PikselXX

Coping Strategies

Coping Strategies, curated by Sarah Grant, Critical Engineering Working Group.

@KIB, Kunstskolen i Bergen 17th-27th November

We are excited to present Coping Strategies, a new exhibition curated by Sarah Grant, Radical Networks. As part of the 3 years Piksel collaboration with The Critical Engineering Working Group, Coping Strategies joins the works of Lauren McCarthy, Juan Pablo García Sossa, Isaac Kariuki, Teresa Dillon, Shortwave Collective, Joana Chicau, and Adam Harvey. Coping Strategies is part of the PIKSELXX AI AI AI program, in Bergen from 17-27 Nov.

Sarah Grant in her curatorial statement, affirms that by now we begin to understand the extent to which our personal and professional interactions are mediated by the digital, from user interfaces to data harvesting networks of surveillance. As digital captives, we have little agency over our membership and the extent of our participation within these obfuscated systems.

How can we put some space between ourselves and these dominant structures? How can we push back and reclaim agency over the narrative that is written about ourselves and our communities by these intrusive technologies? How do we mitigate digital crisis?

Coping Strategies is a program of works, including presentations, workshops, and performances, that demonstrate artist-led approaches to recasting our role in the asymmetrical relationship between ourselves and the dominant providers of information technology.

By demonstrating concrete actions that we as individuals and as communities can take in response to these domineering information systems, Coping Strategies hopes to provoke excitement and reassurance that we don’t have to passively accept the default settings of our digital lives.

PROGRAM

EXHIBITION Nov 17th -27th – opening 18-21h – rest of the days 11-18h
Futura Tropica by Juan Pablo García Sossa
What do you want me to say? by Lauren McCarthy

TALKS Nov 18th – 11-13h @KIB Auditorium
Futura Trōpica by Juan Pablo García Sossa
Coding : Braiding : Transmissions by Isaac Kariuki
VFRAME by Adam Harvey

PERFORMANCE Nov 17th – 19h
Tango for us Two/Too by Joana Chicau

PERFORMANCE Nov 19th – 18h
MTCD – A Visual Anthology of My Machine Life, Teresa Dillon

WORKSHOPS

Nov 18th &19th – 15-18h
Open Wave-Receiver by Shortwave Collective

Nov 19th – 10-13h
Messaging with lights in a not internet era! by Sarah Grant

Talks

VFRAME by Adam Harvey

VFRAME.io (Visual Forensics and Metadata Extraction) is a computer vision toolkit designed for human rights researchers. It aims to bridge the gap between state-of-the-art artificial intelligence used in the commercial sector and make it accessible and tailored to the needs of human rights researchers and investigative journalists working with large video or image datasets. VFRAME is under active development and was most recently presented at the Geneva International Center for Humanitarian Demining (GICHD) Mine Action Technology Workshop in November 2021.

Adam Harvey (US/DE) is an artist and research scientist based in Berlin focused on computer vision, privacy, and surveillance. He is a graduate of the Interactive Telecommunications Program at New York University (2010) and is the creator of the VFRAME.io computer vision project, Exposing.ai dataset project, and CV Dazzle computer vision camouflage concept.

Futura Trōpica by Juan Pablo García Sossa

| Futura Trōpica | is an intertropical decentralized network of grass-root local networks for lateral exchange of local resources and other forms of Knowledges, Designs and Technologies. It plays with the narrative of the Wood Wide Web and the way trees are interconnected, communicate to each other and redistribute nutrients with the help of fungi as mycellium. It uses the InterPlanetary File System (IPFS) protocol to connect Rhizomes in Bogotá, Kinshasa and Bengaluru. Each Rhizome is composed of a raspberry pi-based wireless access point and web server in combination with a USB based distribution system similar to ‘El Paquete Semanal’ in Cuba.

Juan Pablo García Sossa — jpgs / Futura Trōpica Netroots (*Bogotá, COL) is a Designer, Researcher and Artist fascinated by the clash between emerging technologies and grass-root popular culture in tropical territories. His practice explores the development of cultures, visions, realities and worlds through the remix and reappropriation of technologies from a Tropikós perspective (Tropics as Region and Mindset). JPGS has been part of diverse research institutions and design studios and currently is a design research member at SAVVY Contemporary The Laboratory of Form-Ideas’ Design Department in Berlin and Co-Director of Estación Terrena, a space for Arts, Research and Technologies in Bogotá.

Coding : Braiding : Transmissions by Isaac Kariuki

CBT (Coding : Braiding : Transmissions) is a collaboration with Tamar Clarke-Brown as an experiment in speculative technology, combining the DIY practices of coding and braiding. CBT explores these two practices as tools for sending encrypted messages to escape totalising surveillance of black communities globally. The performance installation comprises of women braiding each others’ hair with a GoPro camera attached to their heads. The camera and accompanying software translates their hand movements into encrypted messages that the women send to each other throughout the performance.

Isaac Kariuki is a visual artist and writer whose work centres on surveillance, borders, internet culture and the black market, in relation to the Global South. His work has taken the form of image, video, lectures, writing and performance.  He has exhibited at the Tate Modern, Kadist (Paris) and the Kampala Art Biennale among others as well as holding lectures at the Tate Britain and Yale University.

Performances

Tango for us Two/Too by Joana Chicau

<– Tango for Us Two/Too — > is a live coding performance  that merges web-programming with the choreographic language of Tango. The script focus on the dialogical nature of Tango, using Google  Translate with fragments of texts from interviews with Tango dancers and  practitioners. It invites us to a pas-de-deux performed by the online  interface and JavaScript functions which randomise search queries and  present a series of (mis)translations. An algorithmic dance sustaining glitches between the techniques and  poetics of Tango, each breath a step towards the emergence of a new  vocabulary for the moving.

Joana Chicau is a graphic designer, coder, researcher — with a  background in dance. In her practice she interweaves web programming  languages and environments with choreography. She researches the  intersection of the body with the constructed, designed, programmed  environment, aiming at widening the ways in which digital sciences is  presented and made accessible to the public. She privileges the  use of Free-Libre Open Source software, and collaborates with various  international practitioners in the fields of art, design and technology  on both commissioned and self-initiated projects. She has been actively  participating and organizing events with performances involving  multi-location collaborative coding, algorithmic improvisation,  discussions on gender equality and activism.

MTCD – A Visual Anthology of My Machine Life, Teresa Dillon

MTCD is a monologue in which the artist and researcher Teresa Dillon takes one “machine’ from each year of her life. From radios to home recording devices to her first experiences on the Internet, reflections on techs uses and misuses, failures and breakdowns, highlight the glitchy realities and contextual relations in which the key “machines” that shaped her technological know-how and imagination, play out. 

MTCD originally premiered at Berlin’s transmediale in 2018 with further presentations in 2019. This updated but stripped back version is a special edition for PIKSEL 20th birthday.

Teresa Dillon (IRL/UK/DE) 

An artist and researcher Teresa’s work explores the interrelationships between humans, other species, technology, cities and our environments. This currently manifests through three evolving programmes: Repair Acts (2018-) explores restorative cultures and practices by connecting past stories of care, maintenance and healing, with what we do today and how we envision the future. Urban Hosts (2013-) a programme that plays with civic conversational, encountering and hospitality formats and Liminal Routes (2020-) a mixtape and sonic tripping series for cities. Experienced in producing software and hardware projects, Teresa has also written on subjects such as open source processes, music, technology and design, sonic materiality’s and folklores, multispecies relations, surveillance, governance and the smart city, repair economies and artisan repair professions. As a Humboldt Fellow (UdK and TU, Berlin, 2014-16) her work documented artistic approaches to making the electromagnetic spectrum in cities audible. Invited to co-curate transmediale (2016) and HACK-THE-CITY (2012) for the former, Science Gallery, Dublin, since 2016 she currently holds the post of Professor of City Futures at the School of Art and Design, UWE, Bristol.   

Links: polarproduce.org/ //  repairacts.net/ // urbanhosts.org/

Exhibition

Futura Tropica by Juan Pablo García Sossa

| Futura Trōpica | is an intertropical decentralized network of grass-root local networks for lateral exchange of local resources and other forms of Knowledges, Designs and Technologies. It plays with the narrative of the Wood Wide Web and the way trees are interconnected, communicate to each other and redistribute nutrients with the help of fungi as mycellium. It uses the InterPlanetary File System (IPFS) protocol to connect Rhizomes in Bogotá, Kinshasa and Bengaluru. Each Rhizome is composed of a raspberry pi-based wireless access point and web server in combination with a USB based distribution system similar to ‘El Paquete Semanal’ in Cuba.

What do you want me to say? by Lauren McCarthy

Exhausted by Zoom calls, I created a digital clone of my voice to replace me. This voice allows me to puppet myself, using it to say all the things I hadn’t previously been able to embody. I feel a sense of power owning the data of my own voice. I am taking it back from the tech companies, constantly collecting my conversations, sampling and analyzing and archiving my speech for future use yet unknown. Instead, I offer the ownership and control of my voice to others.

Upon collecting and visiting the work, you are asked by my voice, “What do you want me to say?” However you reply, my voice responds by speaking your own words back to you. Then it asks again, “What do you want me to say?”

This work considers vulnerability, ownership, and authenticity in a time of rapidly advancing virtual reality. As I open access to my voice, I reflect on the ways femme voiced virtual assistants are commanded and controlled by their users and their developers. And the ways we can feel heard and (mis)understood by those that listen.

Lauren Lee McCarthy is an artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She has received grants and residencies from Creative Capital, United States Artists, LACMA, Sundance New Frontier, Eyebeam, Pioneer Works, Autodesk, and Ars Electronica. Her work SOMEONE was awarded the Ars Electronica Golden Nica and the Japan Media Arts Social Impact Award, and her work LAUREN was awarded the IDFA DocLab Award for Immersive Non-Fiction. Lauren’s work has been exhibited internationally, at places such as the Barbican Centre, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, Seoul Museum of Art, and the Japan Media Arts Festival.

Workshops

Open Wave-Receiver by Shortwave Collective

Building Open Wave-Receivers enables DIY communications reception, and allows anyone to freely listen to the broad spectrum of radio waves  around us. All you need are a few easy-to-procure supplies and, if you  want to try it, a neighborhood fence or other receptive antenna proxy.

Why a fence? Antennas are necessary for radios to receive signals,  and many things can be antennas. Fences can make great, and very long,  antennas! Other materials can work well too; even a tent peg can become a  useful part of a radio. Open Wave-Receivers allow us to explore the  relationship between different combinations of materials, antennas, and  radio waves, creating a new technology literacy, a new medium for  artistic expression, and a new way to explore the airwaves in our  communities.

We have found making Open Wave-Receivers to be a fun adventure. The  ability to use simple scraps to create variety and personalization in  each radio makes this a great maker project for anyone wanting to play  with radio.

Shortwave Collective is an international, feminist artist group established in May 2020, interested in the creative use of radio. We meet regularly to discuss feminist approaches to amatuer radio and the radio spectrum as artistic material, sharing resources, considering DIY approaches and inclusive structures. Members include Alyssa Moxley, Georgia Muenster, Brigitte Hart, Kate Donovan, Maria Papadomanolaki, Sally Applin, Lisa Hall, Sasha Engelmann, Franchesca Casauay, and Hannah Kemp-Welch

Eirian Friedkin – everything gets eaten

Eirian Friedkin

A white canvas displays ever changing, and linked phrases of three words in black font. A handful of popular nouns where chosen at random and are combined as such to allow the viewer to draw (unexpected) connections between different concepts and how one may very well degrade another.

Eirian Friedkin exists and does things. Sometimes it may be called art.

Minus

Ben Grosser

Despite their lofty mission statements, today’s big social media platforms are centrally focused on one singular concept: more. These capitalistic software machines are designed to stoke a pervasive and ever-increasing cycle of production and consumption for the purposes of growth and profit. To accomplish this they leverage data and scale to produce signals and interface patterns that keep us engaged, promising connection and joy in exchange for increasing shares of our time and attention. The platforms embed within us the idea that our own sociality is best evaluated and understood through quantity. They reconfigure our sense of time in ways that can make minutes or hours ago seem old. And their personalized feeds teach our brains that the only content worth watching or reading is that which we can already imagine. In its tireless pursuit of users and data and wealth, big social media sacrifices human agency and potential on the altar of more.

But what if social media wasn’t engineered to serve capitalism’s need for growth? How might online collective communication be different if our time and attention were treated as the limited and precious resources that they are? Minus is an experiment to ask these questions, a finite social network where users get only 100 posts—for life. Rather than the algorithmic feeds, visible “like” counts, noisy notifications, and infinite scrolls employed by the platforms to induce endless user engagement, Minus limits how much one posts to the feed, and foregrounds—as its only visible and dwindling metric—how few opportunities they have left. Instead of preying on our needs for communication and connection in order to transform them into desires for speed and accumulation, Minus offers an opportunity to reimagine what it means to be connected in the contemporary age. The work facilitates conversation within a subtractive frame that eschews the noise and frenzy for a quieter and slower setting that foregrounds human voices, words, and temporalities. Though it may be disorienting at first to navigate an online social space devoid of the signals and patterns Silicon Valley uses to always push for more, Minus invites us to see what digital interaction feels like when a social media platform is designed for less.

Ben Grosser creates interactive experiences, machines, and systems that examine the cultural, social, and political effects of software. Exhibition venues include Eyebeam in New York, Somerset House and the Barbican Centre in London, Centre Pompidou in Paris, SXSW in Austin, Museum of Modern Art in Moscow, World Museum in Liverpool, Museu das Comunicações in Lisbon, Museum Kesselhaus in Berlin, Science Gallery in Dublin, Japan Media Arts Festival in Tokyo, IMPAKT Festival in Utrecht, and the Digital Arts Festival in Athens. His works have been featured in The New Yorker, Wired, The Atlantic, The Washington Post, The Los Angeles Times, PBS, Fast Company, Hyperallergic, BBC, The Telegraph, Le Monde, Corriere della Sera, Der Spiegel, El País, and Folha. The Guardian (UK), writing about his recent film ORDER OF MAGNITUDE, said “there will be few more telling artworks [from] the first decades of this century … a mesmerising monologue, the story of our times.” Speaking about his social media-focused projects, RTÉ (Ireland) described Grosser as an “antipreneur.” Slate referred to his work as “creative civil disobedience in the digital age.” Grosser’s artworks are regularly cited in books investigating the cultural effects of technology, including The Age of Surveillance Capitalism, The Metainterface, and Investigative Aesthetics, as well as volumes centered on computational art practices such as Electronic Literature, The New Aesthetic and Art, and Digital Art. Grosser is an associate professor of new media in the School of Art + Design and co-founder of the Critical Technology Studies Lab at the National Center for Supercomputing Applications, both at the University of Illinois at Urbana-Champaign, USA. https://bengrosser.com

Piksel KidZ Lab Audiovisual effects LIVE Coding!

Piksel KidZ Lab workshop: Creating Audio and Visual effects with Code – LIVE Coding!

Tuesday 25th – Friday 28th October 2022: 15-18h

Duration: 3 hours, the workshop repeats every day.
Age: 10-18 years old.
Venue: Studio 207, Strandgaten 207, Bergen
Gratis verksted for barn/unge i alderen 10-18 år for påmelding: piksel22(at)piksel(dot)no

Piksel KidZ Lab is supported by Bergen Kommune and Vestland Fylkeskommune and Fana Sparebank.

The internet is full of ‘open-source’ free software that we can use to create exciting sound and visuals. This workshop for children aged 10ish will introduce Live coding to the kids. Live coding is an audio visual performance practice that revolves around the creation and modification of code and algorithms in real-time.

Antonio Roberts will introduce the group to the Estuary live coding platform, with the aim of writing computer programs “on the fly”. The fast feedback loops and improvisatory spirit of live coding can result in complex and encouraging sound and visual effects. Throughout the 3 hours workshop the kids will experiment programming with very simple code sounds and visuals. The workshop intends to de-mystify technology and reveal its design decisions, limitations, and creative potential. Kids will produce a final performance all together at the end of the workshop.

Antonio Roberts (UK)

His work has been featured at galleries and festivals including databit.me in Arles, France (2012), Glitch Moment/ums at Furtherfield Gallery, London (2013), Loud Tate: Code at Tate Britain (2014), glitChicago at the Ukrainian Institute of Modern Art in Chicago, US (2014), Permission Taken at Birmingham Open Media and University of Birmingham (2015-2016), Common Property at Jerwood Arts, London (2016), Ways of Something at Whitney Museum of American Art, New York (2017), Green Man Festival, Wales (2017), Barbican, London (2018), and Copy / Paste at the Victoria and Albert Museum (2019).

He has curated exhibitions and projects including GLI.TC/H Birmingham (2011), the Birmingham editions of Bring Your Own Beamer (2012, 2013), µChip 3 (2015), Stealth (2015), No Copyright Infringement Intended (2017). He is part of a-n’s Artist Council, is an Artist Advisor for Jerwood Arts and from 2014 – 2019 he was Curator at Vivid Projects where he produced the Black Hole Club artist development programme.

Links

—–

Website: http://hellocatfood.com

Instagram: http://instagram.com/hellocatfooood

YouTube: http://youtube.com/hellocatfood

Piksel KidZ Lab is supported by Bergen Kommune and Vestland Fylkeskommune.

Gratis verksted for barn/unge i alderen 10-18 år for påmelding: piksel22(at)piksel(dot)no

PIKSELXX, AI AI AI

PIKSELXX, AI AI AI

PROGRAM

EXHIBITIONS -17th-27th Nov

Coping Strategies, curated by Sarah Grant, Critical Engineering Working Group.

@KIB, Kunstskole i Bergen

Coping Strategies is a new program produced by Piksel, curated by Sarah Grant, Critical Engineering Working Group.

Sarah Grant in her curatorial statement, affirms that by now we begin to understand the extent to which our personal and professional interactions are mediated by the digital, from user interfaces to data harvesting networks of surveillance. As digital captives, we have little agency over our membership and the extent of our participation within these obfuscated systems.

How can we put some space between ourselves and these dominant structures? How can we push back and reclaim agency over the narrative that is written about ourselves and our communities by these intrusive technologies? How do we mitigate digital crisis?

Coping Strategies is a program of works, including presentations, workshops, and performances, that demonstrate artist-led approaches to recasting our role in the asymmetrical relationship between ourselves and the dominant providers of information technology.

By demonstrating concrete actions that we as individuals and as communities can take in response to these domineering information systems, Coping Strategies hopes to provoke excitement and reassurance that we don’t have to passively accept the default settings of our digital lives.

EXHIBITION Nov 17th -27th
Futura Tropica by Juan Pablo García Sossa
What do you want me to say? by Lauren McCarthy

TALKS Nov 18th
VFRAME by Adam Harvey
Futura Trōpica by Juan Pablo García Sossa
Coding : Braiding : Transmissions by Isaac Kariuki

PERFORMANCE Nov 17th
Tango for us Two/Too by Joana Chicau

WORKSHOPS Nov 18th -19th
Open Wave-Receiver by Shortwave Collective
Messaging with lights in a not internet era! by Sarah Grant

Skogen, by Hillevi Munthe (NO) og Elisabeth Schimana (AT)

@Studio 2017 Nov 17th -27th

The forest is a collaborative project between Hillevi Munthe (NO) and Elisabeth Schimana (AT)

“The forest” is a spatial textile installation with incorporated electronics and metal wires with shape memory, so-called shape memory alloy (SMA) or muscle wire. The muscle wire creates programmed movement in the fabric.

In the gallery space, tubes of textile hang from ceiling to floor at regular intervals. They fill the room, but it is still possible to walk between them. The tubes are made of light, transparent silk partially felted with raw wool. The felted surfaces are knotty, bubbly and rough. At irregular intervals, the textile lifts up from the floor and stays there before slowly descending back towards the floor. Some are lifted a meter up, others two or more. The tubes are pulled together at the floor or ceiling, some in the middle. The promise happens quickly, suddenly, while the denial is slow. It is as if the installation breathes and lives. As the audience moves through the installation, they wear headphones with a field recording from the forest at Druskininkai outside Vilnius recorded with specially built microphones.

Hillevi Munthe (NO) has worked with electronic textiles since 2009 on her practical research project on e-textile materials and techniques carried out in collaboration with the Bergen Academy of the Arts titled Soft Technology. “The forest” is a continuation of this work.

E-textiles have become increasingly well known in recent decades and describe both the incorporation of traditional electronics into textile materials and the construction of textile components and electronic circuits. With textile material with current-carrying properties, you can knit sensors, embroider wires or sew entire circuits. E-textile is part of an open source and DIY tradition within electronic art and at the same time in a textile art tradition where knowledge of techniques for the construction of flexible surfaces is crucial for how the circuits are built. An embroidered or sewn circle can be shaped, expanded and stretched to the desired expression, and thus becomes a meaning-bearing unit in itself.

PIKSELXX, AI AI AI Main Exhibition

@KIB
Pillow Talk, Miller Puckette, Kerry Hagan (US)
ORDER OF MAGNITUDE and/or DEFICIT OF LESS, Ben Grosser (US)
VastWaste: Data-Driven Projection Art and VR Installation, Ozge SAMANCI (US)
Vis.[un]necessary force_1, Luz María Sánchez (MX)
BITS AND BYTES, Marko Timlin (FI/DE)
The Linguistic Errantry, Tansy Xiao (US)
Rewriting History: I keep forgetting faces, Malte Steiner (DE)
Going Viral, Derek Curry, Jennifer Gradecki (US)

@Strandgaten 205
memoryMechanics memoryMechanics, mads hobye, Lise Aagaard Knudsen and Karen Eide Bøen (DM/NO)

@ Marken 13 A
We are FM, August Black (US)

@Marken 13 B
Process Pages, Nick Montfort (US)

@Piksel Cyber Salon

Web deformation, Max Alyokhin (RU)
Compost listen center, August Black (US)
Precipitating Dread [PPT-Dread], Dominic Aidan Vetter [artist name: leclerq] (FR)
Boogaloo Bias Derek Curry, Jennifer Gradecki (US)
Minus, Ben Grosser (US)
The primacy of constructive methods over subjective imagination, Przemyslaw Sanecki (PL)
Fake or far away, Becky Brown (US)
Local time, Julian Scordato (IT)
Rewriting History: I keep forgetting faces, Malte Steiner (DE)
The Care and Feeding of Your AI, Joshua Westerman
Compost listen center August Black (US)
Going Viral, Derek Curry, Jennifer Gradecki (US)
Futurabilities, Azahara Cerezo (SP)
Drought, Claude Heiland-Allen (UK)
Uploaded to the Cloud, Kate Hollenbach (US)
Power&Bytes, Jerry Galle (BE)

PIKSELXX, AI AI AI SEMINAR

To celebrate the 20 years we plan to do the “PIKSEL XX. 20 years of Libre Electronic Art. Celebrating Art and Free/Libre technologies” seminar focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology, and economy.

The Piksel 20th edition wants to be a celebration of the main Piksel theme: Electronic art and Free/Libre technologies.

Piksel topics have been revolving around artistic practices related to open source bio kitchen art, politics and surveillance in information technologies, visual/sound instruments made by electronics, using Free/Libre software and hardware (FLOSS), and open networks for 20 years!

The anniversary program will develop these topics through a seminar. We have invited some of the artists that have share these topics with us through the 20 years of history of Piksel.

Seminar
Per Platou (NO)
Grethe Melby (NO)
Dusan Barok (ES)
John Bowers (UK)
Marc Duseiller (SW)
Malte Steiner (DE)
APO33 – Julien Ottavi & Jenny Pickett (FR)
Asimtria / Marco Valdivia (PE)
Paola Torres Núñes del Prado (PE/SE)

PIKSELXX, AI AI AI WORKSHOPS

Introductory workshop for patching for sensors in pure data, Kris Kuldkepp (DE)
Open Wave-Receiver, Shortwave Collective (UK/FR)
Intro to PdParty, Dan Wilcox (US/DE)

Online
Prototyping DIY smart robots with Arduino and Machine Learning, Ivan Iovine (DE)
Neural Networks in Pure Data, Alexandros Drymonitis (GR)
Building web apps with free software, the composting audio app, August Black (US)

PIKSELXX, AI AI AI TALKS

Pillow Talk, Miller Puckette, Kerry Hagan (US)
Digital Culture & Cyborg Bodies, Idun Isdrake (SE)
Taper, An Online Magazine for Tiny Computational Poems, Nick Montfort (US)
BITS AND BYTES Marko Timlin (FI/DE)
ShadowPlay, Dan Wilcox (US/DE)
Creative PCB Design for Manufacturing using SVG2Shenzhen, Budi Prakosa (ID)
Haptic Box and its entangled flows, Dave Riedstra (CA)
Ritmo 2021: a code generated experimental/animation short film, Luis Fernando Medina Cardona (CO)
Journey to the Planet of nuclear Chewing Gum, Vera Sebert (DE)
I make music and videos with statistics software, MusikeR