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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/ <<-- Back "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

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/ <<-- Back 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.

Charles Sandison, Haltwhistle, 1969. Charles Sandison was always interested in computing; at the age of 12, he taught himself to code on his computer. He went on to study art (at the Glasgow School of Art) from 1987–1993 and briefly taught there after graduating. In 1995 Sandison moved to Finland and now resides permanently in Tampere. During the early 1990s Sandison exhibited alongside Young British Artists in such shows as; Wonderful Life, Lisson Gallery, London 1993, and Institute of Cultural Anxiety: Works from the Collection Institute of Contemporary Arts, London 1994. During a five year hiatus in which Sandison moved away from the United Kingdom and occupied the position of Head of Fine Art at Tampere School of Art and Media. He came to wider recognition in 2001 after exhibiting in the Venice Biennale. In 2004 Sandison became a visiting professor at Le Fresnoy, Lille. In 2010 Sandison was awarded the Ars Fennica prize by President of Finland Tarja Halonen. Much of Sandison's work involves computer generated video projections that create immersive data installations, placing the viewer at the centre of a changing universe of words, signs, and characters. Sandison's art works to incorporate the viewer into the piece, so that the computer and human mind can work together. Sandison draws inspiration from nature and his surroundings, and attempts to capture elements of human life and the current world that we live in. His work “Nature Morte” won the 8th edition of the ARCO-BEEP Electronic Art Award Work at the collection: Nature Morte https://www.sandison.fi <<-- Back Nature Morte, 2012 The piece is an accomplished interpretation of baroque vanitis from the viewpoint of new technologies. Convinced that language is our interface with reality, Sandison creates IT programmes controlled by dynamic molecular algorithms that generate words and brings them to life. In the case of the winning work, the artist uses the quartet of Byron that references Carpe Diem, the enjoyment of the instant, in a generative audiovisual work, as such, always distant, that includes elements of literature, romanticism, and textuality, as well as a profound reflection on new media.

Peter Weibel, Odessa, 1944 - 2023 Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science. From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde. Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art]. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow. Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. Works at the collection: Das Tangible Bild, The Endless Sandwich, Media May Rewind Reality http://peter-weibel.at <<-- Back Das Tangible Bild, 1991 / 2019 In the interactive computer installation Das tangible Bild [The Tangible Image], you are standing in front of a Cartesian coordinate grid. You are filmed standing in front of this grid by a camera, you see the image projected on the opposite wall. When you touch the rubber screen of the monitor, which stands on a pedestal in the middle of the room, the projected image warps. Thus, you can interact with the image via a three-dimensional “touch screen” in real time. Each time you touch the screen, behind which sensors are installed, information is sent to a computer to which the camera’s live images are transferred. In the computer, the signals of the warping of the screen converted into digital data influence the data representing your image within the space. The screen and the Cartesian grid become identical. Real distortions of the rubber screen appear in the projection image as distortions of the grid in front of you. An interface (the rubber screen) is switched on between the grid and the projection image. It is not the changes in the grid that affect the projection, but the changes in the interface. Is our world merely the product of an interface technology, the interface of the natural body ? The Endless Sandwich, 1969 Between the TV set and viewer, a function exists whereby the user switches on and off the appliance. He has reproduced this function and made it the content of the TV programme. Sandwich character of real process and reproduction process, of reflection and action. On the screen, a series of viewers is seen sitting in front of TV sets. A fault occurs in the last set shown, meaning the next viewer has to get up in order to repair the fault. This repair brings about a disruption in the next viewer’s screen. The disruption propagates itself until it reaches the real TV set, meaning the real viewer has to rise and eliminate the fault. Time delay: the real procedure is the conclusion of the reproduced procedure. https://youtu.be/FVTlqewBTo4 Media May Rewind Reality, 1969 A video of a lighted candle plays in reverse in a TV set, gradually growing as time passes, while a physical candle sitting on the monitor slowly dwindles. “Media May Rewind Reality” is a sort of “vanitas” in which the simple image of a candle flame rethinks temporariness and finitude in a loop in which whatever is consumed also grows in a sort of strange spectacle that inverts appearances. Awarded with the XVIII ARCO-BEEP Electronic Art Award.

Ken Matsubara, Tokyo, 1949. Ken Matsubara graduated from Musashino Art University in Tokyo in 1974. His work often examines our understanding of memory. Matsubara lives and works in Tokyo. Using photos, movies, objects and collages, Matsubara’s work addresses memories and histories to which we can all relate, regardless of our backgrounds, statuses or age. He incorporates photographs, videos, object installations, and collages to bring forth the past and to converse with future generations. The artist sees human consciousness as recollections of the same ancient knowledge that transcends the individual, passed down through generations and across peoples, at a microcosmic level. By recollecting shared memories, Matsubara believes that we can overcome individuality. His work is part of several international collections as the Newport Harbor Art Museum, Newport, California, Maison du Livre de L' image et du Son, La Bibliotheque de Villeurbanne, Lyon, Bayly Art Museum, Virginia, Museum of Fine Arts, Houston, Texas, Bell Atlantic Corpolation, New York, Readers Digest, New York, Goldman Sachs Corporation, New York, Nippon Polalroid "Polaroid Corpolation of Japan", Tokyo, International Polaroid Collection, Cambrige, Massachusetts, Tokyo Metropolitan Art Museum, Tokyo, Deutsche Bank Collection / Bulgari Collection, New York, among others. Work at the collection: Moon Bowl http://www.kenmatsubara.com <<-- Back Moon Bowl, 2016. Moon Bowl Just as hands scooping water, the bowl serves as if a vessel of acceptance, where images sink to the depths of the basin as memories. As the water reflects the moon’s ever-shifting presence, one comes to embrace its fragile state as the beauty of impermanence and discover its coming hopes as restoration. The Bodhisattva statue, plaster figurine, glass bottle, bird’s corpse all shatter for means to restore once again in a continuous state of repetition. Houjyoki: The flowing river never stops and yet the water never stays the same. Foam floats upon the pools, scattering, re-forming, never lingering long. So it is with man and all his dwelling places here on earth. http://www.kenmatsubara.com/Bowl5.html https://vimeo.com/569817265#_=_

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/ <<-- Back 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

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 <<-- Back 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

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 <<-- Back 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

Santi Vilanova, Vila-Real, 1980. Graduate in graphic design and passionate about sound art, Santi Vilanova has been able to combine these two disciplines through the catalyst of "creative technologies", of which he is a self-taught developer. (de)Formed at the rave scene of the early 2000, his sound work has been evolving to integrate this underground influence into new territories. His recent research blend together digital algorithms or sonification engines with classic staves and acoustic ensembles, focusing on the idea of a visual music. He is founder, with Eloi Maduell, of the Playmodes audiovisual research studio, where they develop projects at the edge of design, art and science. Interests related to acoustics, mathematics, perception psycology or light phenomena crystallize at the shelter of Playmodes. Their projects, eclectic in nature -from opera scenography to immersive installations- always have as a common element a creative use of digital tools and the search for a unified audio+visual language. As part of this collective, his works have been exhibited at light festivals (Fête des Lumieres, Signal, LlumBCN, Mapping Festival, LIT Bogotá, Chartres a Lumière ...), at electronic music events ( Sónar, Mira, LEV, DGTL, D4N Houston ...), at contemporary art or performing arts institutions (ZKM, Macau Arts Festival, In Between Time, Copenhagen Opera), and has been awarded with international distinctions in the field of new media (Ars Electronica Honorary Mention, LAUS, Visual Music Awards or LAMP awards). He is also currently a university professor at the EINA school (Universitat Autònoma de Barcelona), UOC and BAU (Universitat de Vic), teaching new generations of multimedia creators. Work at the collection: Forms - Screen Ensemble http://www.playmodes.com <<-- Back Forms -Screen Ensemble, 2020 Forms - Screen Ensemble is a generative visual music jukebox. Driven by chance and probability, this automata creates endless, unrepeatable graphic scores that are immediately transformed into sound by means of sonification algorithms. Images become sound spectrums, making it possible to -literally- hear what you see. The dream of Kandinski. Each screen of this networked ensemble plays a particular instrumental role: Rhythm, Harmony or Texture. Performed by this trio of automats, a visual music symphony evolves over time giving birth to unique sonic landscapes that will never be repeated again: from tonal ambient music to raging rhythms, surreal electronic passages or dance-floor beats. Forms – Screen Ensemble was presented at 2020’s edition of Ars Electronica festival in Barcelona, thanks to a grant given by NewArtFoundation, Institut Ramón Llull and Hangar.org. Design Forms is thought to be a flexible instrument in terms of formats and aspects. Because its fundamental nature is rooted in visual music algorithms rather than in a matter-specific phisicality, it can take many different forms. Although the Screen Ensemble takes the form of an automata inside boxes containing screens and speakers, we’re working on multiple derivatives that transcend this format: a live performance where a string quartet interprets the realtime generated scores; an immersive installation based on video-projection and multichannel audio; a software for live computer music or an internet streaming bot. Engineering Forms is engineered by means of 2 main processes: -A generative graphics software coded in Processing (javascript) -A sonification algorithm developed in Max/MSP On the graphic side, a deep mathematical research has been done in order to code timbrically and musically coherent graphics that create appealing rhythms, harmonies or textures. On the sonic side, a number of ideas from the field of spectral synthesis and FFT are deployed. In addition, a set of control routines command the evolution of compositions over time through weighted probabilities, Markov chains and chance algorithms. Music The main feature of Forms is its visual music nature. It creates music you can see in an appealing yet scientifically coherent way. It is also a step forward towards a way of presenting and enjoying algorithmic compositions. It is a whole new way of creating music, based on visual compositions rather than on staves or piano-rolls. Its generative nature provides endless, unique, unrepeatable and rich music detached from the constrains of traditional language. Forms embraces the expressivity of drawn gestures and microtonality, unifying the visual and aural experience. Forms - Screen Ensemble was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. https://www.playmodes.com/home/forms-screen-ensemble/ https://vimeo.com/464531284 https://www.twitch.tv/playmodes

Roc Parés, Mexico City, 1968. Research artist in interactive communication. Doctor in Audiovisual Communication (UPF, 2001), Bachelor of Fine Arts (UB, 1992). Professor at Pompeu Fabra University and Member of the National System of Art Creators of Mexico. His artistic works have been presented in museums, art centers and festivals in Europe, America and Asia. He has published with British Computer Society, Academic Press, MIT Press, among others. Committed to an interdisciplinary culture, which he defends for its emancipatory potential, Parés has spent thirty years exploring the intersections between art, science, technology, thought and society. Work at the collection: Doble Consciència http://roc-pares.net <<-- Back Doble Consciència, 2020 Doble Consciència is an interactive audiovisual installation, inspired by the stereoscope, invented by Sir Charles Wheatstone, during the first third of the 19th century. Paradoxically, while Wheatstone studied how binocular vision allows us to perceive two different images as a single “solid” object, Parés’s intention is to experiment with binocular rivalry as a way of deconstructing and questioning individual subjectivity: hacking into vision to hack into consciousness. Currently, stereoscopy is used in cartography, surgery, astronomy, microscopy and virtual reality, but the pairs of discrepant images, seen through conventional devices, always construct a unitary vision. According to his proposal, the discrepant vision of our two eyes can become the gateway to a splitting of conscious attention. Technically, the installation is a Digital Haploscope. The images are presented on two side monitors, which are looked at through the two mirrors located in the center of the elevating table, in front of the eyes. Initially the pairs of images presented to the visitor form stereoscopic pairs that present three-dimensional images. Progressively, variations are introduced in the pairs of images, accentuating the difference between them, taking the discrepancy to the limit of binocular rivalry. Finally, the experience ends with pairs of images made expressly in order to overcome the binocular rivalry and to propitiate the hypothetical emergence of the Double Consciousness of each participant. Doble Consciència was funded by a production and exhibition grant by Institut Ramon Llull, NewArtFoundation and Hangar for Ars Electronica Garden Barcelona 2020. With the support of: https://vimeo.com/457495209