Modular+space gallery, Greenhause Berlin
Automaton is a joint exhibition of mechanics and new media, with live music and performances.
The exhibition takes its inspiration from The Turk, also known as Automaton Chess Player, it was a fake chess machine from the late 18th century, but instead of duelling with a machine, as the players were led to believe, it was operated by a chess master hiding under the table with the help of mirrors and other illusions.
Automaton wants to break the proverbial mirror, focusing on the relation between mechanics, the humans that trigger them, and the action that it produces. By focusing on mechanics of creativity and combining them with the mechanics of 21st Century technology, Automaton aims to experiment with the interface that connects us with the machines.
Ambient experimental sound and a/v sets:
Mystical Union is an experimental project of Anton Filatov. It navigates between psychedelic instrumental drones, broken beats and trancy synths in a search of mystical harmony. Berlin based, coming from north-west Russia, he released number of drone tapes under the other moniker Wind in Willows. He’ve been also involved in few new media installations and plays glitchy electronics under own name.
Julio Clavijo / Juan Duarte / Pablo IA - 0(Hz)Osc is a project focused on experimental approaches to live sound and visuals, around a reductionist approach to sound sculptures, using custom made technologies.
Autr - Rave Tracks I
Rave Tracks I is a multi-channel AV performance combing musical sketches and live video improvisation by Autr.
Sevki Argali & Radu Goța in collaboration with Helin Ulas and Martina Illarregui
Creativity vs Algorithms
Human-made world of machines, artificial constructs, computers, smart systems, interlinking homeostatic components is our new environment and has became quasi-alive. Observing valid comparisons between the behaviour of machines and humans in our everyday life is something that doesn’t baffle us. Thus only humans possess the unique ability for creativity, machines have brought a different kind methodology for creation, one that humans can not emulate: mathematical algorithms. A machine can not be creative on it’s own but through its ability for randomness, it can generate infinite amount of links and sub-links. The science behind the creativity still remains an uncharted territory even though it is often regarded as limitless. But is this ability not constrained by the finite surroundings and experiences of human, while a machine which lives in a mathematical world, is truly infinite?
Installations and works:
Rodrigo Cid(ElCid VS) – Simplex Organisms
Simplex noise is a Gradient noise commonly used as a procedural texture primitive in computer graphics. Most commonly used gradient noise used as a two-, three-, or four-dimensional function, but can be defined for any number of dimensions.
Inside of Simplex Noise you can find a graphic ecosystem full of life and death, where differently digital organisms interact and affect each other.
"Pure randomness" can only be achieved if a computer measures a phenomenon taking place outside of its system such as in natural occurrences, in Simplex Organisms the user became the randomness determining factor of the generation of these organisms.
Gilbert Sinnott – Raster’s Gaze
Raster’s Gaze is a study of the human image juxtaposing contemporary technology with the past. A salvaged cathode ray tube is modified to act as vectorscope to external voltages. Computer vision - a staple of AI, transit and surveillance systems - is used to interpret the onlookers presence into traced and tensile forms.
Paloma Schnitzer – City Loop
The video sculpture "City Loop" conforms the first part of the series Target, and questions a video that became viral of a robot-weapon with the body of a dog and the head of a camera walking on ruins. The piece inquires into the fate of cities, the vicious circle of destruction-construction and how societies are observed and observe.
Juan Duarte – Aeolian Artefacts
Aeolian Artefacts takes conceptually as a reference an ancient instrument, known as the Aeolian Harp (cf. Kircher, A. ca 1650.), that was used as an object that enables sacred spaces, such as mountains and temples, to "have a voice" according to an automatic mechanism that played with strings and resonators by the aleatoric forces of wind. This artistic practice achieved the concretion of pioneer scientific advances in acoustics, music theory, and instrument invention to register natural phenomena. Recently, sound artists and experimental musicians, including Gordon Monahan and John Grzinich, have worked with novel implementations of the Aeolian Harp as instruments and installations to record ambient interactions of wind with string-to-building resonators, which activate sonically spaces, and producing uncanny and "supernatural" recordings that blend wind forces and material and spatial qualities into a single sonic material.
Manuel Tozzi – DATA DECAY
A Video Installation that deals with decay of digital data, also know as data rot. Much like cells in an organism, digital data has a finite lifespan. Once millions of digital relics of our present society simply got lost: what will future generations know about it?
How will exhumation of our digital legacy look like?
Philip Krüger – POLYEDER
The piece is an audio-visual full space installation and art space. By combining spatial audio and full-dome techniques the installation is an autonomous piece and a platform for artists to explore space and the behaviour of their work in an immersive playground to become a social experiment.
Oliver Torr - Tape Loop