Ivana Tkalčić
Twilight zone, snapchat, camera, text to speech

Today in the ever-changing world of quick-shifting realities, the comprehension of what we think we know about the world is changing rapidly. In the past ten years, the development of technology speeds up exponentially. Did this change been for easier and better for a living? Or is technology changing and reshaping our consciousness and ways of thinking which cannot yet be imagined? Our perception and the experience of the world undoubtedly changed. We are transiting into a post-information and post-human age that is radical transformation our way and nature of living, being and understanding the world that surrounds us. Furthermore, on a personal scale, the boundary between online and offline life has disappeared. The most intimate part of our lives has become a slice of the virtual world that draws the strength from the media. How has everyday online-offline interaction changed the experience of the world around us and influenced our daily visual perception?

HD video / 03:11 min 

Julio Guzmán
The Positive Value of Powerlessness

‘The Positive Value of Powerlessness’ is a durational project, in which the artist commits himself to meet the internet for the next thirty years. The project aims to study internet infrastructure and its geopolitics in different parts of the world. The project mimics the very procedure of automation and storage by uncovering the infrastructure of the network, internet infrastructure that we take for granted until it breaks. Guzmán deals with nostalgia, activism, cultural resistance, and the complexities of leading a life in an increasingly digitised and blurrier world. His actions are linked to the most primitive, physical, emotional and financial needs of survival and self-preservation.

HD video / 05:19 min 

Mez Breeze
Geospatial and Mixed-Locative Colonisation Document 

For all the current hype surrounding the practice and implementation of Augmented Reality technology, there has been a complete lack of focus (artistic or otherwise) regarding the ownership/proprietary rights involved in colonising geospatial arenas. _T[he]Issue_ is a “Geospatial and Mixed-Locative Colonisation Document” that asserts ownership rights to emergent Augmented and Mixed/Virtual Reality dimensions. The document asserts a blanket claim over all spatial and locative sectors involved in an updated version of the Virtual-Reality Continuum (think: [Geophysical]<—[Cartesian]–[Mixed]–>[Synthetic]). This “Geospatial and Mixed-Locative Colonisation Document” will comprehensively outline ownership adoption of non-colonised geospatial/geolocative vectors according to a contemporary interpretation of Geospatial Law. The aims and issues involved in the creation of “T[he]Issue” are associated with problems arising from disputes concerning the proprietorship of valuable locative sectors and to curtail AR avatar abuse. For instance, if an assumed virtual or augmented embodiment is created identical to a phenomenologically-defined “real” person, what are the governing guidelines regarding Mixed Reality copyright, trademark, and intellectual property issues ? If a business or government stakes an exclusivity claim involving Augmented Reality output in a public or popular geographic area, then who owns the rights regarding AR delivery into that space?
 

online publication

Noviki
NODE 

If we compare the architecture of a city to the peer-to-peer, a popular network of information exchange, or GANs (Generative Adversarial Networks) we can recognize the city’s largest squares as its primary junctions (Nodes). We are looking towards the future revolution of communication, where the next steps are possible to bring in new models of a constellation. City nodes as models may well take on a more virtual, imagined presence, influencing the future shape of the urban landscape and the role of digital architecture itself.

HD video / 09:32 min

Yvonne Libenson
e-Trash 

Today, when technology seems utterly smooth and weightless, composed of invisible waves, wireless signals, abstract codes, e-trash explores the ways in which these systems are still stubbornly tied to the physical world. Yvonne uses trash files from other peoples computers to create her expression. Looking at how contemporary artists use, and misuse tools and forms this show features works made since the turn of the millennium that push and challenge the boundaries of technology: upending systems, experimenting with materials, and ultimately inventing novel techniques and substances. Yvonne Libenson utilizes digital waste as a way to recycle multiple layers into a single image creating hallucinogenic ways of perceiving digital reality. The recycling process allows one to live and realize the materiality of digital files, become aware of its content and physical space. E-trash harnesses the transformative power of digitization to create a new intangible material, which is meant to help guide the viewer towards enlightenment.
 
Digital images
The Kaleidoscope_stills

ULTRAGLITX
The Kaleidoscope 

The Kaleidoscope piece is based on optical foundations, where the kaleidoscope would be an instrument used to form ornamental patterns through the reflection of light in its fragments of glass. The pattern generated in this piece is intended to arouse the curiosity of those who observe it, causing the person to wonder about aspects such as texture, colours and how that image was created. The part was created using Processing Glic Script and later mirrored and merged into Photoshop. The base image for the creation of this error was a selfie.
 
360 video /00:20 min

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