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Anthoni McCall Anthoni McCall, Saint Paul's Cray, 1946. McCall is known for his ‘solid-light’ installations, a series that he began in 1973 with “Line Describing a Cone,” in which a volumetric form composed of projected light slowly evolves in three-dimensional space. Occupying a space between sculpture, cinema and drawing, his work’s historical importance has been recognized in such exhibitions as “Into the Light: the Projected Image in American Art 1964-1977,” Whitney Museum of American Art (2001-2002); “The Expanded Screen: Actions and Installations of the Sixties and Seventies,” Museum Moderner Kunst, Vienna (2003-2004); “The Expanded Eye,” Kunsthaus Zurich (2006); “Beyond Cinema: the Art of Projection,” Hamburger Bahnhof, Berlin (2006-2007); “The Cinema Effect: Illusion, Reality and the Projected Image,” Hirshhorn Museum, Washington DC (2008); and “On Line,” Museum of Modern Art (2010-2011). McCall’s work has also been exhibited at, amongst others: Centre Pompidou, Paris, Tate Britain, London, SFMoMA, San Francisco, Serpentine Gallery, London, Hangar Bicocca, Milan, Moderna Museet, Stockholm, Serralves, Porto, Hamburger Bahnhof, Berlin, Kunstmuseum St Gallen – Lokremise, Eye Film Museum, Amsterdam, and Lugano Arte e Cultura. His work is represented in numerous collections, including, among others, Tate, London, el MoMA, Museum of Modern Art, New York, Museum für Moderne Kunst, Frankfurt, MACBA, Museu d’Art Contemporani de Barcelona, Whitney Museum of American rt, New York, SFMoMA, San Francisco Centre Pompidou, Paris, Moderna Museet, Stockholm, and the Hirshhorn, Washington DC. Work at the collection: Face to Face II http://www.anthonymccall.com https://en.wikipedia.org/wiki/Anthony_McCall <--Return Face to Face II, 2013 A video installation consisting of two projections of light on two screens, which requires the presence of the public to take life. Through light, shadow and smoke, the artist generates an ephemeral space, where the visitor has the sensation of crossing solid light walls, which are transformed with the contact of his body, always creating new geometries and unpredictable alterations of the architectural space. Powered by ​ ​

Albert.DATA Albert.DATA is the new artistic identity of Albert Barqué-Duran, Lleida 1989. Albert is an artist and a researcher in Creative Technologies and Digital Art, currently based in Barcelona. ​Albert, the human one, earned a PhD and a Postdoc in Cognitive Science from the Centre for Mathematical Neuroscience at City, University of London (UK) and have been a Visiting Postgraduate Researcher at Harvard University (USA) and University of Oxford (UK). Albert's artistic research focuses on: (1) human-machine interaction during artistic and creative processes, (2) Artificial Intelligence's (AI) aesthetic artifacts, (3) perception and aesthetics under sensory conflicts, and (4) experimental formats and aesthetics in virtual environments using game engines. ​They have exhibited and performed at Sonar+D (Barcelona, Spain), Ars Electronica (Linz, Austria), ZKM (Karlsruhe, Germany), Creative Reactions (London, UK), Cricoteka (Krakow, Poland), Albumarte (Rome, Italy), SciArt Center (New York, USA), IGNITE Fest (Medellin, Colombia), Nuits Sonores (Lyon, France), Mobile World Congress (Barcelona, Spain), Ming Contemporary Art Museum (Shanghai, China), DMA (Daejon, South Korea), and more. Albert was awarded with the Artist Residency at Sonar+D x Factory Berlin in 2020 and received an award from "We Are Europe" (Creative Europe Programme of the European Union), which endowed him as one of the 64 young "Culture Activists" in Europe in 2019. Further, they have been internationally awarded by the "Re:Humanism Prize" for work on the relationship between AI and Art; by "We Are Equals-MUTEK Music Academy"; by "Art of Neuroscience" award for bridging science and art; and by the Catalan Government with the "International Award City of Lleida" for the significant cultural impact of their projects. Website: ww.albert-data.com Instagram: @albert_data Twitter: @Albert_DATA TikTok: @albert.data YouTube: Albert_DATA https://albert-data.com <--Return S.F.I.D. Slowly Fading into Data, 2023 SUMMARY: ‘Slowly Fading into Data’ is a speculative audiovisual project expressed in multiple artistic formats: a retro- game & arcade installation, a conceptual music album, a live a/v performance, and a film. These audiovisual experiences are the results from Albert.DATA’s artistic research on disembodiment, extended cognition, hybrid beings, and synthetic identities. An avant-garde, ambient, and contemplative story of a human, slowly mutating into data: A transformative journey about non-human forms, the boundaries and extensions of experience, existence, and identity. The creation of new audiovisual instruments to interpret the last human reverberations. A step forward for the disintegration of the self. ​THE PROJECT: The Retro-Game & Arcade Installation is based on a narrative-driven, interactive-storytelling, action-adventure experience. It is designed to be played more than once to discover all its hidden secrets, choices, easter eggs, and alternative endings. An intense cinematographic audiovisual experience that pushes your 8-bit perception and puts into test your exploration and philosophical skills. The project’s goal is to challenge standard audiovisual production methods by combining "low-tech" (8-bit retro console) with "high-tech" (artificial intelligence and procedural sound design) using game engine technologies. In specific, the experience presents 8-bit artistic game assets designed and produced using artificial intelligence techniques (machine learning applied to visual arts); and it also features 8-bit procedural music and sound design that experiments with and exploits the sound hardware of this iconic family of consoles. ​The Music Album is a conceptual sonic project that delves into the past to peer into the future. Using research on 8-bit music and neural audio synthesis, Albert.DATA proposes an avant-garde ambient, and ominous experience that feels completely out of time. The creation of new digital instruments to interpret the last human reverberations. A memory trip based on contemplation and ecstasy. A step forward for the disintegration of the self. The Live A/V Performance (45 min.) is an experimental narrative-driven, interactive-storytelling audiovisual show implementing 8-bit sound technologies with neural audio synthesis in real-time. The live show invites us into an ambient, ethereal, abstract and contemplative story of a human, slowly mutating into data: A transformative journey about the meaning of transfiguring into a non-human form, the boundaries and extensions of experience, existence and identity. ​The Film (45 min.) is an experimental cinematography project that aims at merging all the other expressions of the ‘Slowly Fading into Data’ project into one single audiovisual experience. It consists of 6 different short pieces that combine scenes from the live a/v performance and fictional material. The goal is to challenge the canonical audiovisual production methods by combining retro formats (8mm Film) with state-of-the-art cinema technology (Virtual Production and Artificial Intelligence). PROJECT’s WEBSITE www.albert-data.com https://albert-data.com ​

Davide Grassi Davide Grassi, Bergamo, 1970. Davide Grassi is a Slovenian artist of Italian origin, who lives and works in Ljubljana, Slovenia. His work has a strong social connotation and is characterized by an intermedia approach. He is the author of numerous videos, performances, installations, documentaries and intermedia projects. He is co-founder and member of the Bast Collective (1999) and of the open research platform for interventions in public spaces SilentCell Network (2003). He is co-founder (2002) and artistic director of Aksioma -Institute of contemporary art. ​ ​ https://performingtheeast.com/davide-grassi/ <--Return Brainloop, 2007 The work of Slovenian artist Davide Grassic consists of an interactive platform that uses a BCI computer system that can be operated only by imagining specific motor commands. In the performance "Brainloop", the subject, Markus Rapp, is able to investigate urban areas and rural landscapes that he sees on Google Earth. He selects the location, camera, angles and positions and records the images in sequences in a virtual world. In the second part of the performance, he returns to the footage and uses Brainloop to compose a soundtrack, selecting and manipulating audio recordings in real time, which sound designer Brane Zorman places in the physical space. The virtual environment allows the audience to perceive the events in 3D. The work is the result of a collaboration between Slovenian artists and Austrian scientists. ​ https://www.youtube.com/watch?=_BRJyl8WBK0&ab_channel=MediaArtTube ​ ​

Joan Fontcuberta and Pilar Rosado Joan Fontcuberta, Barcelona,1955 and Pilar Rosado, Sant Boi del Llobregat, 1965. Joan Fontcuberta and Pilar Rosado have their work facilities at Roca Umbert Factory of the Arts in Granollers, Barcelona. This neighborhood situation allowed them to find shared concerns about art and technology that fueled their collaboration on different projects. Joan Fontcuberta has developed both an artistic and theoretical activity, focused on the conflicts between nature, technology, photography, and truth. He is a self-taught artist and his training is mainly in communication and social sciences. From that theoretical starting point, his work has focused on the changing nature of images. However, beyond aesthetic qualities, images are understood as social and historical constructions that provide models for the real world and allow human interaction. Pilar Rosado is an artist, teacher, and researcher. Graduated in Biology and PhD in Fine Arts, she has published various essays on the application of artificial vision models for the analysis of large collections of abstract art images, which provide alternative points of view for reflection and which question the conventions of our gaze. In her artistic practice, she explores political issues that can be addressed from the image and that implicate machine learning technologies, such as information management in the visual archives of the future, revision of collective memory, or artificial creativity. Their work “Prosopagnosia” won the 15th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Prosopagnosia https://www.fontcuberta.com http://pilarrosado.eu <--Return Prosopagnosia, 2019 ​Prosopagnosia is an artificially created speculation on the dialectic of facial recognition and the oversight of celebrity portraits in historical archives. Generative Adversarial Networks (GAN) have been used, which are deep neural network architectures composed of two networks that face each other (therefore, the term "adversary"), to create portraits that have never existed. Ian Goodfellow and other researchers from the University of Montreal introduced GANs in an article in 2014. The potential of these models is enormous because they can learn to mimic any dataset, that is, GANs can be taught to create haunting worlds, similar to ours in any domain: images, music, speech, or prose. ​ ​

Antoni Muntadas Antoni Muntadas, Barcelona, 1942. Considered one of the pioneers of media art and conceptual art in Spain, he has been working for more than four decades on projects in which he poses a critical reflection on key issues in the configuration of contemporary experience. His objective is to detect and decode the mechanisms of control and power through which the hegemonic gaze is constructed, exploring the decisive role played by the mass media in this process. In his works, which always have a clear processual dimension and in which he often appeals directly to the participation of the spectators, Muntadas resorts to multiple supports, languages and discursive strategies, from interventions in public space to video and photography, from the edition of printed publications to the use of the Internet and new digital tools, from multimedia installations to the implementation of multidisciplinary and collaborative research projects. Throughout his career, Antoni Muntadas, who conceives his works as "artifacts" (in the anthropological sense of the term, that is, as something that can be activated in different ways depending on the context and the moment in which it is presented), has addressed issues such as the changing relationships between the public and the private, the naturalization of consumerist logic, the processes of cultural homogenization imposed by globalization, the use of architecture as a tool to legitimize political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the use of fear of the "other" as a strategy of social control. Work at the collection: “Tasmanian Tiger: case study of the Museum of Extinction” https://es.wikipedia.org/wiki/Antoni_Muntadas <--Return “Tasmanian Tiger: case study of the Museum of Extinction” (2022). Faithful to his personal language, alien to any current and label, Muntadas presents a project about an extinct animal, the Tasmanian Tiger, and he does it with an endangered technology, holography, and a totally strange installation in high tech aesthetics, which rather evokes the charm of the old natural science museums. The work raises the debate on obsolescence and the eternal race to create new and sophisticated technologies, which ultimately generate a deepening social gap. The work recreates a room in a natural history museum, with three showcases and a 1.5 m. hologram, which had to be produced in Lithuania, as it is the only place capable of making it of such dimensions. The showcases contain photographs of the research carried out and some moving images on tablets; another showcase shows DNA studies on how to revive disappeared animals, the Tasmanian tiger being one of the most studied cases; and there is a third showcase with merchandising, which is what keeps the Tasmanian tiger alive in popular culture (T-shirts, beers, coasters, postcards...). These are elements that allow it to remain very present in Tasmania. https://www.arshake.com/en/antoni-muntadas-and-the-tasmanian-tiger-at-ars-electronica/ ​ https://bist.eu/science-and-art-ibec-collaborates-on-a-work-by-antoni-muntadas-at-ars-electronica-2022/ ​

Andy Gracie Andy Gracie, London, 1967. He works in disciplines including installation, robotics, sound, video and electronic media. He employs scientific theory and practice to question our relationships with exploration and experiment whilst simultaneously bringing into focus the very relationship between art and science. His work involves engagements with space research, cosmology and deep time, and features an ongoing examination of semiotics, simulation theory and or post-apocalyptic scenarios. <--Return Massive Binaries, 2023 The work develops two overlapping narratives about the processes and phenomena of interactions within binary systems. The gravitational wave detection of merging neutron stars serves as one system, and contemporary polarized ideologies serve as the other. The bridging mechanism between them is the use of AI as a tool for enhancing information on the one hand, and as an eraser of truth and meaning on the other. Interactions between massive systems generate strange outcomes and new forms of information, while artificial intelligence plays a sort of schizophrenic role in data manipulation. While the gravitational waves from the neutron star merger rippled through spacetime over tens of millions of years, clashes between increasingly entrenched belief systems caused destabilizing and coercive reinterpretations of value and truth. Massive Binaries is the result of the RANDA Art|Science Residency, organized by the Institut Ramon Llull and hosted by Ars Electronica and the Barcelona Institute of Science and Technology (BIST), in collaboration with the Hac Te, produced by the NewArtFoundation. https://ars.electronica.art/who-owns-the-truth/en/massive-binaries/ ​ https://www.hostprods.net/work#/massive-binaries/ ​

Marnix de Nijs Marnix de Nijs, Rotterdam, 1970. Marnix de Nijs, is a Rotterdam based installation artist. Graduated as a sculptor in 1992, he focused his early career on sculpture, public space and architecture. Since the mid 90's, he has been a pioneer in researching the experimental use of media and technologies in Art. Impelled by the idea that technology acts as a driving force behind cultural change and therefore capable of generating new experiences where societal habits and communication are rethought, his work thrives on the creative possibilities offered by new media, while critically examining their impact on contemporary society and human perception. The interface between the body and technology forms an important basis for De Nijs’s work. Technology must literally merge, become absorbed into the body so that it becomes a co-determiner of perception. And here perception not only refers to how external stimuli are interpreted by the five senses, but also the feelings that come from within the body itself, the information that is derived from one’s own muscles and nerves (the technical term being proprioception). Because De Nijs’s work often involves the entire body of the observer, they therefore become less of an observer and more of a participator; someone who experiences the work. The techniques employed in the construction of his work mediate this experience. One of the characteristics of a technological culture is that change is constant. Everyone who wants to keep pace is continually required to adjust; which does not happen automatically and can, in time lead to cultural-pathological anomalies. In this way, travelers had to get used to the first trains and airplanes. The introduction of such travel technology initially led to disorientation and required a new outlook. It is pre-eminently these cultural processes that are given artistic form by Marnix de Nijs. De Nijs' works have been widely exhibited at international art institutes, museums and festivals. He won the Art Future Award (Taipei 2000) and received honourly mentions at the Transmediale award ( Berlin 2000), the Vida 5.0 award (Madrid 2002), and Prix Ars Electronica ( Linz 2013, 2005 & 2001). In 2005, he collected the prestigious Dutch Witteveen & Bos Art and Technology Price 2005, for his entire oeuvre. Work at the collection: “Non-dimensional cities” http://marnixdenijs.nl <--Return “Non-dimensional cities” (2022). 'Non-dimensional Cities' is an immersive cinematic experience in which participants journey through an endlessly unfolding virtual cityscape that expands over all axes. This dimensionless cityscape is constructed from a large collection of point clouds and sounds. While the user is standing on the controller platform and navigates through this virtual world, a sense of physical instability takes over. The building blocks of the world are generated from depth map information and panoramic photographs obtained from Google Street View’s API. Depending on the user’s position in the virtual world these blocks are dynamically repositioned on a three-dimensional grid. By subtle manipulation of motion and sound, perspective distortion and shifts in balance Non-dimensional Cities unquestionably re-calibrates the viewer's perception of dimensionality. http://marnixdenijs.nl/non-dimensional-cities.htm ​ ​

FakeShop FakeShop, New York, 1997. FakeShop is a collaborative group founded and led by the New York artist Jeff Gompertz in 1997. One of its principal characteristics is the mobility of its members according to the piece to be produced. Its activity is centred on technological performances that question and project human reality before technological society, a cyberorganized being observed and conditioned by, and subject to developments derived from the age of computation from a dystopian perspective. Due to the fact that the work of FakeShop is essentially based on installations and complex performances, its work as artefact is limited. They have exhibited at BACC, Bangkok, and Public interventions, Bangkok, 2012, WTF, Bangkok, 2011, BACC, Bangkok, 2010, HYCAC, Beijing, 2008, A-space, Beijing, and 798 arts festival, Beijing, 2007, Super-deluxe, Tokyo 2006, ARCO art fair, Madrid 2005, Cooper Hewitt Museum, NYC, 2003, Franklin Furnace, NYC, 2002, Deitch Projects, NYC and The Kitchen, NYC 2001, Whitney Museum, NYC and Eyebeam, NYC, 2000, Ars Electronica, Linz, 1999, among others. Works at the collection: “HUHB 387” and “HUHB 492” http://fakeshop.com <--Return “HUHB 387” and “HUHB 492”, 2000 The Human Use of Human Beings (HUHB) These prints were created during the installation HUHB, and come from a collection of similar screen grab captures produced during that installation at Eyebeam Atelier, NYC., 2000. In particular they are ‘double monitor’ screen grabs of a somewhat complicated setup of 8 computers each running their own *CU-SeeMe video chat webcam window and running in a live chat session over a public server ‘reflector’ site. The set-up of these computers happened as an off-site project for the Whitney Biennial 2000, as part of the museums first inclusion of net art into the Biennial Eyebeam allowed Fakeshop use the space at that time, which was an empty Chelsea garage building before they started renovation. It was a fun process getting the ISDN line installed there. ​Work on deposit from LaAgencia Collection. ​ ​

Eric Vernhes Eric Vernhes, Paris, 1966. After completing his diploma in architecture taught by Paul Virilio, Eric Vernhes begins working in film production alongside Anatole Dauman at Argos Films. Dauman goes on to invite Vernhes to write some of his first fictional and documentary projects. Among them, “Le théâtre amateur”, selected by the Cinémathèque Française for their “One hundred years of short film” cycle, as well as the feature length “Le Grand Projet”, winner of the Michel d’Ornano prize at the 1996 Deauville Film Festival. Launching the production company “Les Productions Polaires”, Vernhes takes on filmmaking as a central art form and delves into all its facets, from screenwriting and editing to directing and creating sound. Searching for more intuitive approaches to the audiovisual medium, he turns to experimental video, implementing digital tools that condense the editing process, sound-image rendering and projection into one single act. In the company of improvisational musicians as Serge Adam, Benoit Delbecq, Marc Chalosse, and Gilles Coronado, Vernhes creates performances that simultaneously generate digital images and music. These performances are either interactive or hinge on a unique improvisational production of images created by a specific programming interface. The challenge for this work is to formulate a new cinematographic language, dictated only by intuition and by the present moment. At this time Vernhes also works on theatrical projects, where imagery is integrated from the earliest writing stage (in collaboration with Irène Jacob, Jean-Michel Ribes...), as well as on some projects for the rock scene (with Rodolphe Burger, Alain Bashung…). Starting in 2008, he begins working on audio-cinematic installations and arrangements, whose performances are programmed by self-generating, interactive or hybrid logics. He thus develops a complete, resolutely humanist artistic signature. Extracted from their technical context, the digital processes utilized by the artist recount a timeless narrative inspired by literature and philosophy. In their sophisticated aesthetic and use of rare, high quality materials, Vernhes’ pieces transcend the engineering technicalities of their programming, instead exploring the human gesture of creation. The artist has also constructed various anthropoids pieces whose self-propelling structures fuse with the viewer’s conscious perception to create a symbiotic performance. Eric Vernhes has been exhibited in various international art fairs, centers and foundations, his work is part of several private collections and foundations, including the Hermès Foundation, the Frankel Foundation and Artphilein Foundation. He is also a professor of new media art. Work at the collection: De Notre Nature https://www.ericvernhes.com/ <--Return De Notre Nature, 2013 De Notre Nature is inspired by Book II of «De rerum natura», by Lucretia. This poem in Latin, written in the first century B.C.E., is a translation of the atomist doctrine developed by Epicurus about two centuries earlier. Book II revolves around atomic physics and the constitution of bodies: according to the Epicurean doctrine, matter is composed of indivisible particles which he calls «atoms». These atoms move randomly in the vacuum and can combine to form aggregates of matter that can embody a man as well as any object. In this materialistic framework, Lucretia puts forward the concept of «clinamen»: a deviation, a spontaneous and random deviation of atoms from their vertical fall into the void, which allows them to collide and generate matter. From this atomic mechanics, Epicurus deduces the absence of divine determinism and the proof of the existence of our free will. Eric Vernhes represents this cosmogonic vision through an installation consisting of a column surmounted by a golden tray containing balls and a mirror-screen a few steps away from the column. As the spectator approaches, the tray containing the marbles - a representation of the atoms of the Epicurean doctrine - begins to oscillate. The balls roll and collide with each other, generating a sound «wave». Simultaneously, a fragile image of the spectator appears on the screen as if it were generated by the movement of the «particles» in the tray. https://vimeo.com/85465567 ​ ​

Albert Barque Duran and Marc Marzenit Albert Barqué-Duran, Lleida, 1989, & Marc Marzenit, Barcelona, 1983. Albert Barqué-Duran, PhD, is an artist and researcher. Lecturer in Creative Technologies and Digital Art at University of Lleida and Honorary Research Fellow at City, University of London. Albert earned his PhD and Postdoc in Cognitive Science from City, University of London and has been a Visiting Postgraduate Researcher at Harvard University and University of Oxford. His artwork and performances are inspired by his research and combine new media art techniques, A.I., computational creativity, data, experimental electronic music, and classical fine art methods, oil painting, sculpture, to reflect on universal topics, knowledge, digital culture, futures. He leads disruptive projects at the intersection of art, science and technology with the aims of: finding novel formats of generating artistic and scientific knowledge; Reflecting about contemporary and futuristic issues and its cultural implications; Creating powerful experiences to push the boundaries of human perception. Considered 1 of the 64 "Culture Activists" in Europe during 2019 by We Are Europe, and internationally awarded by the "Re:Humanism Prize", the "We Are Equals - MUTEK Music Academy", the "Art of Neuroscience Award", and the "International Award City of Lleida", Albert has exhibited and performed at Sónar+D, Barcelona, Ars Electronica, Linz, ZKM (Karlsruhe, Creative Reactions, London, Cricoteka, Krakow, Albumarte, Rome, SciArt Center New York, IGNITE Fest, Medellín, Mobile World Congress, Barcelona and Ming Contemporary Art Museum, Shanghai, among others. Marc Marzenit is an audio engineer, composer, music producer and Dj with many years of experience touring the world. He performed in places like London, Paris, New York, Los Angeles, Argentina, Mexico, Australia, Canada or Asia, just to name a few. Besides his profile as underground musician, he also created shows like “Suite on Clouds”, a 3D mapping show with 8 violinists, 1 harp, symphonic percussion, synthesizers and a grand piano. These projects draw on his classical background and show his integrated vision of electronic music: combining acoustic, analogue and digital instruments together in the same show. He is currently a Lecturer in "Music and Sound for Interactive Experiences" at ENTI- Universitat de Barcelona; and the Founder of Aulart. https://www.instagram.com/marcmarzenit/ https://twitter.com/marcmarzenit Work at the collection: Vestibular_1 https://albertbarque.com https://www.instagram.com/albertbarque/ https://twitter.com/AlbertBarque <--Return Vestibular_1 VESTIBULAR_1 is an immersive audio-visual installation that invites the audience to wander inside a vestibular system structure. In specific, the installation induces illusory sensations of self-motion by temporarily disrupting the audience’s vestibular functioning via specific patterns and configurations of audio and light stimuli. Any organism moving through its environment receives a constant stream of sensory signals about self-motion: optic flow inputs from vision, proprioceptive information about the position of the body from muscles, joints and tendons, and inputs for acceleration via the vestibular system. This latter seems particularly important for self-motion (Green & Angelaki, 2010). Under normal circumstances, the brain optimally combines sensory signals for self-motion, which are successfully integrated to produce a coherent representation of the organism in the external environment. However, conflicts between sensory modalities may occur when sensory signals carry discrepant information. If the vestibular system is altered with conflicting sensory information, we easily realise that the usual way in which we perceive objects of human expression, such as visual forms, music, and art, does dramatically change (Gallagher, M., Dowsett, R., & Ferrè, E.R., 2019). The installation VESTIBULAR_1 is based on the innovative research from the VeME (Vestibular Multisensory Embodiment) Lab at Royal Holloway, University of London, which investigates the role played by vestibular signals in the perception and representation of the body and the external world and how it affects aesthetic preferences. ​ Co-Producer: .BEEP { collection;} – NewArtFoundation. Technology Partner: Protopixel Technology Collaborators: Sfëar – Eurecat. Silentsystem. In collaboration with: Elisa Ferrè (Vestibular Multisensory Lab - Royal Holloway, University of London), https://vemerhul1.wixsite.com/vemerhul. https://youtu.be/Rf2l9MiYk5U ​ https://youtu.be/yqV1ICrirq0 ​