“BECOMING HUMAN IN TIMES OF POST-HUMANISM” Taiwan × Austria Collaborative Exhibition and Symposium
“BECOMING HUMAN IN TIMES OF POST-HUMANISM” Taiwan × Austria Collaborative Exhibition and Symposium
2024.06.21~2024.07.07
10:00 - 17:00
4F, KdMoFA
Opening|
06.21 (Fri.) , 17:00 ~ 19:00

Symposium|
DAY 1 - 06.21, 13:30 ~ 15:40
DAY 2 - 06.22, 10:00 ~ 16:00
Artists|
Zeynep Aksöz Balzer, Amir Bastan, Sonia Bernac, Morgane Billuart, Margarete Jahrmann, Jeremy Keenan, Nicolaj Kirisits, Claudia Larcher, Marianna Mondelos, Noor Stenfert Kroese, Katharina Swoboda

Participants of Symposium|
TNUA:
Kai-Huang CHEN, Chien-Hung HUANG, Yi-Ping HUNG, Yatin LIN, Hong-John LIN, Yu-Jui YANG

Angewandte:
Zeynep Aksöz Balzar, Alexander Damianisch, Margarete Jahrmann, Claudia Larcher, Petra Schaper Rinkel
Opening|
06.21 (Fri.) , 17:00 ~ 19:00

Symposium|
DAY 1 - 06.21, 13:30 ~ 15:40
DAY 2 - 06.22, 10:00 ~ 16:00
Artists|
Zeynep Aksöz Balzer, Amir Bastan, Sonia Bernac, Morgane Billuart, Margarete Jahrmann, Jeremy Keenan, Nicolaj Kirisits, Claudia Larcher, Marianna Mondelos, Noor Stenfert Kroese, Katharina Swoboda

Participants of Symposium|
TNUA:
Kai-Huang CHEN, Chien-Hung HUANG, Yi-Ping HUNG, Yatin LIN, Hong-John LIN, Yu-Jui YANG

Angewandte:
Zeynep Aksöz Balzar, Alexander Damianisch, Margarete Jahrmann, Claudia Larcher, Petra Schaper Rinkel
Exhibition Introduction
In an era where the lines between technology, ecology, humans, and non-humans are blurring, where intelligence is defined from both human and non-human perspectives, and control by algorithms is becoming invisible and incalculable for humans, new questions emerge.
As the criticism of human-centered humanism became a common topic this symposium seeks new – artistic, critical, experimental - perspectives on post-humanistic discourses. This posthuman turn is based on the convergence of posthumanism, technology-deifying transhumanism and the critical view of the Anthropocene as a geological age determined by humans through the destruction of the foundations of life for all.

The critical posthumanist subject is realising its limited capacity for agency, as the posthumanist knowledge discourses have articulated a global critique of the universalist image of hu/man and human exceptionalism. These critical discourses have become powerful when animal rights and the rights of lakes and rivers have been given constitutional status in democracies. But what goes beyond the universalist idea of "hu/man" as the supposed measure of all things?

In an era when the boundaries between technology, ecology, humans and non-humans are blurring, when intelligence is defined from a human and non-human perspective and control by algorithms is becoming invisible and incalculable for humans, the question arises in new ways: what does it mean to become and remain human when the interdependent adaptations between humans and the environment they have built and designed happen interactively?

Through this discursive format, we want to explore the notion of becoming human - which is always a political question - from an interdisciplinary, art-based perspective in which ‘individuality’ is seen as an interactive process of becoming.

As adaptation becomes an ambiguous process of humans, environments, nature and technology in the context of algorithmic control processes, the understanding involves a nuanced understanding of how human beings and non-human entities continuously - and conflictually - adapt behaviors, roles and identities. The question is adaptation continuously reproduce power relations and what possibilities there are to make the power and violence relations inscribed in technologies and artificial environments visible, tangible, controllable and changeable.

At an art university that understands socio-critical discourses as a starting point for artistic practices, this question is doubly puzzling, as it is the individual, the particular individual human being, who radically and subjectively questions themselves and the world. These radical investigations are at the focus of the exhibition and symposium.


Angewandte goes Taipei: Becoming Human in Times of Post Humanism is an open format, that merges a symposium and an exhibition. It showcases Angewandte’s stance within the discursive realm of technology, techno-politics, where algorithmic processes are becoming an inseparable extension of human nature. This Event raises the question: What does it mean to be human in this context?
The exhibition serves as a dynamic portal to the University of Applied Arts, offering a multifaceted exploration of its ethos and creative endeavors. Through video presentations, a curated selection of projects from various university departments will elucidate the institution’s forward-thinking stance on the concept of "Becoming Human" in an era characterized by complex interactions between humans, non-humans, environments, nature, and technology. Central to this understanding is the nuanced interplay of adaptation among human and non-human entities within the context of algorithmic control processes.
Exhibition Introduction
In an era where the lines between technology, ecology, humans, and non-humans are blurring, where intelligence is defined from both human and non-human perspectives, and control by algorithms is becoming invisible and incalculable for humans, new questions emerge.
As the criticism of human-centered humanism became a common topic this symposium seeks new – artistic, critical, experimental - perspectives on post-humanistic discourses. This posthuman turn is based on the convergence of posthumanism, technology-deifying transhumanism and the critical view of the Anthropocene as a geological age determined by humans through the destruction of the foundations of life for all.

The critical posthumanist subject is realising its limited capacity for agency, as the posthumanist knowledge discourses have articulated a global critique of the universalist image of hu/man and human exceptionalism. These critical discourses have become powerful when animal rights and the rights of lakes and rivers have been given constitutional status in democracies. But what goes beyond the universalist idea of "hu/man" as the supposed measure of all things?

In an era when the boundaries between technology, ecology, humans and non-humans are blurring, when intelligence is defined from a human and non-human perspective and control by algorithms is becoming invisible and incalculable for humans, the question arises in new ways: what does it mean to become and remain human when the interdependent adaptations between humans and the environment they have built and designed happen interactively?

Through this discursive format, we want to explore the notion of becoming human - which is always a political question - from an interdisciplinary, art-based perspective in which ‘individuality’ is seen as an interactive process of becoming.

As adaptation becomes an ambiguous process of humans, environments, nature and technology in the context of algorithmic control processes, the understanding involves a nuanced understanding of how human beings and non-human entities continuously - and conflictually - adapt behaviors, roles and identities. The question is adaptation continuously reproduce power relations and what possibilities there are to make the power and violence relations inscribed in technologies and artificial environments visible, tangible, controllable and changeable.

At an art university that understands socio-critical discourses as a starting point for artistic practices, this question is doubly puzzling, as it is the individual, the particular individual human being, who radically and subjectively questions themselves and the world. These radical investigations are at the focus of the exhibition and symposium.


Angewandte goes Taipei: Becoming Human in Times of Post Humanism is an open format, that merges a symposium and an exhibition. It showcases Angewandte’s stance within the discursive realm of technology, techno-politics, where algorithmic processes are becoming an inseparable extension of human nature. This Event raises the question: What does it mean to be human in this context?
The exhibition serves as a dynamic portal to the University of Applied Arts, offering a multifaceted exploration of its ethos and creative endeavors. Through video presentations, a curated selection of projects from various university departments will elucidate the institution’s forward-thinking stance on the concept of "Becoming Human" in an era characterized by complex interactions between humans, non-humans, environments, nature, and technology. Central to this understanding is the nuanced interplay of adaptation among human and non-human entities within the context of algorithmic control processes.
Curatorial Team
Angewandte:

Concept & Curation|Petra Schaper Rinkel, Zeynep Aksöz Balzer

Organizing Committee|Alexander Damianisch, Marianna Mondelos

Visual Design|Atelier Dreibholz
TNUA:

Exhibition Advisors|Kai-Huang CHEN, Yatin LIN, Yu-Jui YANG

Technical Advisors|Shu-Yu LIN

Exhibition Coordinator| Ting Chen CHANG

Exhibition Execution Team| Yi-Long CHIH,Yu-Kuan HO, Yi-Hua HSIEH

Technical Execution Team|Cheng-Yu HAN, Ho-Ieng TAM

Exhibition Operations Team|Yu-Wei HE, Cheng-Yu LIN, Yi-Cheng LIN, Yu-Liang LIN, Szu-kuan CHEN, Meng-Zhe XIE

Visual Design|Shan-Yu TSAI

Translator| Tony TSOU, Leonard CHIEN, Ivy HUANG

Video Production|Aquamarinefilm
Curatorial Team
Angewandte:

Concept & Curation|Petra Schaper Rinkel, Zeynep Aksöz Balzer

Organizing Committee|Alexander Damianisch, Marianna Mondelos

Visual Design|Atelier Dreibholz
TNUA:

Exhibition Advisors|Kai-Huang CHEN, Yatin LIN, Yu-Jui YANG

Technical Advisors|Shu-Yu LIN

Exhibition Coordinator| Ting Chen CHANG

Exhibition Execution Team| Yi-Long CHIH,Yu-Kuan HO, Yi-Hua HSIEH

Technical Execution Team|Cheng-Yu HAN, Ho-Ieng TAM

Exhibition Operations Team|Yu-Wei HE, Cheng-Yu LIN, Yi-Cheng LIN, Yu-Liang LIN, Szu-kuan CHEN, Meng-Zhe XIE

Visual Design|Shan-Yu TSAI

Translator| Tony TSOU, Leonard CHIEN, Ivy HUANG

Video Production|Aquamarinefilm
Brief Intro of Works
Amir Bastan, Noor Stenfert Kroese

Zoe
Video
13 min
2023
ZOE is a temporary co-existence between reishi mushrooms and a custom-made robotic system. Noor Stenfert Kroese and Amir Bastan explore with ZOE the possibilities of internal communication between a robotic system and reishi. Within this seeming paradox between nature and technology, an ecosystem occurs that cares for and affects the other through sensing technologies. It continues onto the research of the interaction and unknown communication within fungal mycelia networks.
Brief Intro of Works
Amir Bastan, Noor Stenfert Kroese

Zoe
Video
13 min
2023
ZOE is a temporary co-existence between reishi mushrooms and a custom-made robotic system. Noor Stenfert Kroese and Amir Bastan explore with ZOE the possibilities of internal communication between a robotic system and reishi. Within this seeming paradox between nature and technology, an ecosystem occurs that cares for and affects the other through sensing technologies. It continues onto the research of the interaction and unknown communication within fungal mycelia networks.
Sonia Bernac, Jeremy Keenan

Deviations of the Fruit Fly
Video
8 min
2023
A short film about unruly cohesions, narrative clustering and circulation of meaning(s). It uses imagery associated with scientific illustrations and 3D diagrams in order to follow the logic of arbitrary associations. The subsequent environments are set up as experiments – the animated interactions of particles are not choreographed but conditioned by attractors embedded in the surfaces of the models. The sound is generated based on the complex movement and position of the particles in the 3D simulation.
Sonia Bernac, Jeremy Keenan

Deviations of the Fruit Fly
Video
8 min
2023
A short film about unruly cohesions, narrative clustering and circulation of meaning(s). It uses imagery associated with scientific illustrations and 3D diagrams in order to follow the logic of arbitrary associations. The subsequent environments are set up as experiments – the animated interactions of particles are not choreographed but conditioned by attractors embedded in the surfaces of the models. The sound is generated based on the complex movement and position of the particles in the 3D simulation.
Morgane Billuart

A Door May Open
Video
14 min
2023
Kalla, a young artist, is eager to gain visibility and recognition for her work. When she is invited to join an online trading forum, she jumps at the chance to trade watch time to gain social media exposure. However, as she begins to watch and consume content on the server, Kalla quickly realizes that this high-pressure environment is more demanding than she thought.

Directed by Morgane Billuart, animation by Martin Eichler, rigged animation by Viktor Eichler, animation and art support direction by Lauren Fong, sound mixing by Rick Haring, and screenwriting advice with Kim Kokosky.
Morgane Billuart

A Door May Open
Video
14 min
2023
Kalla, a young artist, is eager to gain visibility and recognition for her work. When she is invited to join an online trading forum, she jumps at the chance to trade watch time to gain social media exposure. However, as she begins to watch and consume content on the server, Kalla quickly realizes that this high-pressure environment is more demanding than she thought.

Directed by Morgane Billuart, animation by Martin Eichler, rigged animation by Viktor Eichler, animation and art support direction by Lauren Fong, sound mixing by Rick Haring, and screenwriting advice with Kim Kokosky.
Claudia Larcher

The Great Tree Piece
Video
9 min 30 sec
2022/2023
What is a tree made of? What can an approach to it look like? And what does the tree itself have to do with what we see? Claudia Larcher's film The Big Tree Piece is dedicated to important questions that reveal themselves as soon as we ponder the complex human relationships with nature. The film consists of a single tracking shot from the top of a tree to below ground, where humus, fungi and roots act as world creators in the darkness. The perspectives that arise during this movement along the tree fan out in manifold ways. As with Albrecht Dürer's painting The Great Piece of Turf, which serves as inspiration for the film, this is a study of nature growing out of itself. The materiality of the tree is revealed as the puzzle-like shapes of the bark are multiplied using AI until a fantastic chiaroscuro landscape is formed.

When the macro shots of a bumblebee go right down to the individual cells, and the film turns into a metamorphosing animation with red life fluids and microforms, one wonders how comparable different life forms are. Our clear but often forgotten kinship with trees, springing from our being alive, is palpable throughout The Big Tree Piece. The movements of the seemingly immobile are laid bare. With the utmost attention, Larcher traces the worlds that hide behind the supposedly inconspicuous apricot tree. In the magical last sequence, in which we return to the tree crown from a macro perspective, the inner movement of the leaves is embodied. It rustles, crackles and whispers as if life itself could be heard. Perhaps that is exactly what the life of a tree sounds like. (Ivana Miloš)
Claudia Larcher

The Great Tree Piece
Video
9 min 30 sec
2022/2023
What is a tree made of? What can an approach to it look like? And what does the tree itself have to do with what we see? Claudia Larcher's film The Big Tree Piece is dedicated to important questions that reveal themselves as soon as we ponder the complex human relationships with nature. The film consists of a single tracking shot from the top of a tree to below ground, where humus, fungi and roots act as world creators in the darkness. The perspectives that arise during this movement along the tree fan out in manifold ways. As with Albrecht Dürer's painting The Great Piece of Turf, which serves as inspiration for the film, this is a study of nature growing out of itself. The materiality of the tree is revealed as the puzzle-like shapes of the bark are multiplied using AI until a fantastic chiaroscuro landscape is formed.

When the macro shots of a bumblebee go right down to the individual cells, and the film turns into a metamorphosing animation with red life fluids and microforms, one wonders how comparable different life forms are. Our clear but often forgotten kinship with trees, springing from our being alive, is palpable throughout The Big Tree Piece. The movements of the seemingly immobile are laid bare. With the utmost attention, Larcher traces the worlds that hide behind the supposedly inconspicuous apricot tree. In the magical last sequence, in which we return to the tree crown from a macro perspective, the inner movement of the leaves is embodied. It rustles, crackles and whispers as if life itself could be heard. Perhaps that is exactly what the life of a tree sounds like. (Ivana Miloš)
Margarete Jahrmann, Stefan Glasauer

What is it Like to Play a Tree?
Video
5 min
2024



*In cooperation with Thomas Brandstetter, Clara Hirschmanner, Max Moswitzer, Thomas Wagensommerer. Supported by The Psycho-Ludic Approach: Exploring Play for a viable future, AR787. Austrian Science Fund. FWF/PEEK.
Even if a purely rational understanding of the role of non-human beings in our world were possible, this would not satisfy our longing for a subjective and empathic sense of what it might be like to be such a being. There may be a solution that is much more deeply rooted than human culture, which has been superseded by seemingly rational practices such as research, inquiry and science. That solution is PLAY.

We propose to use play as a “ludic” alternative toward subjective understanding, and apply this concept to a playful investigation of changing identities between human and non-human entities, without the fallacies of anthropomorphism or animism. We build upon two concepts: First, the goals and play experience of human and non-human entities are radically different. Second, changing roles is an indispensable part of the play. Thus, the individuality of the player's role, otherwise a fundamental principle of games, is broken up and transformed into an interactive process of becoming.

For that becoming, for playing a tree, we have to feel with the tree without attributing anthropomorphisms such as consciousness or free will to it. Switching from playing a human to the tree’s role means playing by its rules without having to decide anything. This forces a different perspective and at the same time honors that a tree is a radically different being. By constantly changing the roles of the players, we want to offer emphatic multi-perspectivity instead of rational abstraction.
Margarete Jahrmann, Stefan Glasauer

What is it Like to Play a Tree?
Video
5 min
2024



*In cooperation with Thomas Brandstetter, Clara Hirschmanner, Max Moswitzer, Thomas Wagensommerer. Supported by The Psycho-Ludic Approach: Exploring Play for a viable future, AR787. Austrian Science Fund. FWF/PEEK.
Even if a purely rational understanding of the role of non-human beings in our world were possible, this would not satisfy our longing for a subjective and empathic sense of what it might be like to be such a being. There may be a solution that is much more deeply rooted than human culture, which has been superseded by seemingly rational practices such as research, inquiry and science. That solution is PLAY.

We propose to use play as a “ludic” alternative toward subjective understanding, and apply this concept to a playful investigation of changing identities between human and non-human entities, without the fallacies of anthropomorphism or animism. We build upon two concepts: First, the goals and play experience of human and non-human entities are radically different. Second, changing roles is an indispensable part of the play. Thus, the individuality of the player's role, otherwise a fundamental principle of games, is broken up and transformed into an interactive process of becoming.

For that becoming, for playing a tree, we have to feel with the tree without attributing anthropomorphisms such as consciousness or free will to it. Switching from playing a human to the tree’s role means playing by its rules without having to decide anything. This forces a different perspective and at the same time honors that a tree is a radically different being. By constantly changing the roles of the players, we want to offer emphatic multi-perspectivity instead of rational abstraction.
Nicolaj Kirisits, Zeynep Aksöz Balzar, Alexander Urban

Resonant Blech: Emergent sound-scapes through human-AI collaboration
Video
1 min
2024
Resonant Blech is a collaborative project by Nicolaj Kirisits, Zeynep Aksöz, and Alexander Urban, exploring architectural objects as autonomous, social, non-human entities interacting with their environment through AI integration. A curve-folded steel structure metamorphoses into a partly autonomous instrument through induced vibrations. Its curved, folded structure manifests distinct stiffness properties across various locations. By integrating piezo-transducer loops, the object resonates with vibrations that form the foundational elements of sound composition. Following an intensive exploration of diverse composition styles by Nico Kirisits and Xandi Urban, an AI system crafted by Zeynep Aksöz autonomously extends existing compositions or generates new ones. Within this collaborative framework, Nico Kirisits and Xandi Urban join forces with AI, co-creating compositions. Here, the object transcends its physicality, evolving into an autonomous system actively participating in performances, blurring the boundaries between object and digital machinery.

The project originated as part of the INTRA funded project "Morphology of Sound" in a studio collaboration between ITI TUWien and the Digital Arts Department at the University of Applied Arts. It was designed developed by Moritz Koegel, Sebastian Pfeifhofer, Lukas Piesticker, and Alexander Urban, under the guidance of Zeynep Aksöz Balzar, Nicolaj Kirisits, Klaus Filip, Alexander Karaivanov, Hans Schartner, and Mark Balzar. Material and laser cutting were sponsored by Stahlbau Verband and ITI TUWien.
Nicolaj Kirisits, Zeynep Aksöz Balzar, Alexander Urban

Resonant Blech: Emergent sound-scapes through human-AI collaboration
Video
1 min
2024
Resonant Blech is a collaborative project by Nicolaj Kirisits, Zeynep Aksöz, and Alexander Urban, exploring architectural objects as autonomous, social, non-human entities interacting with their environment through AI integration. A curve-folded steel structure metamorphoses into a partly autonomous instrument through induced vibrations. Its curved, folded structure manifests distinct stiffness properties across various locations. By integrating piezo-transducer loops, the object resonates with vibrations that form the foundational elements of sound composition. Following an intensive exploration of diverse composition styles by Nico Kirisits and Xandi Urban, an AI system crafted by Zeynep Aksöz autonomously extends existing compositions or generates new ones. Within this collaborative framework, Nico Kirisits and Xandi Urban join forces with AI, co-creating compositions. Here, the object transcends its physicality, evolving into an autonomous system actively participating in performances, blurring the boundaries between object and digital machinery.

The project originated as part of the INTRA funded project "Morphology of Sound" in a studio collaboration between ITI TUWien and the Digital Arts Department at the University of Applied Arts. It was designed developed by Moritz Koegel, Sebastian Pfeifhofer, Lukas Piesticker, and Alexander Urban, under the guidance of Zeynep Aksöz Balzar, Nicolaj Kirisits, Klaus Filip, Alexander Karaivanov, Hans Schartner, and Mark Balzar. Material and laser cutting were sponsored by Stahlbau Verband and ITI TUWien.
Katharina Swoboda

E-Animals
Video
14 min
2022
This video begins its narrative during the unprecedented global lockdown in 2020, a time when people's freedom of movement was restricted, but interestingly not that of non- humans. It features real film footage from zoos, including scenes of penguins roaming freely through the deserted corridors of the Shedd Aquarium in Chicago. These images, which have captured the imagination of millions of people around the world, challenge our conventional notions of freedom and captivity and invite us to rethink the roles and spaces normally assigned to non-human life in our anthropocentric world.

Furthermore, "E-Animals" contains a moment of misinformation when dolphins filmed in Sardenia were collaged with other animals in Venice, so people believed that those dolphins were in Venice. This aspect of the film underlines the crucial role of technology and media in shaping our perception of nature and the non-human. Working with these materials provokes to question the authenticity and impact of the media representations we often accept as truth.

The experimental collage of internet animal images in the film serves as a metaphor for the interconnected and often ambiguous relationship between humans, technology and the non-human world. "E-Animals" invites us to consider zoological television not just as entertainment, but as a complex, multi-layered discourse on visibility, representation and the politics of life itself. This film is an artistic interrogation of how the ongoing adaptations between humans, their environment and non-human creatures continually reshape behaviors, roles and identities.
Katharina Swoboda

E-Animals
Video
14 min
2022
This video begins its narrative during the unprecedented global lockdown in 2020, a time when people's freedom of movement was restricted, but interestingly not that of non- humans. It features real film footage from zoos, including scenes of penguins roaming freely through the deserted corridors of the Shedd Aquarium in Chicago. These images, which have captured the imagination of millions of people around the world, challenge our conventional notions of freedom and captivity and invite us to rethink the roles and spaces normally assigned to non-human life in our anthropocentric world.

Furthermore, "E-Animals" contains a moment of misinformation when dolphins filmed in Sardenia were collaged with other animals in Venice, so people believed that those dolphins were in Venice. This aspect of the film underlines the crucial role of technology and media in shaping our perception of nature and the non-human. Working with these materials provokes to question the authenticity and impact of the media representations we often accept as truth.

The experimental collage of internet animal images in the film serves as a metaphor for the interconnected and often ambiguous relationship between humans, technology and the non-human world. "E-Animals" invites us to consider zoological television not just as entertainment, but as a complex, multi-layered discourse on visibility, representation and the politics of life itself. This film is an artistic interrogation of how the ongoing adaptations between humans, their environment and non-human creatures continually reshape behaviors, roles and identities.
Various Artists & Researchers

Understanding Art & Research
Video
42 min
2018-2020
This audio-visual documentation shows a variety of artistic research projects from different disciplines at the University Applied Arts Vienna. It has been produced by the research support team of the university and is directed by Ethan Vincent. All third-party rights to photographic materials and films supplied to this documentation are authorized, held and used with permission by the project leader.
Various Artists & Researchers

Understanding Art & Research
Video
42 min
2018-2020
This audio-visual documentation shows a variety of artistic research projects from different disciplines at the University Applied Arts Vienna. It has been produced by the research support team of the university and is directed by Ethan Vincent. All third-party rights to photographic materials and films supplied to this documentation are authorized, held and used with permission by the project leader.
Zeynep Aksöz Balzar

Sonic Fossils
3D-Prints
2024
What if each word we spoke, each sentence we exhaled, each sound we made or each noise we heard on earth would not dissipate in the hot air and dissolve? Would they become part of our atmosphere? Would they form a new layer? Would they be encoded as air molecules? Could we decrypt them back to words, sentences, noises? Can we capture each word we have spoken, each discussion we had partake in an object? How would these be preserved for the future generations?

What remains after our civilization? Our legacy of our civilization is captured in the fossils, a Barbie doll or a match box car preserved in the hard rocks waiting to be discovered by other civilizations. How would our conversations be translated?

Reflecting on the idea of remains or founds, the symposium conversations will be encrypted and transformed into 3D-printed objects serving as new "Inscriptions". As a transmedia art installation, the objects will interactively emerge and evolve during the panel discussions, through the encryption of audio into 3D geometries using a specially trained AI model.

Instead of carving the inscriptions in hard stone the objects will be 3d printed in rock-like forms throughout the symposium. These physical artifacts will serve as tangible reminders of the symposium, seamlessly integrated into the exhibition.

These fossils were generated using 3d Scanned stones scanned by Daniela Kröhnert and her students at the IoA as a base geometry.
Zeynep Aksöz Balzar

Sonic Fossils
3D-Prints
2024
What if each word we spoke, each sentence we exhaled, each sound we made or each noise we heard on earth would not dissipate in the hot air and dissolve? Would they become part of our atmosphere? Would they form a new layer? Would they be encoded as air molecules? Could we decrypt them back to words, sentences, noises? Can we capture each word we have spoken, each discussion we had partake in an object? How would these be preserved for the future generations?

What remains after our civilization? Our legacy of our civilization is captured in the fossils, a Barbie doll or a match box car preserved in the hard rocks waiting to be discovered by other civilizations. How would our conversations be translated?

Reflecting on the idea of remains or founds, the symposium conversations will be encrypted and transformed into 3D-printed objects serving as new "Inscriptions". As a transmedia art installation, the objects will interactively emerge and evolve during the panel discussions, through the encryption of audio into 3D geometries using a specially trained AI model.

Instead of carving the inscriptions in hard stone the objects will be 3d printed in rock-like forms throughout the symposium. These physical artifacts will serve as tangible reminders of the symposium, seamlessly integrated into the exhibition.

These fossils were generated using 3d Scanned stones scanned by Daniela Kröhnert and her students at the IoA as a base geometry.
Marianna Mondelos

Edible Food Installation
Edible Material
Dimension Variable, 90 cm diameter
2024
Human beings, like any other living species, depend on the intake of food to survive. What we eat on a daily basis fuels our bodies. Paradigm shifts through technologies in our societies have an impact on the foods we produce and consume. From convenience food and artificial flavors to self-optimization through various supplements, we shape our cultures and identities by the meals we eat and how we form our communities around them.
This edible food installation is a temporary intervention in the exhibition space for both days of the symposiums. Visitors are invited to eat the work.
Marianna Mondelos

Edible Food Installation
Edible Material
Dimension Variable, 90 cm diameter
2024
Human beings, like any other living species, depend on the intake of food to survive. What we eat on a daily basis fuels our bodies. Paradigm shifts through technologies in our societies have an impact on the foods we produce and consume. From convenience food and artificial flavors to self-optimization through various supplements, we shape our cultures and identities by the meals we eat and how we form our communities around them.
This edible food installation is a temporary intervention in the exhibition space for both days of the symposiums. Visitors are invited to eat the work.
Organizers
Co-organizers
University of Applied Arts Vienna, Taipei National University of the Arts
Support Art and Research Department of Angewandte, TNUA Office of International Affairs, Kuandu Museum of Fine Arts
Organizers
University of Applied Arts Vienna, Taipei National University of the Arts
Co-organizers
Support Art and Research Department of Angewandte, TNUA Office of International Affairs, Kuandu Museum of Fine Arts
Special Thanks
TNUA Center for Art and Technology, Austrian Office Taipei
Special Thanks
TNUA Center for Art and Technology, Austrian Office Taipei
Works
Amir Bastan, Noor Stenfert Kroese

Zoe
Video
13 min
2023
Sonia Bernac, Jeremy Keenan

Deviations of the Fruit Fly
Video
8 min
2023
Morgane Billuart

A Door May Open
Video
14 min
2023
Claudia Larcher

The Great Tree Piece
Video
9 min 30 sec
2022/2023
Margarete Jahrmann, Stefan Glasauer

What is it Like to Play a Tree?
Video
5 min
2024
Nicolaj Kirisits, Zeynep Aksöz Balzar, Alexander Urban

Resonant Blech: Emergent sound-scapes through human-AI collaboration
Video
1 min
2024
Katharina Swoboda

E-Animals
Video
14 min
2022
Various Artists & Researchers

Understanding Art & Research
Video
42 min
2018-2020
Zeynep Aksöz Balzar

Sonic Fossils
3D-Prints
2024
Marianna Mondelos

Edible Food Installation
Edible Material
Dimension Variable, 90 cm diameter
2024
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