Time, diffracted is a confessional, autofictious speculation on notions of time. While the starting point may be personal experience, my original writing is transfigured and transformed by a process of performative writing in which improvisation and the switching of order, of meanings, of subjectivities and components of the writing lead to new insights on the seeds of possibilities contained within my original text. Voice recordings are complemented and juxtaposed with the meanings inherent in soundscape recordings and small musical loops. The work is a navigable 3D non-linear audio experience in which listeners choose what they want to listen to. There is no narrative arc, and the work is open to multiple interpretations. This artist talk will share the creative process behind Time, diffracted.

The rapid development and great influence of emerging technologies have changed the way of expression and creation of contemporary art, as well as the artistic expression of traditional Chinese culture. This is an art project named The First Room, an installation based on the I Ching, with the purpose of exploring the possibility of combining the I Ching based on human electroencephalogram data with artificial intelligence algorithms in future storytelling, and how it affects human emotions, and generating art visualisation images combined with the I Ching through computer algorithms. The First Room is a room composed of light, sound and image, which showcases a multi-sensory interactive space based on brainwave data. In this space, the audience is considered as one of the key components of the art installation and becomes the driving core of the project. By interacting within the space, it is hoped that participants will not only enjoy the programme, but also enhance the audience's understanding of the I Ching and future AI algorithms.This study discussed a method of creating future storytelling art based on objective EEG data signals in combination with traditional Chinese culture, providing a new path for the visual expression of traditional Chinese culture.

In the contemporary landscape, the intersection of virtual reality (VR) and artificial intelligence (AI) holds immense promise for reshaping tactical media and its potential for societal impact. This paper explores the transformative potential of these technologies, unveiling innovative approaches to address societal challenges and redefine the notion of social good. Virtual reality, as a pervasive and immersive technology, presents new opportunities for tactical activism. The paper delves into existing instances where VR has been employed to engage the public effectively and raise awareness about critical social issues. Complementing the role of VR, artificial intelligence emerges as a catalyst for social goals. The paper investigates how AI contributes to data analysis, trend prediction, and personalized strategies for addressing societal challenges. The synergies between AI and tactical media are examined, evaluating how these technologies collectively enhance the efficacy of activism for social good. While highlighting the vast opportunities, the paper critically examines the challenges associated with integrating VR and AI into tactical media for social good. It discusses ethical considerations, technological constraints, and potential pitfalls, providing a comprehensive overview of the current landscape.

Heat

The introduction of new imaging technologies, is giving rise to new worldviews. This is a slow process. Originating in military applications, adopted by innovative start-ups and manipulated by artists, these technologies sweep, enrich or replace ‘old’ knowledge. Over time, they reshape our perceptions of the world, instigating a shift in how we think about reality. A new logic is introduced, directing actions before it shapes understanding.

The XR work “Rise of the Tidal Island Queens” initially developed during a digital residency with Agora Digital Art, a London based organization that advocates the work of women and non – binary artists. The project took inspiration from a series of performative self-portraits that the artist took at age 50 and the myth of Aphrodite’s violent birth; how the goddess of Love and Fertility was born a grown woman shaped form the white foam of the sea. Adding narrative from the “surreal artist Ithell Colquhoun with her vision of divine femininity, in which the woman becomes a landscape and merges with earth an entity alive inhabited by spirits. The audio part is a virtual continuation of Frigga Hauge’s “memory work” and built upon anonymously collected written and oral reflections of middle-aged women and how they feel in their body and mind. “In this metaphor, the work question’s themes related to mature women such as ageism, body confidence, and criticism of the eternal youthful representation of the female body. The clash between the two players: the body and the mind” (MiMi, Agora Digital Art).

Ignorance of the nuclear explosions history grows in the general public as the memory of Hiroshima fades. Our Things is an artistic response, based on scientific research and documentation, to the current context of modernisation and perpetuation of nuclear arsenals, as well as the possible resumption of testing. Through artistic installations and performances, the goal of this research-creation project is to reveal to a wide audience, in an accessible and sensitive way, the environmental and health damages generated by the military nuclearisation of the world. This project was initially formalised during a residency at the research unit CERI (Sciences Po Paris), and a first VR version this artistic project is presented through the Styly platform during ISEA 2024. In this immersive environment, the participant can listen, through spatialised data sonification, to the chronology and different characteristics of nuclear explosions, as well as their lasting effects.