WHAT IS IT LIKE TO BE? (2024)
"What is it like (to be)?” is an immersive VR/AR artwork - performance that delves into the individual's relationship with their environment and senses through echolocation. Viewer is given a chance to participate in the artwork by wearing a VR headset-helmet-sonar, others can observe the newly made cyborg-animal and its performance. Utilizing an infrared capture device, such as the Microsoft Kinect, we transmit real-time data into a VR device. By interpreting the captured sound through the microphone, we create an environment where sound replaces light, shaping the viewer's perspective. Similar to a bat, participants must rely on their voice to perceive and navigate their surroundings. The intensity of their sounds reveals intricate details within the enveloping darkness. This technique swaps conventional senses, where illumination by light is replaced by illumination through sound. Consequently, participants are prompted to question their understanding of what is familiar and unfamiliar in human existence. Can technology serve as the bridge connecting human intelligence and nature? Through the employment of such devices, can we gain a better comprehension of nature as a species? Might the very thing that distances us from other animals also bring us closer to them? Our objective is to address these inquiries while generating further contemplation on the symbiotic relationship between humans, technology, and nature.
LOCAL CONNECTION (2021)
,,Local connection" is interactive installation where I'm searching for Al's identity and exploring the relationship between ,,it" and a human. Concept of ,,artificial intelligence" is becoming increasingly recurrent in various contexts of the contemporary world, but this ,,creature" remains mystified and unexplored as something that could actually be noticeably present and attentive. I try to imagine how AI could look and how it would respond if it was able to communicate in human language. It's body is constantly morphing in and out of seemingly familiar bodies, representing Al's real shapelessness comunicated through uncertain mimicking. When spectator comes closer to the screen the character notices them and starts staring and listening to spectators questions, then GPT-2 based AI model generates related replies and answers out loud.
ARRESTING JIM ROBINSON (2020)
,,Arresting Jim Robinson" works on the principle of dialogue with artificial intelligence. We created this piece together. The title, duration, and the content of the work are largely determined by artificial intelligence, and I act more as a kind of a catalyst. I sort and arrange the rather sparse flow of virtual thoughts into a kind of a narrative. I collect the material needed to teach artificial intelligence and lend to it my virtual body as a medium in which it can form new versions of itself using other people's faces. While observing the piece you can hear Al's answers to my silent, unasked questions. Together, we try to answer how artificial intelligence sees itself, time, art, and ultimately us, humans.
ETERNAL RUN (2019)
This is four projector (scalable) installation
with motion sensor and Arduino board which
together control live video loop that also
changes its texture and colors depending of
noise level in the exhibition space. Both video
loop and soundtrack stop if spectators are not
constantly moving. In this way I try to
manifest ,,I move, the ref ore I am" philosophy
of the current world. ,,I shout, therefore I am"
could also be philosophy of current world.
Thus the louder the spectator shouts or the
louder the soundtrack gets the more
disintegrated live video gets, reaching the
point where it changes altogether into video
of ants running. This following video itself is
changed beyond the point of recognition
replacing every pixel with binary number.
The soundtrack rhythmical whispers at the
viewer - ,,You'll never be on time", ,,You'll
never arrive anywhere".
