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< L05 >

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Aaron Koblin

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Aaron Siegel

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Adam Ferriss

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Aelee Kim

Alexander Sophia

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Alice Jung

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Amy-Claire Huestis

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Andres Colubri

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Andrew Hieronymi

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Anne Niemetz

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Antal Ruhl

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Ashok Sukumaran

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Badr Dahak

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Ben Blumenfeld

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Ben Lerchin

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Berfin Ataman

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Blaine O'Neill

Brandon Rickman

Brian Kobashikawa

Brick Rucker

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Camella DaEun Kim

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Camillia BenBassat

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Casey Alt

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Casper Schipper

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Chris Reilly

Christian Bannister

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Christo Allegra

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Christopher O'Leary

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Clara Leivas

Craig Chun

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Curtis Tamm

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D. Scott Hessels

Daehwan Kim

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Daniel Sauter

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Daniel Schwarz

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Dasul Kim

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Davey Whitcraft

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David Elliott

Few topics today are as controversial as Artificial Intelligence (AI). Indeed, AI is a technology that triggers euphoria and scepticism in equal measure, for it impacts us in our very souls as human beings. How reliable and neutral are automated processes? What sort of criteria does AI use to reach its decisions – and what are those decisions? Can our personal privacy and our self-determination when it comes to information content be protected from access by AI? Participating artists include Memo Akten, Timo Arnall, M. Eifler, Cheng Guo, Adam Harvey, Mario Klingemann, Lauren Lee McCarthy & David Leonard, Anna Ridler, Philipp Schmitt, Mimi Onuoha.

ARTIFICIAL INTELLIGENCE: Machine Learning Human Dreams
06. Nov 2021 - 28. Aug 2022
Deutsches Hygiene-Museum
Postfach 120 162, 01002 Dresden

AI is a technology that triggers euphoria and skepticism in equal measure, for it impacts us in our very souls as human beings.

LAUREN LEE McCARTHY and DAVID LEONARD exhibiting IA Suzie at Deutches Hygiene Museum

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David Leonard

Service Design has been an emerging topic in times of digitalization. Having a variety of products to choose from for a particular need, the service associated with a product is frequently what makes us choose product X over the others. This speculative documentary explores a mobility service that uses transportation infrastructure and apps to create a human freight service. Narrative Design + Director + Writer + Reporter

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UBER IN A BOX

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David Wicks

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Dennis Rosenfeld

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Diego Gomez

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Dmitry Kmelnitsky

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Dolores Rivera

Dominick Laurence

Doug Smarch

Ed Chao

Eitan Mendelowitz

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Emerson Taymor

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Eric Fanghanel

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Eric Parren

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Eric Siu

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Erick Goto

Black and white headshot of a woman with dark hair

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Erin Cooney

Lecturer

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Estevan Carlos Benson

Fabian Winkler

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Fatima Ahmed

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Fernando Sanchez

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Gabriel Noguez

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Gareth Walsh

Experimental Digital Arts (EDA) Supervisor

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Gautam Rangan

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Gavin Halm

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Ghosh

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Gil K

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Gottfried Haider

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Howard Nourmand

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HUI Fong Wah  (Phoebe)

[Previous](#) / [Next image](#) () Vexation 2012-2013 wood, graphite, motor, electronics, speakers, conductive tape, wires, glass 48” x 20” x 20” (kinetic), 16” x 19” x 11” (print) Los Angeles “Vexation” is a musical instrument built especially to play Erik Satie’s composition “Vexation”. Satie apparently instructed that the same music should be played 840 times. I wanted to make a work that demands a longer attention span and cannot be produced and consumed immediately. I am interested in the experience of duration involved in the act of listening to repeated sounds. Repetition is difference, since the same sounds take on a different significance as they are replayed. Inspired by Samuel Biderman’s octave spinet, which is a small and special type of harpsichord that combined keyboard with chess and backgammon board or jewel box, “Vexation” is an electronic instrument that builds upon traditional drawing pencils and woodwork together with modern electronics. I made a moving wooden cylinder wherein I drew marks using pencils of different lead sizes. These pencil marks function as a score. I also designed my own electrical circuit. The contact between the sound circuit and the pencil marks produces audible music. The cylinder can also be seen as a sculptural piece. Its cylinder shape evokes my understanding of vexation - an endless circulation. In “vexation”, I tried to collapse score and performance: The drawing in itself is the physical material that generates the tone without any human intermediary. The functional circuit is no longer split from the body in which it is embedded. The structure of the music is made clear to the visitor, since the score is displayed as an integral element of the sculpture. I am interested in transforming existing artworks, presenting them using new forms of notation or mechanical instruments, in order to raise the question: is this the same artwork? When does something become a different work of art? Who defines the identity of the artwork? Is this work a new manifestation of the same composition? My main purpose is to raise the question concerning the identity of the artwork across its various physical forms, not to give a final answer to this question.

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Vexation

[Previous](#) / [Next image](#) () Process with Body, Water & Pendulums 2009-2011, 2016 Steel, wire, wood, electronics, speakers Size varies “Process with body, water & pendulums” is a further development of an early piece called “Granular graph”. Inspired by harmonograph, a mechanical apparatus invented by the Scottish mathematician Hugh Blackburn in the mid 19th century. Harmonograph became popular with its capacity to create beautiful geometric patterns that depicted the scientific theories in music. The simplest harmonograph consists of two pendulums with one being connected to paper and the other to a pen. When the pendulums move, the rhythm of music is hereby recorded in a drawn pattern. The presented version of harmonograph created by applying electronic technology. The paper and pen, in her translation, are replaced with a water pool, and the pendulums become sensors atop two swings on which audiences can sit or stand to become part of the piece. The swinging movements, coupled with the energy and tension produced by the audience, cause waves on the water which reveals the scientific rhythm in music. The movements also provide the source for making sounds. The scientific theories in music are thereby made visible and audible. And the conventional one-direction viewing experience is revolutionized with the audience being made part of the art.

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