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Anna Nazo

Anna Nazo  (Russia)
Flame 2.0, 2020,video stills.
A 360 degree video/ digital collage that includes multiple video feeds of performance documentation and CGI, mapped in 360 virtual space.

Flame 2.0 (2020). Performance for Entanglement: Just Gaming, RCA Visual Cultures Lecture Series, Royal College of Art, Online/ London, UK. 
Flame 2.0 is a Zoom streamed 360 digital-physical AV performance presented by Anna Nazo’s avatar ‘α Phoenicis (Ankaa)’.  
Using a 360 degree imaging archive, the work engages in a live conversation with its earlier iterations including Flame (2020), a performance for Stay LIVE At Home programme, organised by Performistanbul, Live-streamed on Zoom and Instagram @annanazo, Istanbul, Turkey / London, UK; and Undulation (2020), a performance for So remember the liquid ground, a public program in a partnership between the RCA CCA and Gasworks, curated by Benjamin Darby, Yoojin Kang, Akis Kokkinos, Angelina Li, Lenette Lua and Louise Nason, Online/ London, UK. Commissioned by Gasworks & RCA CCA. 

https://cargocollective.com/annanazo
@annanazo

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Shinji Toya

Shinji Toya  (JAPAN BASED IN LONDON – UK)
Untitled, 2020,

An iteration from the project Processes of Life/Painting (2014-2016). Size: Variable / 600×675 pixels

Animated GIF combining various algorithmic and pictorial components previously produced.

Custom software (Generative collage programme) built with digitised acrylic paintings and a customised cellular automaton (Game of Life of John Conway) in Max/MSP/Jitter. 
The generated collage images are juxtaposed in the thumbnails in the shape of an emergent pattern distribution made by a cellular automaton.
Background animation: produced with the cellular automaton made in Processing adapted and modified from the code by Matt Pearson/Manning Publications Co. (Creative Commons Attribution-NonCommercial 3.0).

shinjitoya.com/
@shinjitoya

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Shinji Toya

Shinji Toya  (JAPAN BASED IN LONDON – UK)
Untitled, 2020,

An iteration from the project Processes of Life/Painting (2014-2016). Size: Variable / 600×675 pixels

Animated GIF combining various algorithmic and pictorial components previously produced.

Custom software (Generative collage programme) built with digitised acrylic paintings and a customised cellular automaton (Game of Life of John Conway) in Max/MSP/Jitter. 
The generated collage images are juxtaposed in the thumbnails in the shape of an emergent pattern distribution made by a cellular automaton.
Background animation: produced with the cellular automaton made in Processing adapted and modified from the code by Matt Pearson/Manning Publications Co. (Creative Commons Attribution-NonCommercial 3.0).

shinjitoya.com/
@shinjitoya

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Shinji Toya

Shinji Toya  (JAPAN BASED IN LONDON – UK)
Untitled, 2020,

An iteration from the project Processes of Life/Painting (2014-2016). Size: Variable / 600×675 pixels

Animated GIF combining various algorithmic and pictorial components previously produced.

Custom software (Generative collage programme) built with digitised acrylic paintings and a customised cellular automaton (Game of Life of John Conway) in Max/MSP/Jitter. 
The generated collage images are juxtaposed in the thumbnails in the shape of an emergent pattern distribution made by a cellular automaton.
Background animation: produced with the cellular automaton made in Processing adapted and modified from the code by Matt Pearson/Manning Publications Co. (Creative Commons Attribution-NonCommercial 3.0).

shinjitoya.com/
@shinjitoya

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Stephen Paré

Stephen Paré  (USA)
Synchro System #4, 2019, Digital transformation of found and original digital photographs.

stephenpare.art
@Verbonnet

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Ina Annette Huennekens

Ina Annette Huennekens (DE)
the talk II, endo exo n+1, 2020, 20 x 26,7 cm.

 n+1 started as an art project in 2015 in addition with the terms „endo“, „exo“ or both, depending on the viewpoint from outside or inside a virtual sculpture as artifact. During the process of watching n+1 stills of specific digital procedures I select some of the most intense ones and try to get more information about the qualities in contrasting them to several different surfaces and dimensions of the analogue and digital world. 
Watching those abstract processes, I also use “symbolic stills” and add the n+1 term for making people aware of a crucial ongoing change.
The work is based on an exclusive set of different apps on iPhone and  iPad.

nplus1.weebly.com 

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Ina Annette Huennekens

Ina Annette Huennekens (DE)
survival dance I, endo exo n+1, 2020, 20 x 26,7 cm.

 n+1 started as an art project in 2015 in addition with the terms „endo“, „exo“ or both, depending on the viewpoint from outside or inside a virtual sculpture as artifact. During the process of watching n+1 stills of specific digital procedures I select some of the most intense ones and try to get more information about the qualities in contrasting them to several different surfaces and dimensions of the analogue and digital world. 
Watching those abstract processes, I also use “symbolic stills” and add the n+1 term for making people aware of a crucial ongoing change.
The work is based on an exclusive set of different apps on iPhone and  iPad.

nplus1.weebly.com 

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Ina Annette Huennekens

Ina Annette Huennekens (DE)
invasion endo exo n+1, 2020, 20 x 26,7 cm.

 n+1 started as an art project in 2015 in addition with the terms „endo“, „exo“ or both, depending on the viewpoint from outside or inside a virtual sculpture as artifact. During the process of watching n+1 stills of specific digital procedures I select some of the most intense ones and try to get more information about the qualities in contrasting them to several different surfaces and dimensions of the analogue and digital world. 
Watching those abstract processes, I also use “symbolic stills” and add the n+1 term for making people aware of a crucial ongoing change.
The work is based on an exclusive set of different apps on iPhone and  iPad.

nplus1.weebly.com

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Comments closed

Ina Annette Huennekens

Ina Annette Huennekens (DE)
genesis endo exo n+1, 2020, 20 x 26,7 cm.

 n+1 started as an art project in 2015 in addition with the terms „endo“, „exo“ or both, depending on the viewpoint from outside or inside a virtual sculpture as artifact. During the process of watching n+1 stills of specific digital procedures I select some of the most intense ones and try to get more information about the qualities in contrasting them to several different surfaces and dimensions of the analogue and digital world. 
Watching those abstract processes, I also use “symbolic stills” and add the n+1 term for making people aware of a crucial ongoing change.
The work is based on an exclusive set of different apps on iPhone and  iPad.

nplus1.weebly.com

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Comments closed