Performance and installation about generational trauma and its manifestation in language

Performance and installation about generational trauma and its manifestation in language - Silver nails, silver knife, 5V relays, lamps, a4 letters

Inga

Xolotl, The Aztec god of death, gave a dog to man, instructed to guide them through the underworld. Often depicted in sculpture as a dog-faced human. In this work we wanted to explore the relationship between dogs as a bred trained and domesticated technology and artificial intelligence as a digital equivalant. The work explores gaps between humans, dogs and systems designed to capture their difference and indifference. In the video we combine videos of surveilled dogs and AI-generated images of dogs with videos of EMMA, played by the dog Tvebak, being walked by or sitting with a bodiless porcelain armor. The room is full of ears listening to the sound of touching ceramics and AI-generated barks. And where the drawing is a depiction of a dog wearing a human mask as a guide for the dead, the woodcut explores the urban myth of the Jinmenken. According to the legend, Jinmenken are human-faced dogs. A bad omen. If met, they will be rude or insult you and run off. Found roaming quiet streets of urban areas or running along highways at night. Special thanks to Christine Hvidt and her dog Tvebak for their participation in the video.

Porcelain armor, ceramic dog ears and legs, sound, video, woodcut, drawing, cardboard dog, paper mache mask, list of YouTube videos used to generate dog barks

EMMA goes outside - my corgi_husky dog likes to talk

canine

MOJIBAKE is an installation exploring computational memory in relation to human memory through discrete, microtemporal changes in potentially infinite loops and generative algorithms. MOJIBAKE is a paradoxically recursive machine that tries to remember and forget as it writes and speaks in sand as a voice executing voices.

Performative installation with sand, mechanical plotter and tactile transducer

mojibake

The future of the modern city is a computational model — a vast array of vectors extracted from sensors and networked devices inside the city. This future resides in a technological grammar of data, services, protocols, applications and monitoring systems, that constitute a so called smart city. The promises of smart cities and the implementation of smart city technologies differ significantly. In theory, smart cities are open information infrastructures, that help policy makers rethink and rebuild city services in accordance with citizens’ needs. In reality, it’s a mess: The implementation of smart technologies is the aggregation of data into black boxes, elusive and imbued with political agenda. The Wrocław Urban Operating System takes an interest in the city as computational model. It compiles various digital representations of the city — audio recordings, photos, video and smart city narratives — and utilizes these in a live coding framework, built specifically for this work, to produce an ambient pop music that corresponds with the computational configuration and teletopia of a future Wrocław.

Performative installation with livecoding system

wuos

Recursive Futures aggregates popular tech imaginaries, bringing together technological singularities, sentient artificial technologies and post planetary architectures, to generate an ambient future pop music. The work is built on a new live coding framework developed by Tobias Stenberg and Anders Visti. The show was curated by Mikkel Elming in collaboration with Kunsthal Aarhus.

recursive futures

The last lithium [Atomic number: 3 Atomic mass: 6,941 u ± 0,002 u] was extracted in Bolivia in 2033 along The Andes Mountains and in 2034 the last lithium was consumed in the production of lithium batteries. After 2051 the natural decay of the Li-ion batteries ability to store electricity set in. The last usable battery lost its effect in 2055. 
 Now, in year 2063, it has been 8 years since the last usable battery lost its capacity. Storing and harvesting power has become inecreasingly difficult. As a consequence other types of batteries have become valuable commodities. Heavy, impractical manganese batteries. Rare silver-oxide batteries, which easily leak. Nickel-cadmium batteries suffering from crystalline formations reducing the effect. None of the batteries have the same capacity, size and effect. Like lithium, these resources are also finite. Electric cars are no longer a viable and sustainable alternative. This has put even more pressure on the limited fossil fuels. 
 Some choose to make their own hand crank generators and current regulators. Some grow their own solar cells from algae. Others choose to make their own homemade batteries from more accessible materials. Saltwater batteries, lemon batteries, vinegar batteries and potato batteries. Technology has changed as well. Pacemakers, toys, hearing aids, computers and cellphones. Technology is shaped according to the more or less efficient batteries of different sizes and capacities. 
 Recall the times of high resolution and endless streaming. To be part of the network at all times. Now we are forced to signals in intervals and potato quality networks.

Speculative design fiction - WiFi signal made from boiled potatoes, zinc and copper nails and other objects

fields of power

A collection of graphical work for the local sound venue TAPE, including monthly posters, event posters and other graphical work. All of the graphical work here have a connection to data directly associated with the sound venue itself. The data was collected by myself during the time when I was working long shifts at the venue in the weekend and coding by myself in silence after a long show while enjoying a nightcap. A homemade algorhithm or piece of software is associated with almost every one of the works, although not public (yet).

A collection of graphical work for nonprofit, local sound venue TAPE

tobias stenberg

Inga>

canine>

EMMA goes outside - my corgi_husky dog likes to talk

mojibake>

wuos>

recursive futures>

fields of power>

tape>