The viewer is inside the work, the viewer is in front of the work. The viewer's reflection in the work. The viewer as an object of self-manipulation. A feature of these projects is the reflection of the viewer in the work or being an object of ma-nipulation: the viewer is visible directly as an image or be-comes the object of the work's transformation. Paying atten-tion to projects that manipulate the viewer's image is especial-ly relevant in the current era of selfies. We can see the history and development of digital selfie projects in them. We can describe projects related to self-surveillance and self-perception as viewer functioning at various levels of complex-ity, from low-intrusive mirror-like environments to environ-ments that attack the integrity of the personality.

'InterFace: City as a Work of Art, or City Under Redevelopment' (1988), was a pioneering interdisciplinary project that leveraged art and digital technologies to critique urban change in Meanjin (Brisbane). Emerging as an early experiment predating conventional public art policies and unencumbered by economic or city marketing pressures, the project, with artist Jeanelle Hurst as interlocutor, represents a distinctive approach to imagining the city. Moreover, predating the digital realm as we know it, the project merits renewed critical attention, celebrating Hurst’s obscured influence in shaping early concepts of electronic telecommunications within visual art and culture. Utilizing a multifaceted approach, the study employs critical review analysis, enriched by semi-structured interviews with key participants and observers, historical memory and contextualization. By examining the project's engagement with urban spaces and its conflicted reception in the socio-cultural context of the late 1980s, this research contributes to a deep understanding of place. As a compelling and productive counterpoint to urban renewal strategies, this study positions InterFace as an exemplar that continues to hold significance, especially in fostering innovative, collaborative and socially relevant art within the broader context of urban ecologies and change.

Assuming the premise that what characterizes tactical media is their temporality, the here and now of daily experience, the essay questions the role they could play today. The argument makes a synthetic tour through the history and theory of tactical media from its popularization in the nineties, attending to its decline at the beginning of the 21st century with the rise of the web 2.0, until its disappearance from the dystopian horizon of the current dominant discourses on digital culture, centered on strategies. Paradoxically, social media platforms now seem to be the only ones interested in research on the uses in themselves as advocated by Michel de Certeau. The conclusion proposes to recover the analysis of tactics in its original sense, attending again to the everyday uses of the many and not only the abuses of the few, in order to understand the present of tactical media.

Behavior and objects in the physical world are constantly being transferred into large amounts of “information.” As people attempt to find methods to validate the existence of “information,” they also start to try to calculate the “infor-mation weight” by scientific methods. However, the tiny weight of an object after transferred into information is very different from the original object that people perceive. Think-ing about it further: While digital technology is compressing and eliminating entities in people's impressions, the weight of the world's existence is also rapidly condensing, depleting, and evaporating, without us even realizing it. The art project “Float” aims to explore the weight of the world that has been dissipated through various transformations in digital technol-ogy. The project collects postings about “I Lost”and focuses on the disappearance of every materiality. Each operation of a unit scale-like installation represents the production, trans-mission, and dissipation of information. After losing weight in the digital process, the residual minimal weight is diffused into space by the installation, striving to rekindle people's sensory experiences of “loss.”

The paper presents and discusses aspects of the installation “Window Water ${object} Moving (convolutional mnemonics)” (2023-2024) experimenting with Convolutional Neural Networks (CNNs) with ml5.js for object classification to critically address ectogenesis concerning chronopolitics and related temporal aesthetics in the evolution of government views, policies, and program measures, concerning population size and growth. The works address the necropolitical use of humans' bodies, which can foster economic growth in ways that directly and dramatically impact our tentative friendly permanence on Planet Earth. As if an appropriated and deconstructed hookah could be 'a metaphorical ectogenous chamber’ — the relational object (plastic bag resembling a biobag for ectogenesis, atomizer, USB camera/P5JS ml5 for object classification, two hookah flexible hoses tubing and handle)—invites the audience to interfere in the mist pattern by ‘blowing through the hoses’ and consequently influencing the guessing of objects by the machine learning library. The ml5 library is so, guessing ‘objects’ from fluid mist patterns as we guess shapes by observing the clouds. The work explores a possible generative convolutional aesthetics of objects-as-babies-as-objects — as if the only possible babies-outcomes that our accelerated hyper-mediated algorithmic society wants to produce are objects—namable shapes that can be identified by convolutional neural networks’ based libraries. The aesthetics of the trans object and its functioning— blowing through tubes and interfering in the mist fluid and mutable patterns—invites us to navigate animistic references to tubes—flutes, shamanic pipes, humans’ respiratory and reproductive organs, and the generative power attributed to them in the Amazonian Tucano people’s cosmology, from the perspective brought by the anthropologist Stephen Hugh-Jones in his "Thinking through Tubes: Flowing H/air and Synaesthesia.”

Domestic Light is a timely work, conceived in and for a COVID and post-COVID world, it explores the nature of our relationship to the character of light, home, and the passage of time – through the collection of a year-long data time-lapse of spectral color of light in homes worldwide. Currently in process, Domestic Light will have been collecting global multi-spectral light data for 11 months at conference time.
This work-in-progress artist talk on the Domestic Light project will share excerpts and a live view of the currently in-process year-long real time data-video work, and will fore-ground discussion and observations about the creation and collection of the color data at the heart of the project, as well as a facilitate discussion amongst sensor hosts and collaborators about the social and software network built for the project. The presentation concludes with a brief exploration at the future plans for the network and a view of the physical installation premiering in winter 2024.
Members of our sensor host network will discuss the emerging peer to peer artistic and cultural networks that can facilitate new possibilities of observation of our environment and the exploration of expanded temporalities through data time-lapse.