created for A Modern Body Festival
Reports from sensory deprivation experiences have demonstrated the appearance of hallucinogenic visions or of highly pleasant states of consciousness that are still to be assessed. In Room K24 visitors are taken through an orchestration of stimuli that are carefully composed, with aural, olfactory, tactile and proprioceptive inputs. Instead of depriving the senses, the piece invites the public to depart on an introspective journey. Inside the room, time and space have no objective reference. A series of sensations will instigate the reset the of the visitor’s body. One visitor allowed at a time. Visit takes 8 minutes.
Mike Rijnierse is an artist known for his large scale light and sound installations, where the public gets incorporated in the piece. His research is based on the interaction between media and the senses. Mike’s installations are often new instruments in which new languages are developed for acoustic and optic-acoustic observation. In his work the behavior of space, passers by, users, machines, infrastructure and so on, are interpreted as parameters. These living processes are used as musical score for his compositions.
Ludmila Rodrigues is an artist with a background in Architecture, creating spaces, situations and devices to choreograph the public. For 5 years, she’s been researching on the body of the audience. Through this theme she investigates ways of activating the audience, enhancing collective, playful and multi sensory experience. Sometimes working as set, costume and graphic designer, Ludmila collaborates with a number of artists and artistic initiatives in The Hague, such as Quartair and CLOUD/Danslab. She has exhibited and performed in several occasions, such as in TodaysArt 2013, in the ‘Winter Anti Depression Show’ at Marres House for Contemporary Culture (Maastricht, 2014) and the ‘Deepest Sense’ Symposium at the Rijksmuseum (Amsterdam, 2014).
Zoot Derks en Jeanette Groenendaal
Fucking Retreat 8x8x72
The Shared / Voyeuristic body
A Meditation on the Globalisation of Sexual Intercourse
Videoinstallation 64 films, 2002
Archives of an 8-day Streaming Internet Performance
Proxy Kabinet: Raamweg 47
[Site-specific multimedia installation]
created for A Modern Body Festival
This project began with a conversation about how we experience space through the mediating agency of digital networks. With each artist occupying a distinctly separate geographic space (Seattle, Buenos Aires, The Hague) we became interested in remotely exploring each other’s locations by sharing digital media: images, video, sound, and maps. As the project increasingly focused on Raamweg 47, the building’s architecture and its previous function as Europol headquarters became the physical and psychic anchor point for our telematic collaboration. The building’s control room typifies the intersection of our individual desire to explore spaces we don’t physically occupy, and the politics of control and surveillance that digital networks provide. In it, we’ve created a digitally mediated ‘cabinet of curiosities’ (‘rariteitenkabinet / wunderkammer’), where the building-as-artifact is re-synthesized in video, sound, and sculpture. A wifi radar system animates parts of this Kabinet in reaction to movement though the space – entangling one’s immediate physical presence with the unseen, ubiquitous networks that surround us.
The Traveling / Virtual Body
A central driving force behind reassessing the notion of ‘body’ is virtualization technology. We live in a world where we can communicate, in real time, with friends and family across the globe, even look into each other’s eyes, while conversing through the internet. In this piece, three artists and friends, PhD candidates from the University of Washington, will develop and produce an archive of proxy objects / artifacts together, while never coming together. Multi-layered and complex, the implications of the artifacts generated through this piece, as well as the piece itself, serve to highlight our abstracted and often disjointed existence in modern society.
Nico Varchausky (AR) has a Degree in Electro-Acoustic Music Composition at the University of Quilmes (Argentina), where he works as an assistant professor. His research focuses on the musical relations between space, sound, speech and memory within technological environments. His artistic production includes electronic and instrumental music compositions, interdisciplinary projects in public spaces, sound art performances and interactive art installations. Recent awards include an Honorary Mention at Prix Ars Electronica 2013 in the Sound Art & and Digital Musics category. He is currently a PhD candidate at DXARTS (Center for the Digital Arts and Experimental Media, University of Washington, Seattle, USA).
Tivon Rice’s (US) work seeks to create intersections between digital media and sculpture in order to explore the increasing complexities between virtual and immediate physical experiences. His projects often begin with site research, allowing him to learn as much as possible about a specific place: its history, its function, and the materials, and people that occupy it. This research, in turn, evolves into archives of media that are organized and presented through installations, video, performance, and collaboration. Rice was a 2012 Fulbright researcher in South Korea, and is currently a PhD Candidate at the Center for Digital Art and Experimental Media (DXARTS).
Stelios Manousakis (GR/NL) is a composer, performer, researcher and sound artist. He operates in the convergence zones between art and science, composition, performance and installation, Western art music and ‘digital folk’ idioms. He applies complexity science, cybernetic and biology-inspired models to generate novel musical systems and sound synthesis methods, often merging algorithmic finesse with the expressivity of improvisation or the immediacy of audience participation. His work has been shown in various venues & festivals in Europe and the Americas. He received his Masters from the Institute of Sonology in The Hague and is currently a PhD Candidate at the Center for Digital Art and Experimental Media (DXARTS).
Our brains do not give a truly objective and accurate representation of the world but a human one – full of pattern recognition – sometimes real, sometimes forced. Humans naturally and regularly experience Pareidolia (the psychological phenomenon of perceiving patterns in randomness) and in way so can computers.Phantom Portraits are created from a process using software to generate generations of random polygon structures and then employing face-detectionalgorithms to scan the polygons until the computer “sees a face”. These polygon structures are then worked with in subtle ways to heighten the illusion. From up close, they are quite abstract and blurry, but from a distance they can appear to be strangely lifelike.
The Imagined Body / The Projected Body
Given a random pattern and incoherent data, the mind is driven to make sense of something that has none. What we perceive as real, as concrete, as finite must be re-evaluated in light of the fact that we constantly fill in what we do not know with what we already know.
Barbara Ellison (Ireland) is a sound and visual artist living and working in The Hague. Her recent work explores a liminal world of perceptual ambiguity and our propensity and desire to detect meaningful and often illusory perceptual patterns in our environment. Her performances and projects manifest in diverse media and platforms and working practical research has brought her in recent years to the Arctic (2010), Amazon, Brazil (2011), Svaneti, Georgia (2012), Borneo (2012), Cambodia (2013), South Africa (2013), Iceland, Australia (2013) and Japan (2014). She has just submitted her PhD Research “Sonic Phantoms” to the University of Huddersfield (UK).