Maurice Benayoun + Tobias Klein: Brain Factory (2016)

Installation, EEG headset and 3D printer…”With Brain Factory Prototype, Maurice Benayoun and Tobias Klein have produced a very specific installation — a mechanism designed to transform abstract things into concrete objects with the participation of the spectator. An installation/tool, it examines first the mind and its wanderings then uses this thinking matter as a medium. A material that asks nothing more than to be moulded, embodied by its interaction with machine art, an artistic device that filters the brainwaves of each spectator/worker, much as a factory commoditises the sublimation of the present moment. The spectators’ interaction with the installation engenders objects, sculptures, tangential realities that can exist, disappear, be sold, endure and survive thought. But the true sublimation occurs in the very action of this thought that creates “art together”.” –Centre Culturel François Villon

#dataviz #EEG #AI #Interactiveart #3DPrinting #BCI #BrainComputerInteraction #Reification #Sublimation


Kurt Hentschlager – ZEE – 2008
Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound

Kurt Hentschlager – SECTOR 2c – 2012
Single Channel Video, – 1080p, Stereo Sound, 10.55 minute loop

Kurt Hentschlager – SOL – 2017
immersive Audiovisual Environment LED Wall Display, Surround Sound

Kurt Hentschlager – CLUSTER – 2009-2012
Generative Audiovisual Installation & Live Show, Single 16:9 Screen, 4.1 sound

“Hentschläger’s works have characteristically been visceral and immersive, as in ZEE and FEED, with extreme perceptual effects, composed from light, sound and fog. These works physiologically affect the viewer’s experience. His CLUSTER series builds on the uncanny, by portraying 3D representations of humanoid creatures that can only exist in dynamic flux, seeming to swirl and flow like the wind, apparently unhinged from the screen that they are projected on. His most recent, emerging body of work including MEASURE and ORT is tracing the concept of nature and appropriation of nature in the anthropocene.”

#visceral #immersive #perceptual #physiological #polysensory #experiential


Atau Tanaka: Biomuse (2008)

Atau Tanaka: Global String (2000)

“Global String is a multi-site network music installation, connected via the Internet. It is a musical instrument in which the network forms the resonating body, by use of a real time sound synthesis server. The world premiere of Global String took place during the opening of DEAF00 at V2_ (NL) in co-operation with Ars Electronica Centre in Linz (AU).”



Ryoji Ikeda: Datamatics (2006)

Ryoji Ikeda: Micro | Macro (2015)

Ryoji Ikeda: Micro | Macro (2015)

Ryoji Ikeda: The Radar (2012)

“The computer is a real-time generator of multimedia algorithms that constitute the core of the work’s experience” – Weil, Benjamin. “Art in Digital Times: From Technology to Instrument.” Leonardo 35, no. 5 (2002): 523-37.

#exhibitionperformance #timebased #event #experience #activatedAV #soundart #concerts #soundinstallation #recordings #sinewaves #clicksounds #whitenoise #minute #dynamic #soundconstruction #glitchelectronica #technoise #post-techno




Marina Abramovic: The Artist is Present (2010)

The Artist is Present is an all day, durational performance, in which artist and audience engage in an “energy dialogue.” The artist sits in silence with the objective of achieving a “luminous state of being” and then “transmit” it in a work where “performance becomes life itself.”

How do we conceive then, of The Artist is Absent, an all day, durational performance, in which artist and audience engage in an “energy dialogue” by means of an encounter with absence?


Orlan: “Carnal Art” (2001).

“We could say that I go from the real to the virtual since I did surgical operations / performances to transform, rebuild, disfigure myself. It is half-way between rebuilding and disfigurement. I can easily start the operations again. It is not real versus virtual. I have no desire to choose between one and the other. Our Judeo-Christian civilization put customs in our heads, imposing the or, making us choose, demonizing one of the elements, good or evil, video or sculpture in Carrara marble, new technologies, the Internet, or painting […] All my work is on the and. I think the and is very, very important. It is indeed the real and the virtual, not or […] so it  seems very important nowadays to drop this or. The baroque that I worked on for 20 years insisted on that and showed us St. Teresa who delighted in the angel’s arrow and at the same time, was in a state of erotic ecstasy. I think that this kind of existential display takes on a remarkable, and exceptional value in our transitional age where the problem is to ensure one’s coexistence with others and one’s coexistence in terms of a threshold of normality which leads to true tolerance.”


LuYang – Delusional Mandala – 2015

“The artist created a digital nonsexual human simulator in her own shape for the first time to complete an artwork. Because of the powerful curse in the content of the work, the artist has to apply the spell to herself to avoid harming others. This artwork is all about neurosciences, in which the artist is always interested. She makes use of the principle of the stereotactic system, the deep brain stimulation and RTMS working on the deep limbic system, in order to extend delusions, substitute into religious perspective and fugacious meditation on the material world and produce objective delusions.
This work is the artist’s reflection on her creation in the past, at present and in the future. Is consciousness adhere to the brain? Where on earth is consciousness? The artist simulates the delusions of damaging herself and her works over and over again in her work. It can be sure that these delusions will eventually come true. This artwork is the second piece of the artist’s new series of works. The first one is Moving God. The new series of works are still involved with categories such as religion and neuroscience, etc. They are different from the works in the past, using this method to meditate and practice, and constructing delicately through different ways this delusional mandala.”