationship with their real-life paragons.
The current technical benchmark for the performance of an application in creating real-time digital environments is “FPS”: an shortcut for “frames per second”. It is a value that indicates how many frames a computer can compute per second. A new guideline value “PPS” ‒ Plants per Seconds ‒ could be an orientation point, how many plants per second, with what level of detail and accuracy ‒ and therefore what level of affection and degree of visibility ‒ can be calculated.

In a 15 to 20 minute talk with a screencast from the 3D program Blender, the plant creation software PlantFactory, as well as pre-recorded videos, I would like to talk about the following points:
1. Current techniques and methodologies of digital plantation
2. Reasons and goals of a PPS methodology to be created
3. Challenges to generate this methodology

While working on my current artwork, ‘Blooming Love’, I have been thinking about, working on, and learning about digital plants a lot. Knowledge I would like to share in this presentation.

Daniel Hengst (*1981 in Leipzig/Germany) is a Berlin-based media artist & his artworks
are often developed and presented in the framework of the performance arts. Since
2015, works in virtual reality, video- and sound-installations, sound performances,
artistic research projects and web projects have been created. The works deal with the
society-changing potential of technologies or/and taking non-human subjects into


Carly LAVE
. The Golem-Labor: Researching Motion Capture Technology + Dance

olem-Labor explores interdisciplinary and transnationally the interface of art and technology, man and machine, physical and virtual reality.
Dancers and choreographers work together with XR-artists and experts on research tasks and a performance. The results will flow into the next laboratories continuing in 2021. From this research, a virtual database of international movements will be created.
Golem-Labor emerged out of a predecessor transnational performance “Golem”. The dancework pioneered using motion capture technology to stage a dance live onstage and live in VR viewable from anywhere around the world. “Golem” was created by Carly LAVE in collaboration with of Humboldt-Universität zu Berlin, Hochschule Kaiserslautern Virtual Design, Ghunghru Sounds, and supported by the U.S. Fulbright Program, Fulbright Commission Germany, Stanford University and private sponsors.
Golem-Labor is an international series of workshops organized by the Goethe-Institut that brings together contemporary dance and mixed reality technologies. The experiment started in autumn 2020 in Prague. More workshops will follow in 2021 – in Bogotá, Tel Aviv and Riga.

Energetic creative and analytical thinker with a passion for design, communication, and the arts. As both a data-driven and emotion-driven human, Carly LAVE fearless at finding new ways to make a positive impact in the world around us. (from Linked-in).

9/24/21 9:00 pm - 9/24/21 10:00 pm

STRANGER SENSES Liva Screening Program

with short online presentations by young artists from ACT at MIT – Kwan Q Li (HK/US), Pohao CHI (TW/US), Weihan JIANG (CN/US), Weilu GE (CN/US), Kelon CEN (CN/US) / Liepaja MPLab – Ieva Viksne (LV) / HfG Kalrsruhe – Jung Eun Lee (KR/DE).
Online in Zoom / Onsite in RIXC Gallery, Lencu iela 2, Riga, Latvia

9/25/21 11:00 am - 9/25/21 12:20 am


Douglas KAHN. On Not Seeing Blue: Energy And Materialism In Art And Science

Douglas KAHN. On Not Seeing Blue: Energy And Materialism In Art And Science

9/25/21 12:20 am - 9/25/21 12:30 am


9/25/21 12:30 am - 9/25/21 2:30 pm


Moderator / 20 min each presentation including 1-2 questions after each presenter

Joyce HINTERDING, David HEINES. Wrangling Chaos
Jan GLÖCKNER. A Farewell to Bio Arts – Debriefing my research and practice after the first year of doctoral studies at Vilnius Academy of the Arts
Alice BUCKNELL. The Martian Word for the World is Mother.
Nina CZEGLEDY. On Sensory Awareness
Sandra ALVARO. Aesthetics of Perception, a historical approximation to inhuman vision and its ecological meaning.

9/25/21 12:30 am - 9/25/21 2:30 pm


Moderator / 20 min each presentation including 1-2 questions after each presenter

Michelle LEWIS-KING. Qiscapes: Listening to Cosmological Body
Kazuhiro JO, Roy TAMAKI, Takuya ISHIKAWA, Tomoya MATSUURA. Naku: The ‘primary’ of a voice in an anechoic chamber
Silvia ROSANI. AmotIon – emotional content to connect non-musicians to electroacoustic instruments
Petros TATSIOPOULOS. Computed Spatiality and non-Linearity, or the Virtuality of Sound
Juan DUARTE. How computers learn to deep listen

9/25/21 2:30 pm - 9/25/21 3:00 pm

Lunch Time

Guided Tour through the Exhibition

9/25/21 3:00 pm - 9/25/21 4:45 pm


Moderator / 20 min each presentation including 1-2 questions after each presenter

MOON Martina ZELENIKA. The body as a musical instrument: generating data into audio-visual content
Gabriela MUNGUÍA, Guadalupe CHÁVEZ. Rhizospheric Territories: Expressions from the porosities of the soils (Mexico)
Ricardo Dal FARRA. Collective experiences of extended reality: The Understanding Visual Music – UVM project.
Dimitra KOUSTERIDOU. Surfaces In Becoming.
Vygintas ORLOVAS. Sound analysis by schlieren flow visualization

9/25/21 3:00 pm - 9/25/21 4:45 pm

Parallel Sessions / Panel 5B. AI & XR. EMBODIED EXPERIENCES

Moderator / 20 min each presentation including 1-2 questions after each presenter

Marina HASSAPOPOULOU. Artificial Intelligence and Post-Human Embodied Experience
Kathryn BLAIR, Pil HANSEN, Lora OEHLBERG. Algorithmic Rituals: Embodied Explorations of Algorithmic Decision-Making
Ance JANEVICA. Experimental walk: A walk through communicating ecological complexity and immersive experiences
Claire BREACH. Peanut Head Enters
Roc PARÉS. “BHDD”. An immersive art installation that enables participants to experience their own beheading

9/25/21 4:45 pm - 9/25/21 5:00 pm


9/25/21 5:00 pm - 9/25/21 6:45 pm

Parallel Sessions / Panel 6A. (SONIC3) SENSORY PERCEPTION

Moderator / 15 min each presentation including 1-2 questions after each presenter

Lauren RUIZ. Our Watchmen are Blind: An interrogation of Subterranean Labor
Stephanie ROTHENBERG, Suzanne THORPE. Tending Ostreidae: Serenades for Settling
Ilva SKULTE. Poetry reading as an embodied practice – interplay of senses and meaning of text
Gundega STRAUTMANE. Artistic Experiments with Artificial Languages
Karla BRUNET. Narratives of Nature: Ebro Delta’s Artistic-Scientific insights (Brazil)

9/25/21 5:00 pm - 9/25/21 6:45 pm

Parallel Sessions / Panel 6B. (GREEN) ECOLOGIES BEYOND GREEN. LIGHT,

Moderator / 15 min each presentation including 1-2 questions after each presenter

Richard LOWENBERG. “Info/Eco: Interferences & Resonances – The Nature of Information”
Taylor HOKANSON, Kay DARTT, J. Stephen LEE. Fine With This: An Internet Controlled Flaming Sculpture
Danielle DAMICO. The Sky is Coming
Maija DEMITERE. Lifestyle Trends and Deep Sustainability
Veronika SELLNER. Redesigning Ecosystems: Synthetic Biology, Art and the Non-Human

9/25/21 6:45 pm - 9/25/21 7:00 pm

Plenary Session. Final Discussion and Follow-up / GREEN Revisited events and next Renewable Futures Conference /

Conference Chairs - Jens HAUSER, Kristin BERGAUST, Rasa SMITE, Raitis SMITS

9/25/21 8:00 pm

The Greenhouse Concert HEARING NOTES

with online introductions by participating artists and musicians:

9/27/21 10:00 am - 9/27/21 6:00 pm

Golem Labour Workshops

Venue: The National Library of Latvia / Online

10/1/21 6:00 pm

The opening of the Blooming Love exhibition by Daniel Hengst

Venue: RIXC Gallery, Lencu iela 2


I just wanted to write and tell you how thrilled I am to see my artworks in the Ecodata exhibition. Also I very much enjoyed attending as many panels as I could at the festival. Very important discussions and very inspiring artworks!

Elaine Whittaker



Register / buy a conference ticket on eventbrite system >>>
Festival's Virtual Program offers festival passes as well as single event tickets:

* Early Bird Conference Registration Fee / Festival Pass – 9 EUR (until September 22)
* Early Bird Festival Pass for Students – 5 EUR  (until September 22)
* Early Bird Single Event tickets (Keynote Talks, Conference Panels, Virtual Tour by Curators through the Exhibition, Video Screening, Concert and Performances) – 2,50 EUR / 1,50 EUR (with student discount) 

On site Exhibition in the Library and Gallery has a free entrance.
Guided Tours for school groups can be booked for no charge via e-mail


  • Green revised
  • VKF
  • creative europe prageamme
  • Kulturas ministrija
  • Rigas dome
  • LNB
  • Liepajas Universitate
  • MPLab
  • Canon
  • Arterritory
  • Echo gone wrong
  • Ghete
  • Capital
  • Satori



The National Library of Latvia

Mūkusalas iela 3, Rīga, LV-1423

RIXC Center for New Media Culture

Lencu iela 2, Riga, LV-1010