Panel Statement

Keywords: Affect Theory, Meditative Computation, Microorganisms, Hyper Objects, Datafied Artifacts, Algorithms, Altered Reality, Cognition, Computational Aesthetics, Concept & Theory, Immersive Media, Interactive Art

This panel undertakes a critical discussion on the altered agencies between the User, Viewer, research-based artist & praxis-led researcher. Various uses of VR, AR, A.I and other smart technologies are discussed by each panel member, particularly technologies that also act as vessels to occupy multiple hyperspaces.

As tools to maintain kinships with other-bodies, exo-spaces, exobiomes, hyperobjects, speculative-histories, datafied atoms, the labor of using VR, AR, A.I & smart technologies should always undertake a deep meditation, in constant flux amongst a myriad microbiome, forever cemented in constant archeological reinterpretation, inhaling & becoming one with dust particles, while dancing with the data from its lunchtime, pre-snack bowl of yogurt.

• Su Hyun Nam: As an interdisciplinary media artist and researcher working at the intersection of art, technology, science, and philosophy, Su Hyun Nam explores her relationship to digital media with an artistic and meditative approach to computation. Her affective experience with technology, which emerged from the process of digital art making, is represented in various forms of media art projects. Her work, including an interactive video installation, 3D game art, and media performance, has been exhibited both nationally and internationally at venues from Spain, UAE, Greece, and Singapore to South Korea. Her community based media art projects were showcased at Burchfield Penney Art Center and Hallwalls Contemporary Art Center in Buffalo, New York, USA, and her papers have been presented at SIGGRAPH Asia in Japan and the International Symposium on Electronic Art (ISEA) in Colombia. Su Hyun Nam earned an M.F.A in art and technology studies from the School of the Art Institute of Chicago. She is currently an Assistant Professor in the Department of Transmedia at Syracuse University and a Ph.D. candidate in media study at University at Buffalo, both USA.
• Sanglim Han explores disembodied, fragmented, and interstitial bodies. Through performative media, primarily simulated 3D animations and experimental games, she creates a site for fluctuating identities where our personal and social experiences are revisited and boundaries are convoluted. Her works have been presented internationally at various venues and festivals from Austria, Bulgaria, Denmark, Ethiopia, Germany, India, Netherlands, Spain, Portugal, South Korea, Turkey to the USA. She first enrolled at the Korea Advanced Institute of Science and Technology, then began her art studies at the School of the Art Institute of Chicago. After receiving her BFA, she researched an intersection between art and science at the University of California, Los Angeles where she received her MFA.
• Julieta Gil (b. 1987), lives and works between Los Angeles and Mexico City. She holds an MFA from the Media Arts program at UCLA, and a B.Arch from Universidad Iberoamericana, Mexico City. Her creative research incorporates installation, sculpture, 3D animation and print to explore topics of simulation, and the overlappings that occur between the virtual and physical. Her work has been exhibited in places such as Laboratorio de Arte Alameda (Mexico City), Museo Nacional de Arte (Mexico City), Nevada Museum of Art (Reno, Nv), Anchorage Museum (Anchorage, Al), Future Gallery (Mexico City), Human Resources (Los Angeles), and Zuecca Projects (Venice, It).
• john-patrick ayson is a writer, artist & PhD researcher who uses mobile phone technologies, improvisational dialogic approaches, speculative app designs, remixed data & map-based visualizations, to critically engage with eco-sociopolitical concerns & technologically-determinist themes. currently, he is working on YOGURT an interactive, food-based installation & THE BUFFET a five-part docufiction about allyou-can-eat foods in the anthropocene.

Full text (PDF) p. 725-730