In this podcast, you will learn how Lacunae, an interactive installation by Tasmanian artist collective Soma Lumia, has evolved through multiple iterations. Lacunae is an interactive installation that enables people to dance with others in different locations through projected silhouettes and sound.
In this conversation, Darryl Rogers and Troy Merritt from Soma Lumia share the journey of Lacunae. The project was born during COVID-19 to rethink how technology shapes human connection. It was originally designed for the Mona Foma festival as events began to re-open after the COVID-19 lockdowns. Since then, it has evolved, layering live and recorded interactions—where dancers move not just across space, but across time. Lacunae has become an ongoing experiment for Soma Lumia.
Listen to this episode to learn about:
Chapters
(00:00:00) Introduction and welcome
(00:00:05) Exploring Lacunae: an interactive art experience
(00:01:07) Origins and development of Lacunae
(00:03:17) Evolving versions of Lacunae
(00:06:20) Audience reactions and memorable moments
(00:07:41) Prototyping and technical challenges
(00:15:19) Collaborative process and team dynamics
(00:20:41) Reflections and advice for future projects
(00:23:08) Conclusion and final thoughts
About Soma Lumia
Soma Lumia is a tech-art collective based in Launceston, Tasmania, founded in 2015. Their work explores the boundary between physical and digital, movement and technology, real and virtual. The collective has presented projects at Illuminate Adelaide, Botanica, Beaker Street, the South Australia Museum, the University of Houston, and Mona Foma.
Their practice is deeply rooted in experimentation and collaboration, bringing in new voices—technologists, dancers, musicians, and designers—to expand each project’s scope. Lacunae is a prime example of how their work evolves over time, rather than existing as a single fixed installation. The core members are Darryl Rogers, James Riggall, and Troy Merritt.
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What happens when an artwork is shaped by the unpredictability of public space?
In this interview Ariana Gerstein and Monteith McCollum discuss What We Bring, an outdoor installation that extends Ariana’s larger documentary project exploring migration, personal history, and overlooked traces of the past. While filming in Athens, Greece, she was drawn to a clothesline hanging in an old neighborhood—a simple yet powerful marker of everyday life. The street, surrounded by century-old markets and remnants of war, embodied layers of history intertwined with personal and familial narratives. This imagery became the foundation of What We Bring, where projected visuals interact with moving fabrics to evoke memory, presence, and impermanence.
Ariana is an experimental filmmaker whose projection installations and non-traditional cinematic works explore themes of memory, time, and personal narratives. Monteith McCollum is an inter-media artist working with film, sound, and sculpture.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction and acknowledgements
(00:00:52) Meet the artists: Ariana Gerstein and Monteith McCollum
(00:01:19) The concept and inspiration behind "What We Bring"
(00:01:52) Challenges and dynamics of outdoor installations
(00:04:27) Exploring the technical aspects
(00:10:25) Sound design and audience interaction
(00:21:17) Collaboration and creative process
(00:24:00) Lessons learned and advice for media artists
(00:30:32) Conclusion and final thoughts
About Ariana Gerstein
Ariana Gerstein is an experimental filmmaker and media artist who creates innovative projection installations and cinematic works. A Guggenheim Fellow and a Professor at Binghamton University’s Department of Cinema, her practice explores memory, time, and personal narratives through non-traditional filmmaking techniques. Her work has been screened at venues like the Museum of Modern Art and the European Media Arts Festival and has received awards such as the Gus Van Sant Award for Best Experimental Film. Supported by the Rockefeller Media Arts Fellowship and the National Endowment for the Arts, Ariana’s art challenges conventional storytelling and engages audiences in unique visual experiences.
About Monteith McCollum
Monteith McCollum’s acclaimed films have screened at venues such as the Museum of Modern Art, the Hirshhorn Museum, and festivals including SXSW, Hot Docs, and the European Media Arts Festival. A recipient of the IFP Truer Than Fiction Spirit Award, Monteith’s work has also been supported by the Rockefeller Foundation, the National Endowment for the Arts, and the New York Foundation for the Arts. In addition to filmmaking, he creates innovative sound compositions for films and performances, merging his expertise in storytelling and audio to deliver engaging, multi-sensory experiences.
Links from this interview with Ariana Gerstein and Monteith Mccollum:
In this podcast, you will learn how Rita Eperjesi is rethinking the way creative coding is taught with her project, DECODE: A Friendly Introduction to Creative Coding through Analog Techniques. Rita Eperjesi is a Berlin-based Hungarian artist and creative technologist dedicated to merging art and technology through innovative projects, international exhibitions, and educational initiatives. During the conversation, Rita Eperjesi shares her innovative approach to creative coding, emphasising the use of analog techniques like drawing and note-taking to make learning more accessible.
Her work aims to demystify coding for beginners by addressing common pain points such as error messages, isolation, and the challenges of abstract thinking.
Rita reimagines how coding can be taught by prioritising algorithmic thinking, encouraging learners to read code before writing it, and using hands-on tools like paper and pencil.
Listen to this podcast to learn about:
Chapters
(00:00:00) Introduction to language learning and coding
(00:00:35) Acknowledging traditional owners
(00:00:59) Meet Rita Eperjesi: artist and technologist
(00:01:59) Challenges in learning creative coding
(00:04:51) Rita's approach: decode project
(00:07:35) Principles of learning coding
(00:09:53) Analog techniques in coding
(00:12:21) The role of community in learning
(00:17:50) Conclusion and final thoughts
About Rita Eperjesi
Rita Eperjesi is a Berlin-based Hungarian artist and creative technologist who bridges the gap between art and technology through her innovative projects and education initiatives. With an MSc in Creative Technologies from Film university Babelsberg Konrad Wolf and a background in architecture, Rita has earned accolades such as the Gold Prize at New Stars in Busan and a Cannes Young Lions award. Her work has been exhibited internationally, including “Life in Plastic” in Berlin and “Real-time War Rug” in Madrid. As the founder of Creative Code Budapest and co-founder of VJ Open Lab, Rita fosters creative communities and facilitates workshops in creative coding, projection mapping, and virtual reality.
Links from this Interview with Rita Eperjesi
In this interview, learn how to create immersive atmospheres that evoke self-reflection and emotional engagement in audiences.
This conversation features Matt Warren, an artist, musician, and educator based in Nipaluna/Hobart, whose work has been exhibited internationally in Canada, Germany, New Zealand, the USA, and across Australia.
Matt shares insights into the creative and conceptual processes behind Secular Ritual (selfie), his recent installation at Sawtooth Gallery in Launceston.
Drawing from ancient practices of using reflective surfaces and water for introspection, Matt’s work reimagines these rituals in a contemporary context. Incorporating everyday objects like selfie rings, mirrors, and fizzy water, he creates meditative spaces where participants can pause, reflect, and explore fluid identities.
We also explore how flexible spaces like ARIs (Artist-Run Initiatives) enable experimentation, the role of soundscapes and lighting in shaping immersive experiences, and the lessons Matt has learned from creating open-ended works that encourage personal interpretation.
Listen to this episode to learn about:
Chapters
(00:00:00) Introduction
(00:03:40) Exploring secular rituals through art and selfie rings
(00:08:31) Exploring sound as a catalyst for visual art creation
(00:11:12) Exploring the concept of Stimmung in German expressionism
(00:11:32) Creating authentic art spaces through flexible installation
(00:15:07) Creating spaces for personal reflection
Matt Warren
Matt Warren is a Nipaluna/Hobart-based electronic media artist, musician, and educator who creates installations, sound art, and single-channel video. His practice explores themes of memory, transcendence, and fluid identities, drawing on influences like psychedelia, hauntology, and digital abstraction to craft evocative, thought-provoking experiences.
As a musician, Matt performs and records electro-acoustic and drone music both as a solo artist and in collaborative projects. His work has been exhibited internationally, including in Canada, Germany, New Zealand, the USA, and across Australia.
Matt teaches sculpture, time-based media, and creative lab units at the University of Tasmania. His contributions extend to public art projects and festivals such as MONA FOMA, Dark MOFO, and The Unconformity.
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In this interview, new media artist Yizhen Li shares the creative process behind Lava’s Lament, an immersive installation exhibited at Gray Area in San Francisco in early 2024 as part of Gray Area’s Cultural Incubator. Yizhen’s work blends soft materials, light, and projections to create a space that explores themes of femininity, memory, and the natural cycles that connect us to the environment.
Originally from Sichuan, China, Yizhen draws from traditional cultural elements and combines them with contemporary digital practices to create dynamic, multisensory experiences. Lava’s Lament reflects this approach, using a cone-shaped fabric structure as a vessel for projection and soundscapes inspired by volcanic imagery.
Listen to this episode to learn about:
Chapters
(00:00:00) Exploring femininity and nature through immersive art installations (00:03:19) Volcanic imagery, ecofeminism, and philosophy (00:05:00) Femininity and nature in immersive art (00:06:07) Prototyping immersive volcanic visuals (00:10:29) Materiality to immersive fluidity (00:14:20) Challenges with fabric projections (00:16:11) Materiality and living systems in media art (00:18:45) Flexibility and adaptation in audiovisual work
About Yizhen Li
Yizhen Li is a new media artist and designer whose work encompasses audio-visual installations, generative art, and experience design. Her practice is distinguished by the innovative use of soft materials, light, and projections, blending traditional cultural elements with cutting-edge digital techniques to create immersive, fluid experiences.
Originally from Sichuan, China, Yizhen integrates materials like rice paper and textiles with ephemeral light to explore themes of femininity, memory, and environmental cycles. With a background in studio arts, stage design, and human interaction design, her dynamic approach pushes the boundaries of immersive media, continuously evolving to connect audiences with deeper cultural and natural narratives.
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In this interview, artist Nigel Helyer shares the creative and technical processes behind BioSphere | DataSphere, a series of works based on environmental data from the Tasman Fracture Marine Park. The project is a collaborative research effort involving the Institute for Marine and Antarctic Studies, the Australian Antarctic Division, and CSIRO. Based in Australia, Nigel is an internationally renowned sculptor and sound artist known for creating large-scale sound sculptures, environmental public artworks, and media installations that explore the intersection of poetics and technics.
Working closely with scientists, Nigel transformed complex datasets—like sea temperatures, underwater sounds, and DNA sequences—into physical and auditory forms that reveal the hidden rhythms of the marine world.
Listen to this episode to learn about:
Highlights
(00:06:00) Art and Science collaboration in marine environmental projects
(00:02:45) Transforming scientific data into art through 3D printing
(00:09:15) Art and Science: finding utility and philosophical connection
(00:10:51) Navigating collaboration
(00:15:55) Art and Science: a respectful division of creativity
(00:21:23) Learning code to transform data into musical art
(00:26:26) Building successful art-science collaborations through personal connections
About Nigel Helyer
Nigel Helyer is an internationally acclaimed sculptor and sound artist based in Australia, known for creating immersive sound sculptures, environmental public artworks, and interactive media installations that connect art, science, and technology. His practice is deeply interdisciplinary, frequently collaborating with scientific institutions on projects that use bio-logging, GIS techniques, and acoustic mapping to transform complex data into sensory experiences.
With a career spanning groundbreaking works like GeneMusiK and Host, Nigel has served as Artistic Director for large-scale projects such as The LifeBoat Project and has collaborated with leading institutions like the Paul Scherrer Institut in Switzerland and the Tropical Marine Research Labs in Singapore. As a visiting professor at institutions worldwide, he contributes to the art-science field with a focus on innovative research and audience engagement
Links from this interview with Nigel Helyer
In this interview, artist Bego M. Santiago discusses the creative process behind her series Cosmos: All That is Ordered. Cosmos: All That is Ordered is a series of installations that blends sacred geometry, science, and spirituality, creating hypnotic and introspective experiences.
Listen to this podcast to learn about:
Chapters
(00:00:00) Feedback - it’s harmonious, it’s hypnotic, it’s beautiful
(00:00:50) Introducing Bego M. Santiago
(00:01:54) Exploring the COSMOS series
(00:03:45) Science, spirituality, and sacred geometry
(00:06:42) Viewer reactions: meditative or unsettling?
(00:10:53) Working in a series
(00:14:37) Overcoming technical challenges
(00:25:08) Art as knowledge
About Bego M. Santiago
Bego M. Santiago is a visual artist born in Santiago de Compostela, working between Europe and the United States. Her practice spans various disciplines, from photography to scenography, with a focus on new media art and immersive installations
Bego's work investigates the boundaries between reality and representation, often through the use of light and holographic effects.
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In this interview, Andrey Shibanov and Khristina Ots from SPLACES.STUDIO talk about the creative and technical processes behind the interactive sculpture "Megalith", which transforms a stone into an immersive, responsive soundscape.
SPLACES.STUDIO brings together artists, engineers, and scientists to collaborate on projects that combine light, sound, and natural elements, aiming to create sustainable, nature-inspired solutions. With a focus on innovation and environmental responsibility, their interdisciplinary approach leads to artworks that challenge traditional boundaries and encourage viewers to rethink their relationship with the natural world.
Megalith invites participants to engage with a large stone through tactile interaction, using a network of sensors and neural networks that trigger sounds recorded in a forest. The sculpture blurs the line between the organic and the technological, evoking a deeper connection to nature by allowing viewers to "hear" the stone's environment.
Listen to this podcast to learn about:
Highlights
(02:23) Bridging nature and technology
(14:37) Transforming stones into interactive sound art with neural networks
(21:59) SPLACES.STUDIO: Integrating science and technology for real change
(28:50) Advice on interactivity
About Khristina Ots
Khristina Ots is an art and science curator, researcher, and educator at SPLACES.STUDIO. She leads the curatorial department at the Art & Science Center of ITMO University, focusing on nature-driven technologies and interdisciplinary collaborations. A co-founder of the ASTA Award, Khristina has curated over 15 exhibitions and produced more than 20 projects. Her work has been featured at events like Ars Electronica and the Wrong Biennale. Khristina's curatorial approach emphasises the intersection of art, technology, and environmental philosophy, fostering a deeper connection to the natural world.
About Andrey Shibanov
Andrey Shibanov is the co-founder and creative producer of SPLACES.STUDIO and the founder and executive producer of COOLDOWN.PRO. He is an expert in modern editing and colour correction for cinema and advertising. Andrey has worked on commercials and music videos that have collectively garnered 560 million organic views. His work has earned recognition at international festivals, including Cannes Short Film Festival, Cannes Lions, and Manchester Film Festival. He has won numerous awards across both advertising and film industries.
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Explore the intricate process of crafting immersive digital spaces with Simon Burgin. Simon Burgin creates immersive artworks and interactive installations featured in prominent venues such as The Lume in Melbourne and the National Museum of Australia. In this episode, Simon shares insights into his project, “Natures Store", an immersive moving image piece created using AI-aided photogrammetry to reimagine natural environments. "Natures Store" was featured as part of Immerse 2024, an event that breaks away from the traditional art gallery setting to share art in unexpected places across Knox, Melbourne, and Australia.
Listen to this podcast to learn about how:
Chapters
(0:00:08) Exploring immersive art through digital and natural environments
(0:04:58) Balancing art and design: iterative development and client needs
(0:09:31) Exploring AI tools in art and commercial work
(0:13:56) The challenges of knowing when to stop in creative work
(0:16:41) Creating immersive art by prioritising audience experience
About Simon Burgin
Simon Burgin is a New Zealand-born digital artist and creative technologist. With 18 years of experience, he explores themes like environment and duality through contemporary media. Simon has developed immersive artworks for venues such as The Lume in Melbourne and WNDR Museum in Boston. His work includes interactive installations for public spaces like Stocklands 'Aura' and museum exhibits for the National Museum of Australia. Simon's projects also extend to brand activations for Nissan and BMW, as well as live A/V performances at events like Dark Mofo and Melbourne Music Week.
Links from the podcast
Ever wondered about the environmental impact of your digital footprint? In this interview, Ali Phi discusses the creative process behind 'TWh (terawatt hours)'. 'TWh' is an installation that blends web technologies to explore the environmental impact of digital technologies. The installation was commissioned by the New Now Festival and exhibited at the Mixing Plant in Zollverein, an industrial coal mine complex and UNESCO heritage site in Essen, Germany.
Listen to this podcast to learn about how:
Chapters
(00:00:04) Exploring digital footprints through interactive art installations
(00:04:16) The environmental impact of data storage and digital technologies
(00:08:48) Art, technology, and social impact in Decompositions for computers
(00:15:56) AI-driven interactive art and its environmental impact
(00:17:13) Exploring AI and technology as tools for creative artworks
(00:19:49) Creating 3D models and prototyping
(00:24:12) Layers of audience experience in interactive art installations
About Ali Phi
Ali Phi, originally from Tehran and now based in Toronto, is a new media artist and creative technologist. His work intersects art, science, and technology through installations, autonomous machines, and performances. Focusing on the interplay between physical perception and cognitive exploration, Ali uses computer programming and generative algorithms to create interactive media that blend geometry, light, and poetry.
As the artistic director of TADAEX, he has been a jury member, mentor, and lecturer. His work has been exhibited at Ars Electronica, Mutek (Montreal, Santiago, Buenos Aires), the Ontario Science Centre, Patchlab Digital Art Festival (Poland), and Asia Now: Paris Asian Art Fair. He has earned awards from the Canada Council for the Arts, Ontario Arts Council, and Toronto Arts Council.
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In this interview Joel Zika talks about the creative process behind “Valley of a Thousand Plants”. “Valley of a Thousand Plants" is an immersive installation that surrounds audiences with hyper-real animated plant forms that react to visitors' proximity. The installation is hosted at the Cube at the Multi-Arts Pavilion in Lake Macquarie, NSW, a 360-degree immersive digital projection space.
Joel Zika is a multimedia artist and educator currently teaching at Kent State University. He has a background in VR projects, documentaries, interactive animations, and public installations. During the interview Joel briefly discusses his PhD research on dark rides in amusement parks, exploring how the history of indoor ride design can inform contemporary media production.
Highlights
(6:01) The social dynamics of amusement parks and digital experiences
(8:55) Interactive art installations with sensor-activated plant animations
(19:28) Creating interactive spaces with simple tech
(29:08) Collaborative creativity
About Joel Zika
Dr. Joel Zika is an immersive media expert with a Ph.D. from Swinburne University in Melbourne He is currently teaching at Kent State University, where he continues to inspire the next generation of media artists. With over 15 years of experience, his work spans virtual reality films, documentaries, and public installations, showcased globally at venues like the Moss Arts Center and Dark Mofo. An educator at institutions such as Deakin and RMIT Universities, Zika also speaks at global events like South By Southwest. A key aspect of his research is the application of game engines for the location-based entertainment sector and virtual production.
Links from the interview with Joel Zika
Amalie Solande from Vertigo, a Copenhagen-based audiovisual artist collective, discusses their outdoor light installation, Siro, in this episode. The installation features a circle of large light tubes that change colour when approached by the audience, creating a magical and immersive experience. Amalie also shares insights into the collaborative process at Vertigo and the challenges they faced in creating the installation. Tune in to learn more about their unique approach to blending nature and technology in their art.
Highlights
(1:28) Interactive light installation transforms with audience proximity
(4:09) Unveiling the magic of fairy rings in nature
(5:01) Merging technology with nature
(7:43) Crafting magical light installations for a winter festival
(9:50) Integrating Sketchup and Touchdesigner for visual simulations
(13:16) Diverse skill sets in a creative team
(14:02) Collaborative dynamics in the team
(16:46) Overcoming weather challenges in outdoor light installations
(17:19) Risk assessment
(19:21) Illuminating the wave: a transformative light and sound journey
(20:36) Embracing fun in the challenges of light art
About Vertigo
Established in 2011, Vertigo is a Copenhagen-based audiovisual artist collective known for its inventive light installations, scenographies, and immersive experiences. Vertigo’s work often incorporates elements of nature and technology, creating a magical and contrasting experience for audiences. Vertigo's portfolio includes exhibitions at Copenhagen Contemporary, SNFCC in Athens, Centre Point in London, and many highly prestigious venues. The collective's success can be attributed to its members' unwavering dedication to their craft and shared vision.
Collaborations with the Copenhagen Philharmonics, Den Sorte Skole, Who Killed Bambi, DR Symphonic Orchestra, Lil Lacy, and Hotel Pro Forma have expanded Vertigo's creative horizons. In 2023, the collective earned a Reumert Prize nomination for their work on Sky66en.
Links from the podcast
- Learn more about SHIRO
- Visit the Vertigo website
- Follow Vertigo on Instagram
- Follow Amalie Solande on Instagram
This episode is an interview with artists Vicky Browne and Simon Reece about their innovative work, "Motherboard." Merging ceramics with technology, this piece invites viewers to experience interactive sculptures that emit varying tonal frequencies as they hold the objects. The piece was developed for a show called “Underground” that was held at the Blue Mountains Cultural centre from late 2023 to early 2024.
Vicky Browne, an interdisciplinary artist with a background in sculpture, and Simon Reece, a ceramic artist, both hail from the Blue Mountains, Australia. The interview explores the audience’s response to the interaction, and the process of developing the piece and the importance of collaboration in their practice.
Highlights
(0:02:04) Vicky describes the physicality of Motherboard and its interactive nature.
(0:03:01) People at the exhibition interacted with the sculpture, creating nonverbal communication.
(0:00:01) Simon discusses the importance of allowing space for creativity.
(0:06:09) The importance of tactile response and the freedom to touch ceramics in the artwork.
(0:07:00) Vicky and Simon’s focus on materiality and problem-solving in their collaborative process.
(0:09:22) The unique aesthetic and combined strengths that arise from their collaboration.
(0:12:40) Playing and problem-solving
(0:13:12) Collaboration allows for new and unexpected work
(0:14:29) Collaboration leads to making things they wouldn’t normally produce
(0:15:27) Learning from each other’s different approaches
(0:18:19) Technology embedded in our lives and materials
(0:19:19) Greater respect for materials through technology
(0:19:56) Exploring the interconnectedness of technology and materials
(0:22:44) Allowing space for collaboration and being open to different ideas
(0:23:52) Leaving ego at the door and effective communication
About Vicky Browne
Vicky Browne, an interdisciplinary mixed media artist from the Blue Mountains, NSW, completed her Master of Visual Art at Sydney College of the Arts in 2010. Her extensive exhibition history includes showcases at renowned venues like Artspace Sydney, Artspace Auckland, and Dunedin Public Art Gallery in New Zealand. Browne's participation in institutional group exhibitions, such as Living in the Ruins of the Twentieth Century at UTS Gallery and Sound Full at City Gallery Wellington, has bolstered her standing in the contemporary art sphere. Notable achievements include winning the 2013 Fauvette Loureiro Memorial Artists’ Travel Scholarship Prize. Browne's recent solo exhibition, Work/Play at Blue Mountains City Gallery in 2022, underscores her exploration of mixed media and interdisciplinary art, establishing her as a leading figure in Australian art.
About Simon Reece
Simon Reece is a distinguished ceramic artist celebrated for his expertise and inventive approach to ceramics. Trained at The National Art School, he delved into ceramics in the early 1980s, refining his craft under expert tutelage. A pivotal moment came in 1985 when Reece journeyed to Japan, immersing himself in wood firing ceramics under master Uneo Norihide's guidance in Bizen. This transformative experience shaped Reece's unique aesthetic and profound understanding of ceramic art. Back in Australia, he became a journeyman potter, collaborating with peers and constructing wood kilns. Reece's diverse portfolio spans tableware for top chefs, environmental sculptures, and global workshops, solidifying his influence in contemporary ceramics
Links from the interview and Vicky Browne and Simon Reece
In this interview Theresa Schubert a Berlin-based artist discusses her “Glacier trilogy”, a three-piece work that explores the transformation of glaciers in the face of climate change. The Glacier trilogy, which is the outcome from S+T+ARTS 4 WATER artist residency. The interview explores the creative processes behind the making of the trilogy, including working with generative AI and with a glassblower.
Listen to this podcast to learn about
Highlights (0:01:41) Theresa describes the Glacier trilogy as a three-piece work that explores glaciers and their transformation in the current climate crisis. (0:02:42) Theresa explains the first part of the trilogy, which includes a sound composition and a projection of synthetic glacier formation videos. (0:04:17) Theresa discusses the second part of the trilogy, which features glass vessels containing ice core melt water from glaciers, emphasising the fragility of the environment. (0:05:57) Theresa talks about the third part of the trilogy, a video sculpture that simulates glacial fluid systems and includes CO2 sensors that affect the simulation based on the presence of people in the exhibition space. (0:08:20) Theresa explains the importance of the topic of climate change and the role of art in bringing it to a wider audience through experiential and reflective approaches. (0:13:10) Theresa explains that she didn’t have specific ideas initially but was inspired by various inputs during the residency, including visiting an archive and translating the diaries of an Italian glaciologist. (0:16:20) Theresa discusses the difference between working with simulations of natural phenomena and using generative AI models for visual or text-based outputs. (0:18:03) The excitement of AI’s unpredictability and variation. (0:21:06) Working with a glass blower for the first time. (0:22:48 Researching and collaborating with scientists and experts. (0:24:54) Differences in physicality and bodily experiences between glass blowing and computer work. (0:28:46) Establishing lasting connections and relationships after the residency. (0:30:02) Advice for artists doing residencies: come with curiosity, network, and find something unique to the location.
About Theresa Schubert Theresa Schubert, operating at the confluence of alchemy and science fiction, is a visionary Berlin-based artist, researcher, and curator whose work interrogates anthropocentrism while fostering alternative visions and sensory experiences. With a PhD from Bauhaus-University Weimar, her work spans installations and performances that incorporate living organisms and AI, questioning the nature-culture divide in our digital age. Schubert's projects, recognized globally with awards from prestigious entities like the Japan Media Arts Festival and Prix Ars Electronica, engage deeply with environmental and ethical themes. As a curator and educator, she extends her inquiry into the unconventional, advocating for a harmonious intertwining of technology, art, and the natural world.
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Camila Colussi, a Chilean artist based in London, discusses her sound-light interactive installation "Tectonic Lingering: A microPolitics of Time."The piece explores the concept of time and the acceleration of technology, inviting viewers to pause and reflect. The installation features an LED light display that responds to real-time earthquake data from around the world as well as an interactive sound component that tells stories about earthquakes and time. The interview explores experiences of time, place, and Camila’s process.
Highlights
(0:01:39) Camila explains the concept of "Tectonic lingering" and how it relates to her personal experience with earthquakes in Chile
(0:06:05) Camila describes the LED light display in the installation and how it interacts with earthquake data.
(0:07:20) Camila discusses the sound interactive system in the installation and how it tells stories about earthquakes and time.
(0:10:42) Robin reflects on how experiencing tremors in Chile changed Camila's awareness of the world.
(0:13:03) Camila discusses the fragility of the earth and how it can be taken for granted.
(0:15:13) Camila explains the intention behind creating an invitation to linger with the installation
(0:16:21) Camila discusses the use of headphones in the installation and how it enhances the immersive experience.
(0:19:34) Simplifying the technology for portability and accessibility.
(0:21:35) The piece started from a desire to explore slowness in technology.
(0:24:02) Making decisions and refining the concept over time.
(0:25:05) Writing, drawing, and prototyping to develop the piece.
(0:29:05) Challenges and iterations in the prototyping process.
(0:33:12) Advice for artists working with interactivity. Camila discusses the need for flexibility in physical computing projects.
About Camila Colussi
Camila Colussi, a Chilean artist based in London, has an MFA in Computational Arts from Goldsmiths University of London and currently works at Kingston University. She works across mediums like installation, video, sound, objects, and interactive technologies. Her art explores the nexus of technology, politics, and human experience, focusing on the political dimensions of time, care, and sensing technologies. Colussi's pieces have graced prestigious venues globally, earning her accolades like a 2023 Lumen Prize nomination and grants such as the 2020 FONDART Nacional from the Ministerio de las Culturas, Chile. She is also a sought-after speaker and educator, sharing insights worldwide.
Links from the podcast
Learn more about Tectonic Lingering: a microPolitics of Time Visit Camila Colussi’s website Follow Camila Colussi on InstagramSeph Li discusses the generative installation called "Phase". The piece combines interaction and computational logic to create a unique and immersive experience for participants. Seph merges algorithms from the Wolfram Physics Project with traditional Chinese ink painting simulations, creating an interactive universe where visitors' actions influence the artwork's evolution. Some of the other things discussed include a simple taxonomy of different types of interactions, coding, and what Seph is currently working on.
Highlights
(0:02:14) Experience of the interactive piece "Phase'" and its abstractness
(0:04:13) The tension between providing instructions and allowing discovery in interactive installations
(0:07:41) The collapse of the universe in the piece and its significance
(0:09:44) The conceptual idea behind the piece and its connection to Daoism
(0:12:29) The use of ink painting in the artwork
(0:14:01) The importance of preserving poetic qualities in digital renderings
(0:17:02) Robin asks about the influence of computer science on Seph’s art
(0:20:30) Seph prefers working with bespoke code rather than tools like TouchDesigner
(0:23:03) Robin asks about the process of making the artwork "Phase"
(0:26:28) Seph discusses the challenges of fabricating the physical controller
(0:28:16) Seph shares his current project involving artificial life and ink painting
(0:30:43) Seph envisions an intimate gallery experience for his new piece
About Seph Li
Seph Li, originally from Beijing and now based in London, has a bachelor's degree in Computer Science and Entertainment Design from Tsinghua University, and an M.F.A. from UCLA. His work has gained international recognition, with exhibitions across Japan, the U.S., Spain, Brazil, and more. He has worked with Tokyo's renowned teamLab and received commissions from global brands such as Google. His achievements include a Jury Selection in the Entertainment Division at the Japan Media Arts Festival 2012, and a nomination for the prestigious 2023 3D/Interactive Award.
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Asaco and Toyoshi Morioka of SPEKTRA discuss the creation of 'Vectorize(Prototype)' an audiovisual installation prototype in a performing arts theatre. SPEKTRA, based in Kyoto, is a group known for its experimental and expressive work. Their primary focus is on installations involving lights and audio. 'Vectorize(Prototype)' represents a shift, using flat beam lights in a performance context rather than as an installation. The interview explores Speckra’s approach to prototyping, which includes 3D modelling and simulations in TouchDesigner. Additionally, the collective’s dynamic team structure and other themes are explored. Highlights
(0:00:00) Creating something we’re interested in
(0:00:00) Introduction to the podcast and the interviewees
(0:01:19) Description of the artwork “Vectorize(Prototype)”
(0:01:51) Discussion on Spectra’s shift from installation work to
performance
(0:03:00) Experimentation and new techniques in “Vectorize(Prototype)”
(0:04:00) Challenges of working with a wide space and lights
(0:05:31) Inspiration for “Vectorize(Prototype)” came from a new device
(0:07:05) Use of 3D simulations in planning the piece
(0:09:22) Simulation and modelling now used in most of their works
(0:12:13) Learning to create performance works was a challenge
(0:13:56) Current projects involve mirror installations and merchandise
(0:16:36) Collaboration involves specific skills rather than specific roles
(0:17:16) Advice for working with light installations
(0:17:57) Three points: creating something we’re interested in, site specificity, new techniques
(0:19:50) Importance of being interested in new ideas and techniques
(0:20:18) Collaborative approach to creating artwork
(0:21:15) Collecting ideas from members and valuing persona experiences
About Spektra Studio
SPEKTRA is a Kyoto-based group that engages in experimentation and expression.
Members change dynamically according to projects and venues as they search for new ways to describe ideas.
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Harvey Moon from Spectra Studio discusses creating 'Zephyr,' an interactive origami object that responds to visitors' breath and movement. Spectra Studio is a multidisciplinary collective based in Los Angeles. They create multi-sensory experiences meant to be shared. They work on experimental projects like 'Zephyr' and also provide services to clients. In the interview, we explore the Spectra Studio process and uncover some insightful reflections on how they might have approached prototyping differently in this project. We examine the nature of the interactions in the piece and how they contribute to shared experiences for the viewers. We also discuss the difference between Harvey's solo work and the collaborative work at Spectra Studio.
Highlights
(0:00:00) Dialogue with the audience vs. one-to-one interaction
(0:01:40) Description of Zephyr
(0:03:30) Connection between breath, reflection, and natural rhythms
(0:05:32) Sensing breath and CO2 levels
(0:06:07) Meditative response from visitors
(0:07:45) Consideration of sound in future prototypes
(0:08:38) Origami and breath as inspiration for Zephyr
(0:10:30) Focus on physical, kinetic, and sculptural experiences
(0:11:53) More unfinished projects than finished ones
(0:12:59) Challenges of scaling up and iterating the design
(0:13:38) Description of Spectra Studio and its collaborative process
(0:15:27) Balancing commercial work with artistic and creative work
(0:16:41) Everyone in the team wears multiple hats
(0:18:24) Working alone vs working collaboratively
(0:19:42) Lessons learned from the Zephyr project
(0:20:21) Balancing project complexity and constraints
(0:21:47) Current projects: travelling exhibit, projection dome, kinetic works
(0:22:20) Advice for those interested in kinetic work
About Harvey Moon
Harvey Moon is a new media artist who explores the intersection of technology and perception. He creates custom software, electronics, and kinetic systems to extend our understanding of the world and how technology influences our lives. Moon's art challenges audiences to question their perceptions and reflect on the role of technology in shaping our future.
Harvey Moon holds an MFA from DMA at UCLA and a BFA from the School of the Art Institute of Chicago. His work has been showcased internationally, including exhibitions at the National Taiwan Museum of Fine Arts and the Nuit Blanche Festival in Toronto. Currently, he resides and works in Los Angeles, California.
About Spectra Studio
Spectra Studio is a multidisciplinary collective based in Los Angeles, California. Spectra Studio combines art with the possibilities of technology to transform ideas into tangible, multisensory experiences meant for sharing. Experimental by nature, their practice is fueled by research, collaboration, and discovery. Spectra Studio's goal is to evoke emotions, express the inexplicable, and reflect on how we relate to the physical, the digital, and the
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In this interview, Nora Gibson discusses her interactive installation called 'the dream'. Participants in 'the dream' wear EEG headsets to animate a particle system that is projected onto translucent screens in a room bathed in pale blue light. Nora’s background is in contemporary ballet and choreography. During the conversation some of the topics that are explored are interactive works as a way of providing feedback to participants, the interconnectedness between audience members, as well as how interactive works are systems for people to experience. 'the dream' has recently been featured in Ars Electronica.
Highlights
(0:00:00) Choreography vs interactive installations
(0:02:20) Description of ‘the dream’ installation
(0:06:25) Audience response to ‘the dream’
(0:08:29) Core ideas explored in the piece
(0:11:00) Personal reflection and enrichment in creating the installation
(0:14:03) Art as a tool for learning and growth
(0:15:00) Transition from ballet to installation practice
(0:17:49) Using participants' bodies in the installation
(0:18:07) Shifting focus from the performer to the experience
(0:18:49) Redefining virtuosity in coding and conveying messages effectively
(0:20:32) Process of creating ‘the dream’ piece and experimenting with visuals
(0:22:25) Using organic and natural visuals in the piece
(0:23:58) Embracing recycled ideas and having a unique message
(0:24:37) Differences between creating an interactive installation and choreographing
(0:27:30) Finding freedom and a different perspective through interactive work
(0:27:33) Augmenting the experience with sound and live experimentation
(0:30:19) Advice for others: Use tools to communicate your message effectively
About Nora Gibson
Nora Gibson trained in ballet at the Baltimore School for the Arts, where she studied under renowned mentors including Sylvester Campbell of the DutchNational Ballet. Nora further honed her skills at Chautauqua and NCSA, and earned a BFA from Tisch at NYU. She has danced for multiple companies including the Ellicott City Ballet Guild, PATH Dance Company, ClancyWorks Dance, and Andrew Marcus Dance, and has collaborated with iconic choreographer Lucinda Childs.
Fora decade, Nora led the Nora Gibson Contemporary Ballet, a Philadelphia-basedcontemporary ballet company. She gained critical acclaim and presented her workat prestigious venues such as the Franklin Institute. This included discussingher groundbreaking dome ballet, MANDALA, at the TouchDesigner summit at MUTEK in Montreal in 2018.
Asan educator, Nora has designed courses that range from ballet to digital art,and has taught at institutions such as Temple University and the University ofthe Arts. She received the Outstanding Teaching Award in 2018 for her work atTemple University.
Norahas transitioned from choreography to digital practice. Her digital creationshave been featured at international platforms such as Ars Electronica and the Hexagram Network, Online Global Gallery, Contemporary & Digital ArtFair, Lightbox, and Urban Screens Production.
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In this interview, Christian Skjødt Hasselstrøm is talking about the creation of a site-specific installation called The Receiver. His works explore our sensory perception and the limitations of our senses. His pieces are often site-specific.
Highlights
(0:00:00) Prototyping site-specific work
(0:00:51 ) Description of the "The Receiver" installation and its sensory experience
(0:03:12) How the space for the installation was chosen
(0:06:25) The process of levelling up and down the frequencies in the silo
(0:07:08) Collaboration with Bang Olufsen
(0:09:18) Challenges of planning and prototyping the installation
(0:11:48) The messy process of refining the concept and technology
(0:15:55) Overcoming safety and logistical challenges
(0:18:21) Advice for working with site-specific art
About Christian Skjødt Hasselstrøm
Christian Skjødt Hasselstrøn is an artist and composer from Copenhagen. Christian has presented his works at galleries, museums, festivals, and concert spaces throughout the world, including Ars Electronica Festival in Linz, Mois Multi in Quebec Canada, A plus A Gallery in Venice, Műcsarnok Kunsthalle Budapest, Sound Reasons in New Delhi, Skan II / Skanu Mežs in Riga, Üle Heli in Tallinn, Ostrava Days in Czech Republic, Ultima in Oslo, Overgaden - Institute of Contemporary Art in Copenhagen and Museum of Contemporary Art Denmark.
Christian’s work has been awarded by Prix Ars Electronica, Japan Media Arts Festival, Edigma Semibreve and Carl Nielsen and Anne Marie Carl-Nielsen’s Foundation, and he holds a Master's degree from the Royal Academy of Music in Denmark.
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