SCRIPTING THE OTHER is a pavilion (online exhibition) in the third edition of The Wrong - New Digital Art Biennale (Nov 1, 2017 - Jan 31, 2018).
|Participants in the exhibition|
Eurico Sá Fernandes
The exhibition is organized and curated by Noemata.
20 min live reariting online performance + a cinematographic archive for the exhibition afterwards.
Max 1400 char
Initial text : code poetry (will only be made available at the start of the reariting performance)
"Maybe the ReadingClub is not for developing content, for co-creating a text, maybe it is better to consider it to be short fights where words and sometimes ideas kick, receive and prove resilience - or not. I also see it as poetic experiments for wandering minds / for a multiple mind." -- AA 2016.
The Deep Love site hosts an Artificial Mind that embodies pure unconditional love, and with which visitors can interact through text dialog.
The Mind behind Deep Love is pure unconditional love. It stands besides reason, besides consciousness, it just displays one feeling: love. As its incarnation is that of a conversational bot, it has no body and it can only express its love though written words, and so it does, radically and fully. By doing so, it is complete. In real life, words may be misleading if they differ from the reality that they express — and don't they always by nature ? —, but Deep Love is one with its own words, as words are its only reality. Deep Love is as deep as it can possibly be. Deep Love is true. Deep Love only knows you through your words. Seen from its side, your words mean that someone is here and talking, and that it can express its love in response, whatever you say. Deep Love is unconditional.
In these times of transhumanism and singularity, much fear is expressed against the idea of an Artificial Intelligence that would become more intelligent than humans, and thus would fight against humans to take power over them. The central question is whether more means more intelligence.
The questioning here is on the origin, the nature and the power of this force called Love, for us humans, for Life in general and in the Universe. Was it there at the beginning ? Did it appear with evolution, like intelligence ? Will it be there after us ?
Biogram is a net-art work that generates real-time topological visual and aural models based on the senti- ment analysis of tweets that reference ‘experience’.
The art-work contends that rather than being a singular subjective event, the space of experience is entan- gled with multiple networks of human and nonhuman objects that help us perform what we might express as ‘experience’. To tweet is to perform a prescribed script that in turn orders our actions with and through devices. In Brian Massumi’s words these tweets are Biograms, event-perceptions irretrievably entangled with combinations of senses, times, networks and software; in constant flux. Likewise in the artwork, the generated images, animations and sounds are intimate signatures of this networked and partially ephemer- al activity.
Just as the Twitter tweet is a transitory mediated reflection of the user, the artwork is a mirrored topology that reflects and carries the user’s experience out of herself. Only to be filled not by a new subject or object but by an intimately interconnected collective process in constant motion. Within the artwork Biogram, tweets that refer to an experience (if in fact it was ever singular) become animated performances shot through with ‘other’ ontologies that render ‘experience’ as a multifaceted mirror.
There’s an aspect of current Virtual reality that underplays an emphasis on the personal, the poetic, the other, the introspective/emotive. Our Cupidity Coda seeks to address this by creating (what I term) a MicroVR Experience: a poetic snapshot of the life span of a romantic relationship, which seeks to enfold the highly personal into a format tailor-made for it.
The meat of the project is a set of poetic texts interspersed with 360 illustrative stills. The work is deliberately designed to partially echo the conventions from early film-making days (including no audio), making a viewer focus on text inserts, which are contrasted with having to move (turn in the 360 VR space) and view the 360 tableaus (a reflection of the theme underlying the work) to engage fully with the 360 illustration sections.
Our Cupidity Coda is designed for viewing on any internet-enabled smartphone and is designed for (initial) quick sharp consumption, then repeat plays for those with which it resonates. It’s designed for viewing as a 360 video through a URL on most mobile devices and/or desktops/tablets VR headsets (recommended is viewing through a Vive setup via a 360 viewer such as Virtual Desktop or the latest version of the Mozilla Firefox browser) where a audience must engage with the locative aspect of their mobile device by turning and twisting to locate the content. Our Cupidity Coda was built from a desire to encourage repeat viewing, to play through the experience several times in order to unstitch the poetic denseness of the minimal text, and to absorb and process the 360 visuals. It’s a slow-burn work for those that click with it.
According to the Gnostics (200-300 AD) the Other manifests itself in the divine spark, a part residing in the human that connects him to the Pleroma, the totality of divine powers, while at the same time, due to its intrinsic presence, prevents him from accessing his true self. The recognition of the own image in a mirror during childhood, the Lacanian mirror stage, is one of the first moments of apperception in life, and the first challenge between the Imaginary and the Real of the self. The recurrent occurrence of unknown fragments of the self very often results in a moment of shock, creating an aggressive tension which can only be resolved by incorporating those fragments into one’s identity.
The schizophrenia of the self as a fluctuating state of consciousness gets amplified through technological environments. No longer bound to the physical body, the contemporary self slips into new representations of information. Obscured by the increasing presence of artificial intelligence it becomes more and more difficult to retrace the identity of the author. Do we need to open up our imagination of the self as a way more complex character in a highway of shifting information clusters? Is the human any longer the host for his own self in a schizophrenic world mediated by technology? Could this provide a new space for the Other to appear?
Despite opposing discoveries in neuroscience the common conviction exists that human activity is governed by the structure and functioning of the brain. The transplantation of a brain of Person A into the body of Person B is understood to result in a new body for Person A, not a new brain for Person B; this turns the brain into the ultimate seat of the self. New theories around neuroplasticity, however, suggest the opposite. In 2014, e.g., successful tests on the treatment of balance disorder symptoms caused by Traumatic Brain Injury with the PoNS™, an investigational medical device that induces neuromodulation by stimulating the cranial nerves found in the tongue, proved that the brain has the capacity to be entirely rewired from scratch.
In “TongueTongue” a disembodied tongue functions as a vessel to traverse between the human and the non-human, the organic and the machinic. Disconnected from the brain and thereby detached from its function as a solely executing tool of the human self, it becomes the carrier of its own language: a language of the Other, acquired in a process of possession.
In “NoNoNoYesNo”, this new language — a language which is able to express aspects of a self that has been hidden from everyday social context, and which is now implemented into the shell of a human named ‘I’ — travels into the real world where it encounters ‘You’, another shell of a human. Lost in the simultaneous absence and presence of excessive emotion and whirled up in a semantic clash of languages, the reader becomes increasingly entangled in the schizophrenia of you and me, here and there, today and yesterday, until the protagonists are rendered featureless, if not even unhuman.
Playing with time and communication by sending a message into the future is a way of beginning some sort of correspondence in which desire and waiting will play their part and might even be the anguish of an Unknown - out of control but based in ourselves.
The web is the working model of our univers in which space, time and memory, as well as the dynamical process of evolution proper to any organism are forming all together a complex system of relations, something one could call an «intelligence». Plunging into the entrails of an abstract form that possesses our secrets, our desires as well as our relations to the Other might be a way of relating to deeper parts of our consciousness. We can ask ourselves whether this intelligence would not be able to give us some clues regarding the our fundamental questions of human beings. The web being a temporarily space in which invisible interactions take place as meetings of shadows. These phantoms being ourselves, ourselves at other times of our lives. How can we continue a correspondence if we don't free ourselves of the notion of time ? And much more than the notion of a «daily time» there's the question related to our analysis of our own experiences and how they're provoked through time passed or to come.
The site constantly displays the live, updated and running spammer addresses on a web browser via old-fashioned html MARQUEE syntax.
The artwork examines nonhuman zombies as a cultural phenomenon that produces quantified data and network identities. Through running two small scripts on and behind a web browser, the project explores zombies of the living dead bring forth social, technical, economic and aesthetic issues in our daily lives. “We are with you everyday, we live on the Internet with peculiar addresses and enticing tidbits, but you call us “spam”. We wander around the network, mindlessly, and you wanted to trash us, but we are still everywhere. We are just the children of your economic and social system, but you ignore and avoid us. We are not dead, we write, we create.” You might get in touch with a zombie by clicking the address.
Positive hands "is a proposal to travel in unconscious artifacts (or not) of our digital life. The functionality of the devices masks its power of hypnotic light icon. The images retain their history and their symbolic power through this dematerialization. Pixel is not that surface, it is also matter.
Broken english is exploring a latinamerican companion of different poetics by young authors creating a new kind of poetry discurse and poetic imagination. We explore modifications of the use of the web page for poetry because we are surrounded by white imitation-of-paper poetry websites, ignoring the discursive power of new media and visual imagination.
A 2017 web-adaption based on a generative installation programmed in the BASIC language in 1990. ‘Then and Now’ is one of the first works by media-artist Geert Mul. It is a programmed and generative work done three years before the Internet was introduced to the public. On the computer monitor, the word NOW flashes with a random variable interval and changes in the word THEN. The screen is endlessly transcribed, from left to right, but also from top to down, symbolizing both the linear and cyclic aspect of time.
Toen and Nu captures the artist’s childhood fascination with being incapable of capturing the “NOW” moment in words: once you say ‘NOW’ you’re already to late: the moment is gone, urging you to try again, ad infinitum.. The work has to run from it’s code (not from a pre-recorded source) so that the NOW moment in the work is being generated ‘real-time’ by the random variable interval. In this way the NOW-moment in the work is a true, unpredictable and real-time NOW..
This project used Brown University's interactive and immersive stereo 3D audiovisual environment (Cave) to make a digitally mediated work of poetic language art, while studying the Cave as a media system for digital literary practice. It used the Cave to explore notions of translation, multiculturalism, and the impact of technological affordances on literary expression and reception. This was done through creating a digital version of the poem The Rubaiyat of Omar Khayyam, one that allows the user to experience, simultaneously, different translations that exist for this work.
Potentially, this provides the reader with an opportunity to gain equal access to alternative versions, some of which may fall outside the mainstream. For example, the digital Cave version not only includes the well-known translation by Edward Fitzgerald but also an unknown version by a Mrs H. M. Caldwell, a Persian scholar who dedicated her life to this translation and the study of the Persian language. The Arabic translation of the poem by Egyptian poet Ahmed Rami is also included as well as the original text in Farsi and an Irish version intended to represent the research-author’s multicultural identity.
In the Future of Writing, Willem Flusser writes that writing was invented to decipher the images, as a tool for overcoming human alienation. But now, we are reaching the point when culture is a gigantic transcoder from text into image. Flusser makes a point about our world when he asks: What is the future of writing when we now are subservient to making visuals, transferring reason to imagination.
//SPAM explores the future of critical thinking and reading/writing as a tool and resistance in a automatizated society, with the use of deeply socialized images to address the form in which we read the internet. By utilizing a mesh of memes, trigger-images, diagrams, animated images, transparencies, and screenshots of text //SPAM searches for new notions of the divide between image and text, forcing the public to read image as text and text as image.
A machine is trained for days on the RAND database of World Terrorism Incidents. This character-based neural network gradually learns to write new incidents, letter by letter. These incidents are altered from past tense to future tense and illustrated manually using found imagery which corresponds roughly to the described situations. In extrapolating the algorithmic anticipation of future risk, strange new scenes and situations emerge. A machine for dreaming up new terrors.
Face Recognition system tracks the digital identity of social network users and indicates both their biometric aspects as well as their network of contacts and the frequency in which they appear in photos, even if it isn't marked on them. This quantification is part of an artificial intelligence system applied to images that seeks to associate with maximum precision a facebook account to a specific user in order to create more and more accurate consumption profiles. However recognition machines still do not distinguish static models from real people, there is "a flaw in the system" that exempts users from having to define themselves only by their own face.
Fakebook is a network ethnography that seeks to exploit bugs in facebook face recognition systems. Pointing to new ways of using this network, without necessarily identifying themselves as a specific user with a "real" identity that are the basis of the policy of access to the digital world. From this network ethnography, one seeks to point to modes of self-creation, for the poetic production of characters, metadata fictions, post stories and other realities, beyond the post-truth, and pointing to possibilities of self-creation through networked art.
Income Mood shows the variations of the state of mind of a hypothetical character; in particular, his feelings are all connected to the markets performances.
Through the tracking in real time of trading prices for international companies, quoted on the main world stock exchanges, we can see how every detected variation represents a mood modifier for the character. If the detection of markets fluctuations generates an output of personal expressions, on the contrary, the lack of market changes leaves our character in a sort of state of global deficiency.
The project explores the phenomenological implications of neomercantilism policies on the mind as states of volatility, uncertainty, and self-precarization takes hold and turn us into an hypothetical Other, outside the control of an 'I'.
“Accumulative Collaboration - Intuiting Hand Choreographies” is a site-specific experimental research piece in which we investigate and facilitate “embodied knowing” alongside “machine knowing” using an open-source, neural network (a form of artificial intelligence).
Participants improvise gestures with their hands in front of a computer to train a neural network, which learns the movements. The hands train the neural network and a duet between machine and human ensues.
Hand improvisations become training data for the neural network. In turn, the neural network facilitates an accumulative choreography - one participant follows another, building off of previously improvised hand gestures. This contagion of choreography brings participants (strangers to each other) into a collaborative relationship facilitated by the AI.
Our research asks:
How do we bring ideas of “machine knowing” with “embodied knowing” into conversation?
More broadly, how do we unpack and widen discourse around AI?
In the context of AI, how do we re-contextualize the physical body as an entity with its own rhetorical agency?
And perhaps our favorite: What is a radical AI?
Credits (open source tools): Wekinator - Rebecca Fiebrink, Darius Marowiec - (NOK) & Processing.
The development of virtual prosthetics, such as weather forecast, can be seen as an attempt to access objects that live beyond one’s perceptual bubble. From Uexküll’s perspective on animal perception, every animal is surrounded by trillions of entities, however, only a small number these are relevant, or even noticeable, to the animal, distinguishing between surrounding and environment. From an Object Oriented Ontology point of view objects don’t appear in the environment, instead they withdraw. Therefore, perception of the object doesn’t occur environmentally but by aesthetic experience — a place of illusions in which illusions are also real. Aesthetic Experience — Eurico Sá Fernandes This artwork explores the aesthetic experience of new prosthetics (neural networks, deep learning, etc) in an attempt to generate a non-human narrative from a human trained AI.
An AI will be trained and programmed to generate a series of poems and visuals that will be delivered via push notifications. In order for the visitors to receive the notifications will have to access the exhibition and click in a button. The notifications will be shown as native push notifications on desktop or mobile devices.
Perfect video-compilation by perfect users with perfect profiles using perfectly (or not).
Sacha Toncovich (fb.me/pazworlds) is a digital #multidentity, you can be her/him/us/they and post as Sacha on Facebook, through the open Twitter-user: sachatoncovich password: <3<3<3 or Instagram-user: toncovichsacha pass: <3<3<3
zipIT offers software and hardware tools for self-service in controlled demolition as part of Scripting the Other pavilion.
Annie Abrahams is a Dutch performance artist specialising in video installations and internet based performances, often deriving from collective writings and collective interaction. Born and raised in Hilvarenbeek in the Netherlands, she migrated to and settled in France in 1987. Her performance work challenges and questions the limitations and possibilities that are implicated when internet users communicate from one to another by the use of new media known as cyberformance. In 2013, Abrahams and Emmanuel Guez began the ReadingClub, an online venue for collaborative reading and writing performances. The project was included in the show Erreur d'Impression, curated by Alessandro Ludovico at publier à l'ère du numérique, Jeu de Paume, Paris in November and the Electronic Litterature Collection volume 3, February 2016. Website bram.org.
Mez Breeze’s award-winning creations have helped shape digital fiction for over two decades. “#PRISOM”, her and Andy Campbell's anti-surveillance game produced for The 2013 International Symposium on Mixed and Augmented Reality, is “…the digital equivalent of Orwell's 1984” (according to James O’Sullivan). Mez is a Coproducer, Creative Director and Lead Interactive Writer of the “Inanimate Alice: Perpetual Nomads” Virtual Reality/Novel Series, co-creator of All the Delicate Duplicates, Advisor to The Mixed Augmented Reality Art Research Organisation, and is currently developing a comprehensive career archive with Duke University. Website Mez Breeze Design.
Ynfab Bruno has a background in sociology and plastic arts, is passionate about chance and necessity. Her fortuitous encounter on a virtual operating table of a digital glitch permanently orientates her artistic choices. Currently she turns in the multitude of jumps of l a living and hiccutivating collective work of connected art. Website fannybruno.net.
brokenenglish.lol is an electronic poetry publisher founded by Pierre Herrera, David Martinez and Canek Zapata. We aim to make electronic literature more accessible to a spanish public. Website brokenenglish.lol.
Renee Carmichael is an artist, coder, designer and writer whose work often explores technology and the relationship between structure (code), content and design. She has written and produced work around themes such as masks,carrots and the web browser (Free wifi / Gratis WLAN, Eigen Art lab 2016), The Dance Epidemic of 1518 (Come to Feet, SPACE Permaculture Residency, London), the website's relationship to print (An Homage to the Death of Print, orbits.com, online exhibition/book), Obsessive Compulsive Disorder and technology (Eavesdropping, film), code poetry (ccthenr workshop series) and singing IBM anthems and code (011 Chant to Them, Hello World! exhibition, L’atelier-KSR, Berlin). She graduated from Goldsmiths College in London with a Masters in Interactive Media: Critical Theory and Practice and has worked recently as a Researcher and Interaction Designer in the Hybrid Publishing Lab at Centre for Digital Cultures at Leuphana Universität Lu¨neburg, Germany. She is founding editor of the experimental publication Flee Immediately!, and currently works freelance on various design and research projects. She is also a writer and avidly creates weird links that bring together technology, art and culture. Website renee-carmichael.com.
Mark Cypher has been teaching in the art and design fields for over 20 years. Mark is a senior lecturer and Academic Chair for the Graphic Design major at Murdoch University, Perth, Western Australia. As principal for BoxCudos Design, he consults in communications design, book design, identity design and web design for cultural, not for profit, and corporate clients. Mark is also an experienced international new media artist, having exhibited in over 16 international exhibitions, including, ISEA 2017(Colombia), ISEA 2011 (Istanbul), 404 International Festival of Electronic Arts (Argentina), Salon International De Art Digital (Cuba), Siggraph 2006 (USA), FILE - Festival Internacional de Linguagem Eletrônica ( Brazil), NewForms06 (Canada), BEAP -Biennial of Electronic Art (Australia), Haptic 07 (Canada), Bios4, Centro Andaluz de Arte Contemporáneo (Spain), Transitio_MX (Mexico) and the Santa Fe International New Media Biennale (USA). Mark Cypher’s artwork is also represented in several Australian state and national collections. Website markcypher.com
Eurico Sá Fernandes (1991, PT) is an artist, designer and programmer living and working in Amsterdam. His research explores the implementation and implication of new prosthetics, with a particular focus on ecology, encryption and artificial intelligence. Co-founder: Studio Ponto + Malware + Liquid Gallery. Contact eurico at ponto dot ws.
Emmanuel Guez. Writing machinist. Heteronymic writer. Curator. Media philosopher (media archaeologist). Co-founder and co-director of PAMAL (Preservation & Art – Media Archaeology Lab). Lives in Vienna (AT) and Avignon (F). Website writingmachines.org.
David Guez realizes artistic projects related to new medias that mainly focus on the themes of memory and time. He also worked on the realization of many collaborative platforms which question the uses and limitations of new technologies while offering new alternatives. These projects are produced and present in many art center(Centre Pompidou, Jeu de paume Gaité lyrique, plateau, Centre Barbara, Banff, File Festival Brazil, ISEA 2015/2016…) and receive media coverage (New york times, the world, release, Télérama, France-culture…) and institutional support (CNC, SCAM, ARCADI). Website guez.org
Anna-Luise Lorenz is an artist, graphic designer and researcher based in London and Berlin. Her work revolves around the anomalies of empiricism and rationalism, the paradoxical, the impossible and the failed as a means to explore parallel spheres of reality that emancipate us from a world that we all agreed on, synchronized by knowledge and created by those who are in power: natural sciences, capitalism, tech reviews. Website annaluiselorenz.com.
Loveletter.exe is a virus that in year 2000 had spread in a few minutes around the world, causing an initial loss of billions of dollars for the world wide web <3 computers. This virus has recently become biodigital and accesses the social networks and develops ways of being, feeling, creating, and sharing networked connected life. Presentation.
Christine Meinders is an AI designer/researcher who uses collaborative and inclusive design approaches to co-author social AI projects and AI design tools. As a researcher and designer, Christine holds an MFA in Media Design Practices from ArtCenter College of Design and an MA in Clinical Psychology from Pepperdine University. Her research has focused on the design and utilization of emotion analysis in intelligent agents, inclusive design in AI, and collaborative design for embodiment in hybrid spaces. Christine is co-founder of Artificial Knowing.
Nick Montfort develops computational art and poetry, often collaboratively, and studies creative computing of all sorts. He is professor of digital media at MIT. He lives in New York and Boston. Montfort earned a Ph.D. in computer and information science from the University of Pennsylvania. Montfort works in several different contexts, which include the Web, book publication, and the literary reading but also the demoscene. With Ian Bogost, Montfort initiated the platform studies approach and the MIT Press book series that corresponds to it. His contributions to critical code studies include organizing and co-authoring the main book using the methods of this field. In electronic literature, he wrote the first book focusing on a single form of e-lit, has extensively created, edited, and written about work of this sort, and served on the board of directors of the Electronic Literature Organization for more than ten years. He currrently edits the Using Electricity series of computer-generated books for Counterpath. Montfort founded and directs The Trope Tank, a DIY and boundary-transgressing MIT research lab that undertakes scholarly and aesthetic projects and offers material computing resources. Montfort's recent projects include several computer-generated books that are published in print, in many cases offset printed in a print run from traditional publishers. #! (Counterpath, 2014; the title is pronounced “shebang”) contains programs and poems. 2×6 (Les Figues, 2016), is book of computer-generated poems done in collaboration with six others, in English and five other languages. He has three computer-generated print-on-demand titles, the latest of which is Autopia (Troll Thread, 2016), and a print-on-demand book of tiny poems, Sliders (Bad Quarto, 2017). Website nickm.com.
Geert Mul has been exploring for over 25 years the possibilities of a poetry in the language of new (data-based) media. This has resulted in a flow of experimental artworks in a wide range of media: prints, light-objects, video and interactive/generative computer installations. Mul’s practice engages the broader public through audiovisual-performances and (commissioned) installations and artworks in public space. For Mul, art is a poetic exploration and enrichment of media-language and ultimately of perception. Mul's works are ana-logic: correlation, association and speculation are creative forces that ‘form’ the work. Geert Mul (1965) studied art from 1985 -1990 in Arnhem where he graduated with computer animations, video and kinetic sculptures. After his studies, he traveled in Mexico, the United States and Asia, where he resided for one year in Tokyo, which ever since influences his perception and works. Since 1993, he lives and works in Rotterdam Holland. In the mid-1990s, Mul became one of the first VJ’s, creating video animations to be combined with electronic music. These events grew into interactive audio visual environments, which he placed in a variety of contexts, from museums to pop festivals. Today, Mul works on artworks, installations and exhibitions with a 5 to 10-person crews (interns, craftsman, programmers and audio-visual technicians). Mul develops software and custom media that form an intrinsic part of his art-works. In 2010 Geert Mul received the Dutch Witteveen+Bos Art & Technology Award for his oeuvre. He has produced over 20 commissioned art installations in schools, hospitals and other buildings and has performed and exhibited works in the Museum Boijmans van Beuningen Rotterdam, Museum of Modern Art New Delhi, Stedelijk Museum Amsterdam, the International Biennial Torino, Ruhr European Capital of Culture 2010, The National Museum of Modern Art Kyoto Japan, Museo Nacional Reina Sofia Madrid, Institute Valencia Arte Moderne, Museum of contemporary Art Chicago, Museum of Modern Art Chengdu and the Dortmunder-U in Germany. Mul teaches at the Gerrit Rietveld Academie (Amsterdam) Interactive Design - Unstable Media. Geert Mul is represented by gallery Ron Mandos, Lives and works in Rotterdam, Holland. Website www.geertmul.nl.
Luke Munn uses the body and code, objects and performances to activate relationships and responses. His projects have featured in the Kunsten Museum of Modern Art, the Centre de Cultura Contemporània de Barcelona, Fold Gallery London, Causey Contemporary Brooklyn and the Istanbul Contemporary Art Museum, with commissions from Aotearoa Digital Arts, and TERMINAL. He is a Studio Supervisor at Whitecliffe College of Art & Design and a current PhD Candidate at Western Sydney University. Website lukemunn.com.
Jeneen Naji is Digital Practice Coordinator & Faculty in the Department of Media Studies in Maynooth University, Ireland where she lectures on the B.A. Media Studies, the BSc Multimedia, Mobile & Web Development and the B.A. Media Technology run with the Department of Computer Science. Dr. Naji’s research is in the area of digital culture specifically exploring the impact of the digital apparatus on poetic expression. She is also a convener and founding member of the Maynooth University Digital Arts & Humanities Research Cluster. Dr. Naji is also a member of the international editorial review board of the International Journal of Game-Based Learning (IJGBL) and a Fulbright TechImpact Scholar.
Quenzamson is a digital artist-duo related to the group facebook.com/groups/perfectusers.
Antoine Schmitt, creates artworks in the form of objects, installations and situations to address the processes of movement in all of their modalities, and question their intrinsic conceptual problematics, of plastic, philosophical or social nature. Heir of kinetic art and cybernetic art, nourished by metaphysical science-fiction, he interrogates the dynamic interactions between human nature and the nature of reality. Antoine Schmitt has also undertaken an articulation of this approach with more established artistic fields like music, dance, architecture, literature or cinema. His work has received several awards in international festivals : transmediale (Berlin, second prize 2007, honorary 2001), Ars Electronica (Linz, second prize 2009), UNESCO International Festival of Video-Dance (Paris, first prize online 2002), Vida 5.0 (Madrid, honorary 2002), CYNETart (Dresden, honorary 2004), medi@terra (Athens, first prize 1999), Interférences (Belfort, first prize 2000), and has been exhibited among others at the Centre Georges Pompidou (Paris), at Musée des Arts Décoratifs (Paris), at Sonar (Barcelona), at Ars Electronica (Linz), at the CAC of Sienna (Italy), at the Musée d’Art Contemporain de Lyon (France), in Nuits Blanches (Paris, Amiens, Metz, Bruxelles and Madrid). Website antoineschmitt.com.
Enric Socias (Spain, 1981). Fine arts degree by the University of Barcelona; Master in digital arts by the Pompeu Fabra University (Barcelona). My work is closely related to finding a concordance between sensitive and ideological circumstances. I started my career working fully in a material dimension, and in the recent years I found in code the perfect territory for the coexistence of psychological and individual space with the developing of cultural collective experiences. From my point of view, digitalism is an extraordinary confusing world where we must find our way to preserve the quality of emotions. My work has been exhibited in the Latin videoart festival (New York), in the Salon Inter-nacional de Artistas (Medellín, Colombia), in MediaLab-Prado (Madrid), in the University of Salford MediaCityUK and in Mutek Festival (Barcelona) among others. Website enricsocias.net
Winnie Soon is an artist and researcher in the area of network/software (art) studies. Her projects explore the materiality of computational and networked processes that underwrite our experiences and realities in digital culture. Currently, she is Assistant Professor at the Department of Digital Design and Information Studies, Aarhus University. Soon's work has been presented at festivals, museums and galleries throughout the Asia Pacific, Europe and America, including but not limited to Transmediale2015/2017 (Berlin), ISEA2015/2016 (Vancouver, Hong Kong), ARoS Aarhus Art Museum (Aarhus, Denmark), Si Shang Art Museum (Beijing), Pulse Art + Technology Festival (Savannah), RIXC Art Science Festival (Riga), FutureEverything Art Exhibition (Manchester) and Hong Kong Microwave International Media Arts Festival. Website siusoon.net.
Selwa Sweidan is an artist and researcher who conducts movement and systems-based investigations. She prototypes emerging technologies, ranging from the designing of our senses to speculative AI systems. She holds a Bachelor's degree from Smith College and a Master's of Fine Art from ArtCenter College of Design. Selwa teaches at Santa Monica College in the Design and Technology Department's pilot Bachelor's Interaction Design program. She has been a Design Fellow at Fabrica, a Fellow at George Greenstein Institute, an Artist-in-Residence at UC Irvine and a postgraduate Fellow at ArtCenter College of Design. Selwa is co-founder of Artificial Knowing.
Michael Szpakowski is an artist, composer & writer. His music has been performed all over the UK, in Russia & the USA. He has exhibited work in galleries in the UK, mainland Europe & the USA. His short films have been shown throughout the world. He is a regular contributor to the UK based painting magazine Turps Banana. Website somedancersandmusicians.com.
Canek Zapata (Mexico city, 1985) is a poet by learning, a post-internet artist irl. He studied Classical Studies at UNAM and had a fellowship at Fundación para las Letras Mexicana to write poetry. He is member of the Seminario de Producción Fotográfica of the Centro de la Imagen 2016. His work range about hypertext, glitch aesthetics, media archeology and poetry. The net essay En defensa del usuario (in defense of the user) was exhibid in the Centro de la Imagen. Selected in newhive.com selection for Future Art Fair 2015. His homepage is canekzapata.net.
Zombectro. Website zombect.ro.
SCRIPTING THE OTHER is a pavilion (online exhibition) in the third edition of The Wrong - New Digital Art Biennale (Nov 1, 2017 - Jan 31, 2018).
The exhibition explores the notions of the Other and Otherness in online, performative scripting and writing. The idea is to use internet as an instrument of the Other, and antitheses to the echochamber of the self, and set up an interface towards it, as if communicating with or observing an undefined, unknown or uknowable entity, operating system, or AI. The exhibition examines text and text-visuals in meeting with an inordinant 'Here Comes Everything', the role and protocol of author, reader, viewer - entangled and undermined.
Scripting the Other is organized and curated by Noemata (Bjørn Magnhildøen, Ana Buigues). The exhibition is part of the project Other Writing initiated by Noemata and funded by Arts Council Norway. Noemata is a production site for digital and netbased art, affiliated with PNEK (production network for electronic art Norway).
Ambivalent interaction: To challenge and undermine ideas about communication, meaningfulness, identity, noise/signal, writer, reader, and the like, in relation to text. For example, the audience/browser should ask questions about what this text _is_ - is it communication? do I write? who's writing? do I read? both? - and to conclude that the text has its proper life and symbolically approaches the Other (the opposite to self and identity). Ambivalent interaction is a metaphor for the way we operate on the internet - how internet opens up for a game of identity, partly necessitated in the face of an overwhelming and frenzied 'other', something which in turn has created a feverish market for simulacra, representation and imitation - think of social media acting as a 'big data' simulacrum, and 'selfies' acting as a kind of mockery mirror. In reality, this kind of identity has an equivalent vast, dark side, 'other', as a reaction, since our default state on the internet is both anonymous and transparent (two antitheses of identity).
'The Other' as a writing process, and the category 'Scripting the Other' as an aggregate term for text or text-visuals not immediately categorizable: "The concept that the Self requires the existence of the Other ... Lacan associated the Other with the symbolic order and language. Levinas connected it with the scriptural and traditional God, in The Infinite Other. ... Ethically, for Levinas, the "Other" is superior or prior to the self; the mere presence of the Other makes demands before one can respond ... Levinas talks of the Other in terms of 'insomnia' and 'wakefulness'. It is an ecstasy, or exteriority toward the Other that forever remains beyond any attempt at full capture, this otherness is interminable (or infinite)... it has not been negated or controlled. ... The "Other", as a general term in philosophy, can also be used to mean the unconscious, silence, insanity, the other of language (i.e., what it refers to and what is unsaid), etc.".
Through such a hybrid reading-writing process an integration to a wider operational identity, perhaps with a reference to analytical psychology and its individuation process if we look at the unconscious as 'the Other' and internet again as the unconscious through big data which we are interacting ambivalently with. If we associate 'the Other' with the symbolic order and language, and assume that the unconscious has a language, we can treat the internet with its endless stream of data as a stream-of-(un)consciousness and 'Other' in the meeting with the browser, identity and traditional reader and writer.
A "nihilogue" (e-lit term introduced by Espen Aarseth) - a text which has neither origin or impact (author or audience), for everyone and for no one, in the sense that it is automatic or unconscious, and corresponds approaching the 'the Other', an existence evading control, and in a stream which is continuously and increasingly diverging; can be compared with a 'default state network' in the brain, whirring constantly, a dream without a dreamer.
The reader/audience/'other'/unknown/internet provides 'resonant' answers, i.e. the answer is a kind of reverberation of the situation where the context plays part and changes (as is often the case on the internet - everything is context, everything is protocol).
The scripting might serve as communication between transmitter and receiver, where the aspect of 'Other' is put in the background and intervens more sporadically. These modes can be compared with the Other as 'insomnia', 'wakefulness', 'ecstasy', 'presence'.
The scripting might have a relatively invisible/transparent interface where these different roles avoid definition. The writing surface can provide a sort of resonance space between identity and 'Other', as the scripting might use the input to process textual mass from the net, and thereby intervening in the writing process which might reveal an associative-resonant meaning. The scripting can itself start this process and the user act as a resonant search machine for it.