ROOM 15

In Virtual Return We (can’t) Dehaunt is a three-channel moving-image work by Yarli Allison. It traces the real-life stories of four queer Hong Kong (trans)migrants by reconstructing their nostalgic homes in virtual reality (VR), which draws attention to diasporic narratives and cultural archives through the process of cognitively metaphorical ‘returns’.

Extrapolated data from jpg file used to make an algorithmically determined expanded 3D image of Philip K. Dick from a photograph gleaned from the internet

The work as whole taps into contemporary expressions of Romanticism; its emphasis on the ‘natural’, its pushback against scientific and technological progress, and its relationship with emergent digital tech. These are archetypal themes within dystopian sci-fi, illustrated in Philip K Dick's text when the story's protagonist converts a piece of music into a bird with unintended consequences. In exploring CGI’s ability to appear both seductive and repulsive, the hummingbird’s uncanny looping animations sit in uneasy contrast with its embodied image of romanticism and naturalness. 

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

The Brutalisation of Beautiful Things, 2021 started as digital image of an oil painting 1.5m2 which was uploaded and re-downloaded over a hundred times onto Instagram -with the help of a custom-built script to allow the Instagram algorithm to repeatedly compress the image. The final file downloaded from Instagram became pixelated and a strange purple hue started to appear. This was then printed back on top of the original oil painting, to create a collaboration between myself and the Instagram algorithm.

SWERVE is a living archive of the sensuous, artificial gaze at diffracted sensibilities, virtual real spacetime manifold of preserved digital-physical dreams. Her performances operate on spoken word poetry that she co-writes with artificial intelligence (AI), sound and imagery that are computer generated live (CGI) from her brainwaves data (EEG), and drone performance. https://digitalartistresidency.org/the-preserving-machine/anna-nazo/

siXren 3D bust, 2020 - exploring photogrammetric processing and translation of visual data into 3D and virtual imagery and is made with a photogrammetry iPhone app. Agnes' work is focused on the topic of human embodiment in the upcoming age of posthumanity, when the material body becomes the very site where trauma, transformation, technological innovation, and evolution conflate. The overlapping of virtual and physical realities, and emergence of new technologies and simulated virtual environments, deep fakes, and AI imagery, digitized 3D features, demands the attention to redefine our human sensorium and seek a new relationship with our virtual and physical bodies. In simulated virtual 3D and digital environments, the body becomes a fluid, liquid, metamorphic, spectral representation of its physical counterpart, and affects how we think about our bodily senses and sensuous realities. siXren 3D bust is a 3D representation of Agnes' performance practice, linking posthuman embodiment, consciousness technologies, ancient sacred practices, rhythm and storytelling.

SWERVE is a living archive of the sensuous, artificial gaze at diffracted sensibilities, virtual real spacetime manifold of preserved digital-physical dreams. Her performances operate on spoken word poetry that she co-writes with artificial intelligence (AI), sound and imagery that are computer generated live (CGI) from her brainwaves data (EEG), and drone performance. https://digitalartistresidency.org/the-preserving-machine/anna-nazo/

SWERVE is a living archive of the sensuous, artificial gaze at diffracted sensibilities, virtual real spacetime manifold of preserved digital-physical dreams. Her performances operate on spoken word poetry that she co-writes with artificial intelligence (AI), sound and imagery that are computer generated live (CGI) from her brainwaves data (EEG), and drone performance. https://digitalartistresidency.org/the-preserving-machine/anna-nazo/

SWERVE is a living archive of the sensuous, artificial gaze at diffracted sensibilities, virtual real spacetime manifold of preserved digital-physical dreams. Her performances operate on spoken word poetry that she co-writes with artificial intelligence (AI), sound and imagery that are computer generated live (CGI) from her brainwaves data (EEG), and drone performance. https://digitalartistresidency.org/the-preserving-machine/anna-nazo/

An algorithmic script that uploads images multiple times allowing Instagram compression filters to be made visible in images uploaded.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

In similar vein to Hummingbird, Fly shows a CGI looping animation of a dragonfly that explores the algorithmic processes underlying its creation and its unnerving, uncanny effects on images depicting nature. This body of work as whole taps into contemporary expressions of Romanticism; its emphasis on the ‘natural’, its pushback against technological progress, and our relationship with emergent pixel-based tech.

This image appropriates one of the most iconic lines repeated throughout The Terminator series of dystopian science fiction films. Its hyperbolic cheesiness doesn't seem so fanciful even outside the context of a Hollywood film, with a fear of technology - or technophobia - underlying much of our discourse about it, valid or not. This body of work as whole taps into contemporary expressions of Romanticism; its emphasis on the ‘natural’,its pushback against technological progress, and our relationship with emergent pixel-based tech.

This body of work for Format 21 draws on Romanticism and hyperbolic imagery and text from dystopian sci-fi to explore the seductive and repulsive qualities of pixel-based processes and computer-generated imagery . I know is the last line of dialogue in sci-fi film The Terminator (1984), spoken with accompanying pathos just before its protagonist drives off into the distance. 

This ornate trinket draws on Baroque imagery and forms a link between 'natural' ornamentation of the hummingbird's plumage and dragonfly's iridescence, and that which we consider manufactured and artificial. Within that framework it playful looks towards the accompanying associations of natural meaning good and artifice meaning bad. This body of work as whole taps into contemporary expressions of Romanticism; its emphasis on the ‘natural’,its pushback against technological progress, and our relationship with emergent pixel-based tech.

The text originates from one of the final lines of dialogue spoken in sci-fi film The Terminator (1984). It draws upon the hypnotic imagery of technology dystopia depicted in the film, but here the text becomes the object - rendering its own hyperbole in a hypnotic 3D animation. This body of work as whole taps into contemporary expressions of Romanticism; its emphasis on the ‘natural’,its pushback against technological progress, and our relationship with emergent pixel-based tech.

The project is a re-creation of the Preserving Machine’s 1972 edition cover. Taxidermy specimens, bought from e-bay were scanned through photogrammetry in the reimagining of the book. The work exploring relations between Dick’s story and understandings of preservation through digitalisation of contemporary museum and cultural archives.

Sea Chicken is an experimental short migration memoir of a Canadian born Hong Kongese dislocated to British colonial HK. The personal journey’s visual was generated in low-resolution, creating a 90s nostalgia before HK’s handover to China (1997).

The project is a re-creation of the Preserving Machine’s 1972 edition cover. Taxidermy specimens, bought from e-bay were scanned through photogrammetry in the reimagining of the book. The work exploring relations between Dick’s story and understandings of preservation through digitalisation of contemporary museum and cultural archives.

Local Area Network is an investigation into the internet infrastructure using cloud-based photogrammetry. Milnes has captured data centres, mobile cell masts, comms rooms in a technological vision of network media. Presented are a series of 3D scans that map local network materiality.This network consists of a rich assortment of minerals and rare metals which, assembled into devices, are secreted in a number of locations mostly unknown to the students, staff and visitors reliant upon them. Not only do we rarely understand how the network works, we seldom know the network’s location.

Local Area Network is an investigation into the internet infrastructure using cloud-based photogrammetry. Milnes has captured data centres, mobile cell masts, comms rooms in a technological vision of network media. Presented are a series of 3D scans that map local network materiality.This network consists of a rich assortment of minerals and rare metals which, assembled into devices, are secreted in a number of locations mostly unknown to the students, staff and visitors reliant upon them. Not only do we rarely understand how the network works, we seldom know the network’s location.

Local Area Network is an investigation into the internet infrastructure using cloud-based photogrammetry. Milnes has captured data centres, mobile cell masts, comms rooms in a technological vision of network media. Presented are a series of 3D scans that map local network materiality.This network consists of a rich assortment of minerals and rare metals which, assembled into devices, are secreted in a number of locations mostly unknown to the students, staff and visitors reliant upon them. Not only do we rarely understand how the network works, we seldom know the network’s location.

Aberrations explores how the same set of photographic data fed into 3d software programs produces inconsistent results. Distortions become manifest through the algorithm’s misunderstanding of spatial information, suggesting the reliability and efficacy of these programs is distinctly flawed in its present technological iteration.The models shown here are produced by processing the same set of digital images multiple times, and each model is an example of where the software has failed to effectively spatialize that information. Aberrations represents a small study of the algorithm’s inability to effectively repeat the same set of actions and outcomes.

Aberrations explores how the same set of photographic data fed into 3d software programs produces inconsistent results. Distortions become manifest through the algorithm’s misunderstanding of spatial information, suggesting the reliability and efficacy of these programs is distinctly flawed in its present technological iteration.The models shown here are produced by processing the same set of digital images multiple times, and each model is an example of where the software has failed to effectively spatialize that information. Aberrations represents a small study of the algorithm’s inability to effectively repeat the same set of actions and outcomes.

Initiation into conscious metamorphosis: Medicinal words meditation, 2020 video is made by using 3D AR filters in Instagram camera, exploring spectral representations of the fluid (digital) self, expanding our imaginary on human embodiment and its augmentation in 3D and cyber space. With meditative sonic and visual means the video explores notions of self-transcendence, transformation and metamorphosis, between virtual and physical realms.

The project is a re-creation of the Preserving Machine’s 1972 edition cover. Taxidermy specimens, bought from e-bay were scanned through photogrammetry in the reimagining of the book. The work exploring relations between Dick’s story and understandings of preservation through digitalisation of contemporary museum and cultural archives.

Aberrations explores how the same set of photographic data fed into 3d software programs produces inconsistent results. Distortions become manifest through the algorithm’s misunderstanding of spatial information, suggesting the reliability and efficacy of these programs is distinctly flawed in its present technological iteration.The models shown here are produced by processing the same set of digital images multiple times, and each model is an example of where the software has failed to effectively spatialize that information. Aberrations represents a small study of the algorithm’s inability to effectively repeat the same set of actions and outcomes.

I know is the last line of dialogue in sci-fi film The Terminator (1984), spoken with accompanying pathos just before its protagonist drives off into the distance.  This body of work for Format 21 draws on Romanticism and hyperbolic imagery and text from dystopian sci-fi to explore the seductive and repulsive qualities of pixel-based processes and computer-generated imagery.

Starting with a high-res scan of Roman goddess Venus de Milo I applied various polygon reduction techniques, to simplify yet preserve traces of the original form (a little like jpeg image compression), and reduced the file to 1kb.

Malabou writes about ecological plasticity, which is centered on how an organism relates to its surroundings. Sophie uses digital software including Cinema 4D to create simulations of imagined places and scenes often inspired by world-building practices found in sci-fi. This work, Plasticity, combines CGI imagery of imagined hybrid creatures with research into the “everlasting synthetic intrusion on the natural marine ecology” as described by Susan Freinkel in her book Plastic: A Toxic Love Story

Malabou writes about ecological plasticity, which is centered on how an organism relates to its surroundings. Sophie uses digital software including Cinema 4D to create simulations of imagined places and scenes often inspired by world-building practices found in sci-fi. This work, Plasticity, combines CGI imagery of imagined hybrid creatures with research into the “everlasting synthetic intrusion on the natural marine ecology” as described by Susan Freinkel in her book Plastic: A Toxic Love Story.

Local Area Network is an investigation into the internet infrastructure using cloud-based photogrammetry. Milnes has captured data centres, mobile cell masts, comms rooms in a technological vision of network media. Presented are a series of 3D scans that map local network materiality.This network consists of a rich assortment of minerals and rare metals which, assembled into devices, are secreted in a number of locations mostly unknown to the students, staff and visitors reliant upon them. Not only do we rarely understand how the network works, we seldom know the network’s location.

Aberrations explores how the same set of photographic data fed into 3d software programs produces inconsistent results. Distortions become manifest through the algorithm’s misunderstanding of spatial information, suggesting the reliability and efficacy of these programs is distinctly flawed in its present technological iteration.The models shown here are produced by processing the same set of digital images multiple times, and each model is an example of where the software has failed to effectively spatialize that information. Aberrations represents a small study of the algorithm’s inability to effectively repeat the same set of actions and outcomes.