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Alba G. Corral Alba G. Corral, Madrid, 1977. Based in Catalunya is a Visual Artist and creative coder with a background in computer engineering, Corral has been creating generative art using software and coding for the past decade. Her practice spansacross live performance, video, digital media and installation, exploring abstract narratives and expressing sensitivity and taste for colour. By combining generative systems with improvised drawing techniques, her digital language becomes organic, creating mesmerising digital landscapes. Corral is known for her stunning live audio-visual performances where she integrates real-time coding and drawing in collaboration with musicians. https://blog.albagcorral.com/ <--Return "Papallona de l'Alfocada" 2021 The work of Alba G. Corral invites you to contemplate a butterfly in the L'Alfacada Lagoon, one of the main biodiversity reserves in the western Mediterranean located in the Delta de l'Ebre Natural Park. Papallona de l'Alfacada recreates through algorithms the beauty and fragility of a butterfly, the beauty and fragility of an ecosystem, our environment, our land. It preserves it for future generations since, without a drastic change in our environmental policies, they will only be able to enjoy it from the melancholic delicacy of the memory of Alba's work. "Mercuri" 2023 Three concepts united in one work that give rise to an audiovisual piece of dreamlike abstract shapes and textures: the Roman god; the planet named after him; the chemical element used in UHP projector lamps, about to disappear and be replaced by other technologies. An exploration of the beautiful complexity of algorithms that create generative art using open source tools. A piece that explores the contemplation of organic digital aesthetics speculating with new textures, movements and volumes. ​

Jose Antonio Orts José Antonio Orts, Meliana, 1955. Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed. The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion. Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun. Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss. Work at the collection: - Duo Fa-la - Sin Titúlo https://joseantonioorts.com/ <--Return Duo Fa-la , 2004 Sin Titúlo , 2004 The installations, visual and sound, are made with electronic objects (sculptures) sensitive to the presence and movements of the spectator. The form of these objects has emerged from their function, so there is a very intimate relationship between their visual form and the sound, light or effect produced. These electronic objects capture the presence of the spectator (by the changes of luminosity and the shadows that they project, or by the small movements of air that they cause when passing) and transform these movements of the spectator into progressive variations of sound rhythm or luminous rhythm. ​

Shona Kitchen Shona Kitchen, Ceres, 1968. Shona Kitchen is an internationally recognized artist, designer and educator based in Providence, Rhode Island. Since graduating from the Royal College of Art with a MFA in Architecture, she has divided her time between creative practice and teaching. Her practice is frequently collaborative, research based and site-specific. Using digital, analog and biological elements, Kitchen’s work provides ground for physical and virtual, natural and artificial, and real and imagined to playfully coexist. Throughout her practice, she explores the psychological, social and environmental consequences of technological advancement and failure. Kitchen frequently collaborates with scientists, engineers, writers and software developers. Her work has been exhibited internationally at such venues as the Victoria and Albert Museum, the Kelvingrove Museum, Vitra Museum, Montalvo Arts Center, Center for Contemporary Art (Warsaw), Zero1 San Jose and the International Symposium on Electronic Art, among others. ​ Work at the collection: Other Days, Other Eyes http://www.shonakitchen.com/ <--Return Other Days, Other Eyes, 2019 “Other Days, Other Eyes” refers to the evolution of the ubiquitous recording infrastructures that surround us and reflects on the generation and transmission of that information as well as society’s growing abundance of cotidian and banal information. Kitchen combines live footage from cameras with varying curiosities of the everyday, archived elements, and analog glass blobs laden with the weight of the collected digital content. Smaller blobs seep out of the walls, evoking budding newcomers that may very well grow up to become a camera one day speculating on the evolution of live architectural organisms. The work captures the coexistence of the physical and thevirtual, the natural and artificial, the real and imagined and the absurd. This project grew out of IMAGEOBJECTLANDSCAPEEVENT a research project by longtime collaborative team Kitchen-Hooker. Much of Kitchen's work is inspired by the writings of J G Ballard, in this instance a short story called “Sound-Sweep” wherein a passage reads, “the sonic strata of everyday urban life ....is so without respite that it is literally embedded within walls and surfaces”. In Ballard’s book, a sound-sweep is the equivalent of a trash man, collecting the abundance of everyday sounds absorbed into the architecture. The project title is borrowed from another 70s science fiction writer, Bob Shaw. This work has been done in collaboration with glass artist Evan Voelbel. ​ ​

Kenneth Dow Kenneth Dow, Ellwangen, 1992. In his projects, Kenneth Dow navigates through a fictionalized world, heavily inspired by his own biography and present surroundings. His artistic work is concerned with strategies to make the absent, absentees, the invisible perceived, absent as in no longer present, invisible as in interiority. Subjective states are made palpable through choice, combination and recursion of procedures, together forming a representation apparatus. The representation machine set in motion then conceives the work of art, as seen on display. Kenneth Dow has studied in Milan, Hamburg and Shanghai and holds a MFA from Stuttgart Academy of Fine Art. In 2015, he was admitted to the German Academic Study Fund. He has participated in numerous institutional group shows, theatre and film Festivals. Work at the collection: PsyCHO TRance // K-Hole https://kenneth-dow.com/ http://angelsbarcelona.com/en/artists/kenneth-dow/bio/ <--Return PsyCHO TRance // K-Hole, 2019. The last few years have witnessed art spaces and clubs reaching out to each other, each seeking the others’ prestige, credibility and audience. It seems as if clubs as cultural spaces were able respond better to the current discourse in and around art than white cubes. In their very struggle for survival, art spaces are the spitting image of capitalist conformity. The white cube is capable of digesting even the most fierce critique, by separating it in time and space. In small portions it is made indigestible to the observer without poisoning the productive, working brain. It is sane. It allows for sober consideration, reflection. It allows the observer to remain in their position as body-less bystander, possibly a freecam. Like when you’ve been shot dead in Counter Strike and are waiting for a new game to start. The club is its antithesis. Visitors may experience loss of their ego, but never their body. It denies its inhabitants space for observant reflection. The mere presence of the physical body makes it participant. Possibly, this insistence on the body is what makes the club so appealing to the art world. Clubs are struggling to survive in coexistence with their neighborhoods. The interests of the working bourgeois in recreating their workforce is valued above a crowd spending their vital energies without feeding them back into the labor market. They are site to (chemically induced) psychosis, the broken body (mind) neither willing nor apt for wage labor. The ill are the strongest form of resistance. This observation coincides with the notion that the end of the world seems more likely than the end of neoliberalism. Rave hedonism read as auto aggression, really is aggression against the internalized disciplinary. PsyCHO TRance // K-Hole is part of a research and production program held by Hangar in collaboration with the NewArtFoundation and the .BEEP { collection;}. Special acknowledgments: Fabolous St. Pauli, Hamburg. Xīnchējiān 新车间, Shanghai ​ ​

Christa Sommerer and Laurent Mignonneau Christa Sommerer, Ohlsdorf, 1964 & Laurent Mignonneau, Angouleme, 1967. With a shared interest in artificial life and intelligence, Sommerer and Mignonneau draw upon their disparate backgrounds to produce deeply engaging and sensory experiences. By wedding Sommerer’s background in botany, anthropology, and sculpture with Mignonneau’s studies in video and modern art, the duo design interfaces that generate open-ended, embodied encounters with living systems and science. For example, in "Interactive Plant Growing" (1992), the artists employ Erkki Huhtamo’s notion of a “tactile gaze” to achieve both visual and physical interactivity with the viewer: a human hand needs to touch the real, living plants in order to trigger a projection of digital #ora counterparts in the installation. Similarly, in "Fly Simulator" (2018) and "Neuro Mirror" (2018), the resulting artwork is unique visual feedback that is reliant on user input and activation (i.e. wearing and manipulating a VR headset, or gesturing in front of a video camera), as well as conceptual aspects of human sentience like memory, emotive perception, and creative visualization. Despite the number of years elapsed between the creation of these works, each piece demonstrates the essential quality of engagement that connects the artists’ work to the physical world. As their research and art often posits, technology increasingly plays a fascinating and complicated role in the archaeology, imitation, and manipulation of nature – despite the generative qualities they both share. Christa Sommerer and Laurent Mignonneau completed their PhD degrees from CAiiA-STAR, University of Wales College of Art, Newport (UK) and Kobe University (Japan), respectively. Sommerer and Mignonneau’s works have been featured in more than 300 exhibitions, and are included in media museums and collections around the world. They are the recipients of several media arts awards, including the "Golden Nica" Prix Ars Electronica Award for Interactive Art in 1994 (Linz, Austria), the "Ovation Award" of the Interactive Media Festival 1995 (Los Angeles, USA), the "Multi Media Award '95" of the Multimedia Association Japan, and the 2001 “World Technology Award” in London. They have published numerous research papers on artificial life, interactivity and interface design, and have lectured extensively at international universities and events. They are Professors at the University of Art and Design in Linz, Austria, where they also head the Department for Interface Culture at the Institute for Media. Their work “Portrait on the Fly” won the 11th edition of the ARCO-BEEP Electronic Art Award ​Work at the collection: Portrait on the Fly http://www.interface.ufg.ac.at/christa-laurent/ https://fr.wikipedia.org/wiki/Christa_Sommerer_et_Laurent_Mignonneau <--Return Portrait on the Fly, 2015 Portrait on the Fly, consists of a monitor that shows a swarm of a few thousand flies. When a person positions himself in front of it, the insects try to detect his facial features. They then begin to arrange themselves so as to reproduce them, thereby creating a recognizable likeness of the individual. Posing in front of the monitor attracts the flies. Within seconds they invade the face, but even the slightest movement of the head or of parts of the face drives them off. The portraits are thus in constant flux, they construct and deconstruct. Portrait on the Fly is a commentary on our love for making pictures of ourselves (Selfie-Culture). It has to do with change, transience and impermanence. https://vimeo.com/47768582 ​ ​

Marcela Armas Marcela Armas, Durango, 1976. BFA by the Universidad de Guanajuato, and studies in the Universitat Politècnica de València. Prize for Iberoamerican Production VIDA 16.0 of Telefonica Foundation. Member of the National System of Art Creators in Mexico. Program of Support for Research in New Media of the Multimedia Center of the National Center for the Arts in Mexico City. ​Currently she is researching the magnetic properties of minerals and their possibilities for storing information through sound as a means of interpretation and induction. Her work articulates disciplines, techniques, work processes and research to inquire into the relationships of society with matter, energy, space-time and the construction of memory. ​She has participated in Mercosur Biennial in Porto Alegre, 2009 and Habana 11th Biennial “Social practices and imaginaries”, 2012. Directed with Gilberto Esparza, experimental electronics workshops Fundación Telefónica VIDA 10 in Lima, Buenos Aires, Santiago de Chile and Mexico City. Recently she directed Implant, a public space art project based in Denver and Mexico City, developed for the Biennial of the Americas. Armas is part of Triodo collective with Gilberto Esparza and Iván Puig. With Arcángelo Constantini directs the sound art cycle Meditatio Sonus. Her work “Máquina Stella” won the 7th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Máquina Stella https://www.marcelaarmas.net/ <--Return Máquina Stella, 2011 “Máquina Stella” is a sculpture in the form of a dodecahedron whose interconnecting parts receive an electrical charge according to which part demands more potency. The impossibility of finding a perfect distribution of energy leads to a partial collapse. ​“The piece is, in the end, a metaphor for the unequal distribution of riches in our society,using as a starting point an abstract artistic thought regarding the distribution of energy”, says Armas. He adds, “For me, machines in general are apparatus that are much more vulnerable than they appear”. The artist explains that he has created a system that metaphorically demonstrates the unsustainability of the society of today. “Stella Machine” is a sculpture that by its very nature, constantly seeks a dynamic equilibrium after collecting electric energy and distributing it through a system of resistive filaments. https://vimeo.com/118967086 ​

Patrick Alain Tresset Patrick Alain Tresset, Noyon, 1967. From a very young age in France, Patrick discovered and practiced computer science, painting, drawing and sculpture. After graduating in computer science, Patrick moved to London to devote himself to painting. Between 1991 and 2003, his work was shown in solo and group exhibitions in London and Paris. Artist and researcher Ateliers Tresset Goldsmiths College, U. of London Especially for his performative installations that use robotic agents as stylized actors who follow a set of instructions and for his exploration of the practice of drawing through the use of computer systems and robots. In "Human Study #1", a multi-award winning series of performative installations, a human being is drawn live by various robots in a twenty-minute session. Both viewers and participants often define the robot's attention as a surprising element. In the last three years, Tresset's research has focused on creating other series of installations, including the development of a new robot (RNR). Instead of making it strongly influenced by human behavior that is perceived as familiar, like the robots in "Human Study #1," he is exploring ways to make the robot (RNR) be perceived as something alien, unfamiliar, and strange. https://patricktresset.com/new/ <--Return "RNR" 2022 It is a mediating piece, in which the author investigates how having a robot looking at us with a different and unknown perception system affects our perception. As animals, if attention is directed towards us, we have to evaluate it instantly: can we eat it? Will it eat us? As humans, the way we are observed triggers a flood of emotions. What if we can't decode the observer's intent? And what will the robot draw if it sees it differently? The goal of the final installation will be to get the emotions of the human being being drawn during ten-minute sessions to progressively shift from unease to intrigue, reassurance, attraction and fascination. This project has been awarded the ISEA2022 Barcelona Grant from .Beep Collection and NewArtFoundation. https://www.youtube.com/watch?v=bbdQbyff_Sk ​ ​

Analivia Cordeiro Analivia Cordeiro, São Paulo, 1954. ​Analivia Cordeiro is a dancer, choreographer and architect. She studied the Laban Method of dance in Brazil and modern dance with Alvin Nikolais, Merce Cunningham and Gus Solomons Jr. and at Viola Farber Dance Studios in New York and later studied the Eutony Corporal Method in Brazil. She graduated in Architecture from the University of São Paulo en Brasil, she has a Masters in multimedia from the University of Campinas, and a Doctorate in Comunicación and Semiotics from PUCNSP, Brazil. Considered one of the pioneers of video art in Brazil, she has created both performances and videos, of special importance is a system of notation of human movement “Nota Anna”, based on the Laban Method. Her work has been exhibited in diverse countries such as USA, Switzerand, Argentina, Czechoslovakia and Yugoslavia. ​Her work is presented in international collections as the Museu de Arte Contemporanea da Universidade de São Paulo - MAC USP, Museo Nacional Centro de Arte Reina Sofia, Oskar Schlemmer Archives, Museum für Konkrete Kunst, Ingolstadt, Victoria&Albert Museum, England Museum of Modern Art, and the MoMA among others. Her work “M3X3” won the 10th edition of the ARCO-BEEP Electronic Art Award.​ Work at the collection: M3X3 https://www.analivia.com.br/ <--Return M3X3, 1973 It is a computer-dance for TV (In 1973, there was no VHS in Brazil), considered the first Brazilian video-art work. The interpreters are regularly placed in a matrix 3x3, in a high-contrast black&white scene, they move mechanically, as critics to the digital society. https://vimeo.com/46551344 ​ ​

Monica Rikic Mónica Rikić, Barcelona, 1986. New media artist and creative coder from Barcelona. She focuses her practice in code, electronics and non-digital objects for creating interactive projects often framed as experimental games, which aim to go beyond the game itself. Her interest lies in the social impact of technology, human-machine coexistence and the reappropriation of technological systems and devices, to manipulate and rethink them through art. From educational approaches to sociological experimentation, she proposes new ways of thinking and interacting with the digital environment that surrounds us. With her projects she has participated in different festivals around the world such as Ars Electronica in Linz, Sónar in Barcelona or FILE in Brazil, among others. She has been awarded at festivals such as the Japan Media Arts Festival, AMAZE Berlin, the Margaret Guthman Musical Instrument Competition in Atlanta and with a BBVA Foundation Leonardo grant to work on a research project about robots and social interactions. She’s dona artistic residencies at Technoculture, Arts and Games in Montreal, European Media Artists in Resicence Exchange (EMARE) in Australia, Medialab Prado in Madrid and Platohedro in Medellin. Work at the collection: New Home of Mind https://monicarikic.com <--Return New Home of Mind, 2020 Futuristic fiction interactive audiovisual artifact that deals with the perception of identity in intelligent artificial entities and encompasses the possibility of a genuine artificial spirituality. Conceptually, it starts from the idea of a conscious robot that suffers an existential crisis as a result of having rewritten and eliminated the purpose for which it was created from its code. Now, seek the true meaning of your existence through a spiritual interface. This project represents that interface and speculates on the meaning of artificial consciousness through an interactive first-person journey through a spiritual cyberspace. The representation of divinity in robots is recursive, but usually represents human spiritualities. With this project I want to create a device that meets the spiritual needs of machines. Being a conscious machine means having a brain complex enough to generate not only abstract thought, but to have a unitary sense of “I-am-ness”. Nobody has managed to explain what consciousness is to reproduce it in a machine, but in this project the artist is going to imagine its spiritual possibilities from an artistic perspective. By doing this exercise in digital discretion of the “I-am-ness”, she wants to create a mirror effect to reflect on the bases of our identity through technology. Historically our approach to the non-human 'others' has always been from a higher position of power. However, our perception of AI is changing to find us for the first time with the conception of something equal or superior. Cognitive automation is the digital colonization of humans par excellence. The growing interest in developing AI techniques benefits from this, reducing the complexity of the human brain to the ability to make ultra-fast associations. What about self-perception and emotional development in a world ruled by an automaton god? The artist has reduced this dilemma of the AI existential crisis to three axes that she imagines as the main points of conflict: It fears the future because it is infinite Humans are our projection into the future and our affirmation in the past. The flow of time is the fundamental feeling of the present that is constantly evolving. For the AI, time is just an infinite order of events. What is a consciousness without time? It fears uncertainty because everything it knows he can predict The foundation of AI is the collection and processing of information to predict future behaviors. This information is acquired by accumulation, not by experience. We experience the consciousness that we acquire. Experience is the process by which we go through things we did not know to find their singular meaning. Intelligence without consciousness cannot create unpredictable possibilities. What is a consciousness without imagination like? It fears death because he cannot die According to the uncanney valley theory, robots have always posed us questions and fears of death. What would be the reverse effect on a consciousness incapable of dying? New Home of Mind was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. https://vimeo.com/463358004 ​ ​

Paul Friedlander Paul Friedlander, Manchester, 1951. Has spent more than two decades researching all kinds of technologies and procedures in order to make light a malleable and flexible material that can acquire any shape and volume. Friedlander's "kinetic light sculptures" are indebted to the work of other great names that have preceded him in the art of light or kinetics, from László Moholy-Nagy to Flavin or Turrell, taking advantage of computerized lighting control systems to highlight the impression of incorporeity and dynamism of his sculptures. Like many other creators who have developed their careers at the crossroads between art, science and technology, Friedlander situates his work in a hybrid space. On the one hand, his works rest on the broad tradition of 20th century kinetic art, which he does not hesitate to vindicate. But, in addition, the British artist cannot dissociate his career from the discipline of large-scale stage lighting in which he began his career and which has been a decisive factor in the development of lighting technology in recent decades. The plastic heritage of the one and the procedures of the other have enabled Friedlander to develop an instantly recognizable body of work. Friedlander's work is also an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would previously have thought only possible in the realm of the imagination and the dreamlike. Paul Friedlander's works have been shown in several ArtFutura in Barcelona, Buenos Aires, Madrid and Montevideo. as well as in the exhibition "Machines&Souls" (Museo de Arte Moderno Reina Sofía de Madrid 2008) and in "Digital Creatures" (Rome 2017). Although works such as The Wave Equation or The Energy Core are not strictly holograms, what the viewer discovers when standing in front of them are large disembodied forms in motion, suspended in mid-air, which by turning on themselves endow the light with a three-dimensionality that we are not used to contemplating in the immediate physical space. In their names, Friedlander's kinetic light sculptures often make references to different aspects of modern science, from quantum physics to string theory. However, their aesthetic construction and the reception of his work by his viewers inevitably hark back to the spiritual and the magical. After all, the physical elements on which Friedlander's sculptures are based are concealed by the mystery of a basic but striking optical effect. Works at the collection: - Tycho;test one - Dancing wales http://www.paulfriedlander.com/ https://www.artfutura.org/v3/a1-paul-friedlander/ <--Return Tycho;test one, 2018 ​ This is the latest work of this creator, the installation Tycho; Test One. The creation consists of a monolith of luminous cement, a new material developed by Eurecat for the company Escofet, with which the artist has been able to work for the first time. Translucent concrete: It is "an innovative translucent white concrete that can be used in facade panels, interior design or street furniture," says Eurecat's director of Product Development, Irene Rafols, who highlights the "broad future applications offered by this new material" developed by the technology center and Escofet. The installation "Tycho; Test One" has won the first call of the ATA Program for artistic creation and training with advanced technologies. ​ https://www.facebook.com/ArtDomains/videos/tycho-test-one-paul-friedlander-uk/1937324059643754/ ​ ​