Regeneration A cluster of im/possible superpositions
Saša Spačal
Ziyang Wu
Mark Ramos and Ziyang Wu
Lou Cantor
Guillemette Legrand and Vincent Thornhill
Jakob Kudsk Steensen and Joel Kuennen
Zheng Mahler
Miriam Simun
“Regeneration”
A cluster of im/possible superpositions
Computer-generated or virtual spaces, including games but also spatial artworks, repeat certain features of our physical surroundings in order to model rather than to remake them. The relationship between a digital environment and the physical space after which it is generated is not that of the real and its copy, original and its reproduction, image and its likeness. Virtual models instead enable re-vision and re-interpretation of the physical assemblages of objects to which they refer.
Regeneration is a process through which a damaged or even a completely disappeared entity returns to existence; the prerequisite of regeneration is generation. If the virtual infiltrates this equation, bringing with it computation, any reassuring binary simplicity evaporates, replaced by collaborative explorations between human and machine that counter the hegemonic modernist fiction separating nature and culture.
In regenerative artworks, the virtual is instantiated as superpositions of im/possibilities. The artworks of the second ARE YOU FOR REAL cosmo-cluster thus speculate on what was possible but is now lost, envisioning the virtual’s regenerative power and its possible impacts on real-world scenarios, ecosystems, and non-human and interspecies alliances. They are digital remnants of real sites which have disappeared, testifying to irreversible climate processes. They are collaborative human-machine explorations that provide counternarratives for technology and agency both artificial and natural. They seek answers to questions such as: What is it like to be a bat? What happens if the Earth’s north and the south poles were swapped? They enact rewilding processes in co-creation with AI, weaving together ecological and mythological histories, opening up hybrid interpretations of our surroundings and multispecies kinships.
"Saša Spačal’s Anatomy of a Symbiosis is the outgrowth of a dynamic, living biotechnological installation, Symbiome - Economy of Symbiosis, originally presented as a generative 22 hour broadcast of the sonified data it generated, now edited and collected as a condensed listening experience, enabling wider transmission of the intrinsic messages and ways of being in the world which it invokes.
On the surface, one is listening to the audio artifact of the disintegrating symbiotic bond between soil bacteria Rhizobium trifolii and red clover Trifolium pratense caused by human intervention with the introduction of nitrogen fertilizer, eliminating the necessity for this unlikely and fragile collaboration which had developed in the deep past, hidden from human cognizance by its macro time frame and micro scale, buried within the earth."
- from liner notes by Brandon Rosenbluth
Saša Spačal is a postmedia artist working at the intersection of living systems research, contemporary and sound art. Her work focuses primarily on the posthuman continuum, where human beings exist and act as one of many elements in the ecosystem and not as sovereigns. Therefore abandoning the Cartesian system of classification and accepting the fact that the field of technology has expanded not only from hardware to software but also to wetware resulting in hybrid phenomena inscribed in mechanical, digital and organic logic.
Sound and concept: Saša Spačal
Symbiosis: Red clover Trifolium pratense and soil bacteria Rhizobium trifolii
Experiment setup, data collection and scientific consultation: Mirjan Švagelj
Software design and programming: Pim Boreel
Poem proofreading: Ana Čavić
Graphic design: Tina Ivezić
Liner notes: Brandon Rosenbluth
Executive production: Luka Prinčič, Luka T. Zagoričnik
Label: kamizdat.si
Album producer: Emanat
Anatomy of a Symbiosis was commissioned in 2022 by Radio Art Zone, a joint project by the artist duo Mobile Radio (Sarah Washington & Knut Aufermann) and the Luxembourg community station Radio ARA, which broadcasted for 100 days as part of the European Capital of Culture Esch2022.
Event Modeling – AI Fossil
Ziyang Wu
2023
Interactive digital environment (video documentation)
Event Modeling consists of two digital environments, AI Fossil and #dump. AI Fossil is made up of 3D models generated by artificial intelligence with news headlines as the prompt. In a scene resembling an abandoned factory, digital objects linger in space. Each object stands for a news item—a piece of mediated reality—that can be retrieved through the viewer’s interaction in a further generative interpretation of the reality that surrounds us. Units of reality are presented in realistic fragments: fossils, a pile of metal carvings, or low-quality plastic toys.
The other environment, #dump, is a simulated landfill inspired by IRL mineral mining and fracking environments. Jointly built by AI, artists, and social media users, the simulation is generated in real time by a PHP Twitter bot and Unreal Engine 5 Blueprints. Dump-bot lives on a hidden server in the NYU Computer Science department, monitoring and scraping Twitter in real time. When keywords related to an AI-generated 3D model are found, the model is instantly dumped into the landfill scene. Social media users around the world use keyboards and mobile phones to continually trigger these keywords, resulting in a constant dump of AI-generated models filling the landscape. It’s a world without end.
These hybrid environments of the “real” and the “generated” point toward a question that becomes increasingly important as generative AI models spread: Which models make worlds? Are these imaginaries critical enough?
Ziyang Wu is an artist based in New York and Hangzhou. He currently teaches at the School of Intermedia Art at the China Academy of Art, is visiting professor at School of Art and Design at Alfred University, and was formerly a member of NEW INC at the New Museum.
Mark Ramos is a Brooklyn-based new media artist. Mark is committed to the ethos of open source: the free sharing of information and data and creative uses of technology. He makes fragile postcolonial technology using web/software programming, physical computing (using computers to sense and react to the physical world), and digital sculpture/fabrication to create interactive works that facilitate encounters with our uncertain digital futures.
Concept and production:
Ziyang Wu and Mark Ramos
Production: AI text to 3D modeling generation – dreamfields 3D
Event Modeling consists of two digital environments, AI Fossil and #dump. AI Fossil is made up of 3D models generated by artificial intelligence with news headlines as the prompt. In a scene resembling an abandoned factory, digital objects linger in space. Each object stands for a news item—a piece of mediated reality—that can be retrieved through the viewer’s interaction in a further generative interpretation of the reality that surrounds us. Units of reality are presented in realistic fragments: fossils, a pile of metal carvings, or low-quality plastic toys.
The other environment, #dump, is a simulated landfill inspired by IRL mineral mining and fracking environments. Jointly built by AI, artists, and social media users, the simulation is generated in real time by a PHP Twitter bot and Unreal Engine 5 Blueprints. Dump-bot lives on a hidden server in the NYU Computer Science department, monitoring and scraping Twitter in real time. When keywords related to an AI-generated 3D model are found, the model is instantly dumped into the landfill scene. Social media users around the world use keyboards and mobile phones to continually trigger these keywords, resulting in a constant dump of AI-generated models filling the landscape. It’s a world without end.
These hybrid environments of the “real” and the “generated” point toward a question that becomes increasingly important as generative AI models spread: Which models make worlds? Are these imaginaries critical enough?
Ziyang Wu is an artist based in New York and Hangzhou. He currently teaches at the School of Intermedia Art at the China Academy of Art, is visiting professor at School of Art and Design at Alfred University, and was formerly a member of NEW INC at the New Museum.
Mark Ramos is a Brooklyn-based new media artist. Mark is committed to the ethos of open source: the free sharing of information and data and creative uses of technology. He makes fragile postcolonial technology using web/software programming, physical computing (using computers to sense and react to the physical world), and digital sculpture/fabrication to create interactive works that facilitate encounters with our uncertain digital futures.
Concept and production:
Ziyang Wu and Mark Ramos
Production: AI text to 3D modeling generation – dreamfields 3D
The Oracle is a work of speculative storytelling that prompts viewers to contemplate the continually shifting dynamic between humanity and artificial intelligence. In challenging the ramifications of our technological creations and the moral imperatives that accompany this nascent coexistence, encompassing themes such as algorithmic governance and the preservation of cognitive autonomy, its narrative elicits fundamental ethical inquiries about forthcoming applications of computational technologies.
Lou Cantor is a Berlin-based artist collective founded in 2011 (presently consisting of Jozefina Chetko and Kolja Glaeser) whose main scope of interest is grounded in intersubjectivity and interpersonal communication. Lou Cantor’s practice explores the polysemic minefield of contemporary communication, where medium, message, and meaning constantly fold back into each other. They regularly release readers and contribute to various publications as an outcome of their evolving research.
Concept and production:
Lou Cantor
Editing: Georgina Titheridge
Sound editing: Ashiq Khondker
3D rendering: Olivia Wu
Spectral Plain
Guillemette Legrand and Vincent Thornhill
2021
Cinematic video recording of a game environment powered by a cosmic radiation sensor and a predictive language model.
18:08 min
This is an embedded YouTube video. To view the video here, please agree to download it from the YouTube server by clicking on the image. Personal data may also be transmitted to YouTube in this process. You can find more information here
This cinematic walk-through of the game environment Spectral Plain explores the capacity for AI (namely GPT-3) and randomizing technology (a cosmic radiation sensor) to create new forms of human-machine co-creation. In the environment of Spectral Plain, the player awakens to a world that follows a geomagnetic reversal, a shift in the Earth’s magnetic field. They traverse three layers—celestial, terranean, and infracosmic—within a plain of unchannelled energies in search of new energetic alignments.
In its playable format, the game uses real-time data capture and the text-generation algorithm GPT-3 to create and log various data (time stamps, players’ interactions) via an integrated blueprint of the game engine (Unreal Engine), which is then used to inform the game’s outcome: an audiovisual cosmogram. After the player navigates through the three layers, the journey ends at the campfire. This is where decisions made throughout the journey converge to generate a unique story of a multispecies network of energies—a new spectral world.
Spectral Plain was developed in collaboration with Isaac Clarke, Mārcis Lapiņš, Filip Setmanuk, and Jim Zweerts. It was also made possible through the support of Creative Industries Fund NL, V2_Lab for the Unstable Media, and Cultuur Eindhoven.
Guillemette Legrand is an artist and designer affiliated with the Reflective Interaction research group at the EnsadLab, Paris, and IXDM, Basel. Their practice explores machine-fictioning practices to simulate other possible imaginations of computational logic and the visual culture that emerge from it.
Vincent Thornhill (NZ/NL) is a designer, an artistic researcher at KU Leuven / LUCA School of Arts, and an educator at the Design Academy Eindhoven. Their practice questions humanistic readings of digital image infrastructure, with a focus on image-processing algorithms
Concept, creative direction, narration: Guillemette Legrand and Vincent Thornhill
Creative technician: Filip Setmanuk (game development) and Isaac Clarke (programming)
Sound artist: Jim Zweerts
In 2021, Kudsk Steensen was invited by the Canton de Genève to create a public artwork about the area. He invited writer and artist Joel Kuennen to join his research trip and write through the landscape while a digital artwork was created. During two weeks of February, 2022, the two artists visited the Arolla Glacier in Switzerland, staying in a cabin at an altitude of 2300m. They discovered a glacial tongue, a cave 200m deep and 30m tall, as well as a wolf lichen trapped in a droplet of Arolla pine sap. Following the artists' visit and after an extremely warm summer, the ice cave nested in the Arolla glacier collapsed in September 2022. 6,2% of the glacier's volume disappeared. The digital report thus becomes a poignant testimony of glacial deep time, assuming even more relevance at a time of irreversible morphological and geological transformations.
Jakob Kudsk Steensen is an artist working with environmental storytelling through 3D animation, spatial sound and enveloping installations. He creates poetic interpretations about overlooked natural phenomena through collaborations with field biologists, composers, scientists and writers, constructed through extensive fieldwork.
Joel Kuennen is an art critic, curator, editor, and artist. Their art practice investigates human relationships to the Earth as a means of understanding social constructs that can interrupt the extractive and exploitative ways in which we engage with this planet. Their research and practice generally navigate abiogenesis, assembly theory, exoplanets, space colonialism, new materials, crystal epitaxy, symbiosis, and geology.
Contact Zone Level 1 is an infinitely changing computer-generated animation. Two sites of rewilding collide—the Swiss Alps and the artist’s intestines—while an AI monitors them, itching to intervene. The animation is populated by imaged creatures generated by computer models, conjured by text-to-image AI algorithms, and captured by automated camera traps in the forest. It is accompanied by a seven-chapter soundtrack that uses sonic strategies of repetition, interruption, and release in weaving together ecological and mythological histories with philosophies of seeing, knowing, and controlling. The animation unfolds in endless permutations as the algorithm assembles the narrative order; field recordings; location, time and weather; creature actions; and camera views in ever-new variations, enabling fresh meanings to emerge.
Miriam Simun is an artist working at the intersection of ecological crisis, emergent technology, and somatic practice in multiple formats including video, performance, installation, writing and drawing. Trained as a sociologist and taking on the role of artist-as-fieldworker, Simun spends time within communities of experts, including biomedical engineers, carnivore conservationists, hunters, cephalopods, free divers, and breastfeeding mothers, to create research-based artworks rooted in lived experience. Simun’s practice excavates the poetic and the political from collisions of human and non-human bodies among rapidly evolving techno-ecosystems.
Concept, script, voice, sound and production: Miriam Simun
3D artist and programming: Ker Chen
Original field recording at Les Pléiades: Nicole L’Hullier
Composition and audio production of Monitor the Carnivore: DE13 Contact Zone Level 1 was commissioned by ifa – Institut für Auslandsbeziehungen and developed with the support of the Onassis Foundation and the ONX Studio
Script influenced by the powerful words and ideas of the following books, authors, choreographers (quoting them directly or indirectly, sometimes taking the liberty of playing with their words):
Alessio Fasano and Susie Flaherty, Gut Feelings: The Microbiome and Our Health (2021)
Benjamin Bratton, The Stack: On Software and Sovereignty (2015)
Bradley Cantrell, Laura J Martin, and Erle C. Ellis, Designing Autonomy: Opportunities for New Wildness in the Anthropocene (2016)
Bryony Dunne, personal conversation, 2021
Jamie Lorimer, The Probiotic Planet: Using Life to Manage Life (2020)
Jessie Wender, Meet Grandfather Flash, the Pioneer of Wildlife Photography (2015)
luciana achugar, Seeing without Naming movement practice
Nastassja Martin, In the Eye of the Wild (2021)
Nora Khan, Seeing, Naming, Knowing (2019)
Susan Sontag, On Photography (1977)
Privacy Policy
Note: This is a translation of the legally accurate and binding German original. In case of discrepancy, the German original shall prevail. Please see below for German version
Data privacy notice regarding the use of the website and online content provided by Institut für Auslandsbeziehungen e. V. (ifa)
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Datenschutzerklärung für die Nutzung der Webseite und des Internetangebots des Instituts für Auslandsbeziehungen e. V. (ifa)
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10. Weitere Informationen und Kontakte
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Liability for Content
Pursuant to sec. 7, 1, German Telemedia Act (Telemediengesetz TMG), ifa (Institut für Auslandsbeziehungen) is responsible under general legislation for its own content on this website. Pursuant to secs. 8-10 TMG, ifa is not under the obligation to monitor any third-party information that is transferred or stored or to investigate circumstances that are indicative of illegal activity. Any obligations under general legislation to remove or block the use of information shall remain hereby unaffected. However, liability regarding such matters shall only apply at such point in time when ifa is notified or becomes aware of a specific infringement. As soon as ifa becomes aware of such infringement, the relevant content will be removed immediately.
Liability for Links
Despite careful monitoring of content, ifa does not assume liability for the content of external links. The operators of any linked websites bear sole responsibility for the relevant content. All linked websites were reviewed for potential infringement before the link to that site was initially created. No illegal content was identified at the time of linking. ifa cannot be reasonably expected to monitor the content of linked websites on an ongoing basis without specific indication of legal infringement. As soon as ifa becomes aware of any such infringement, the relevant links will be removed immediately.
Legal Information on Copyright
The copyright for text content, photographs, graphic elements, and website layout as well as all other website content is held by ifa (Institut für Auslandsbeziehungen) and in some cases by third parties who are identified by their names. All rights are reserved. Any duplication, editing, dissemination, or any kind of use beyond the limits of copyright law shall require the written approval of the relevant author or creator. Text content, images, and graphic elements may be printed or downloaded for personal, private, or non-commercial use only. Any website content not created by the operator is presented in compliance with third-party copyright. All third-party content is marked as such. Please inform us should you become aware of any copyright infringements. As soon as ifa is notified of any such infringement, the relevant content will be removed immediately.
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