About the ACA Jam
A digital workshop in designing imaginaries for AI-animal interactions
VIEW MOREA digital workshop on December 5 2023
14:00 – 17:00 EST
via Zoom
A digital workshop in designing imaginaries for AI-animal interactions
VIEW MOREDates and time: December 5 2023 at 14:00 – 17:00 EST via Zoom
VIEW MORE
Researchers from the University of Bergen are looking for participants for an exciting online workshop on Sci-Fi design fictions, focused on the intersection of AI and nonhuman animals. The workshop will involve scenario building and ideation to imagine positive or ethics-led future uses of machine learning and artificial intelligence technologies. Participants do not need in-depth practical knowledge of AI in order to take part, as the intentions of this workshop are to play with design fictions, and to take a Science-Fiction and creative approach.
This hands-on workshop will involve creating fictional, fantastical, and potentially ‘impossible’ designs in digital group work. We will use narrative-building creative practice techniques such as stakeholder characterisations, writing and design prompts and world-building, and apply these to a scenario involving human/animal interactions. The workshop is aimed at two juxtaposing audiences who may be equally concerned with animal well-being and ACI: those with a design or creative practice background, but limited knowledge of AI, or those with an AI background but limited knowledge of creative practice techniques. All are welcome!
In recent years, many scholars have called for AI-related fields to undertake interspecies relations more carefully, and to better consider the implications their technological tools might have on species other than humans. There is a fast-growing and generally unmet need for more concern from AI fields towards their direct and indirect effects on individual animals as well as entire ecosystems. How can we instead move towards projects that are care-led, or that put animal well-being first, or that aim to develop empathy towards other species? We aim to create inspiring and thought-provoking examples in this workshop on Sci-Fi design fictions for AI/animal futures.
This FREE workshop will take place online on December 5 2023 at 14:00 – 17:00 EST via Zoom. You can sign up in advance to receive your Zoom link via Google Forms. You can also email the organisers directly at alinta(dot)krauth(at)uib(dot)no
Intended Activities and Workshop Layout
The workshop will run virtually, to promote international interaction and accessibility. Sign up to receive your Zoom link!
Please sign up for a Miro board account before coming to the workshop.
We will open with brief discussion on AI technology, AI and Animals and sub-track familiarization.
Participants form teams in Zoom break-out rooms and choose a sub-track.
Participants build Sci-Fi ‘narratives’ from the chosen sub-track with the help of a template.
Group participants more fully develop a digital sketch or diagram of their design fiction concept based around the narrative they have built.
At the end of the workshop, participants will share designs and discuss together.
‘Coffee breaks’ will be included.
Proposed Outcomes
Each group will leave with a Science Fiction AI and Animal narrative they’ve created.
Each group’s narrative will be added to the A(I)nimal-Centred AI Jam research website. Participants can consent to have their work or a description of their work displayed on the website prior to the workshop. The participant sign-up process will involve a consent process. All works will be credited to the participants.
A dynamic and interactive digital narrative will also be created with the participants contributions, built by digital artist and writer, Jason Nelson.
The research this workshop is based on is being expanded via Alinta Krauth’s fellowship at Arizona State University’s Centre for Science and the Imagination, aligned with their ‘Applied Sci-Fi project’. As such, participants may be contacted again to see if they are interested in taking part in further interactions.
We intend to offer future A(I)nimal-Centred AI Jams, refining the workshop based on participant feedback.
Consent to Participate
By signing up to this workshop, you consent to sharing your group’s final design with the workshop hosts, and to have a picture of your group’s design displayed as a workshop outcome on the A(I)nimal-Centred AI Jam website. The image and idea can be credited with the names of the group participants, or simply as a group number. You may choose to edit how your credit is displayed for this image on the website before publication.
Please contact our hosts to discuss this, should you have any questions or concerns.
Methodology: Science Fiction world-building as design fiction
This workshop promotes the use of a ‘Sci-Fi- design fiction’ approach that allows participants to engage in world-building and fleshing out scenarios exploring animal-focused tools or uses of AI. This approach will involve narrative-building creative practice techniques such as stakeholder characterisations, creative writing prompts and collaborative world building and to apply these to a scenario involving human/animal interaction.
AI has long been a concept associated with the Sci-Fi genre. The speculative storytelling and imaginary futures of Sci-Fi have left an indelible mark on the course of technological progress, extending its impact to AI development. Sci-Fi is often seen as an important method to help humanity consider the ethical implications of AI by imagining possible future scenarios. For example, two Sci-Fi authors were employed in 2023 by the UK Ministry of Defence to write short stories about future technologies and implications on warfare. Acknowledging this symbiotic interplay between speculative visions and real-world innovations, a growing multi-disciplinary field of practitioners, including Sci-Fi writers, futurists, scholars, and technologists, now employ science fiction as a cognitive instrument, not only for contemplation on future societies, but also for proactive application as a tool for innovation and foresight. Importantly, Sci-Fi narratives are also employed by writers to work through ideas of technological engagements between humans and other species. In this way, Sci-Fi, as a thinking tool, can help us to think-through interspecies scenarios that may be currently outside, or on the cusp of, the realms of science and technology.
Design fiction has conceptual similarities to the Sci-Fi genre. It is a creative approach to design that leverages storytelling and narrative techniques to imaginatively envision and explore possible futures, often emphasizing the social, cultural, and ethical implications of emerging technologies and innovations. It blurs the boundaries between design and Sci-Fi narratives, allowing designers, researchers, and thinkers to articulate and visualize potential scenarios and artefacts that might not yet exist. Design fiction provokes critical reflection, offering a unique lens through which to engage with the complexities of our rapidly evolving technological landscape.
Connecting Animals and AI: a question of ethics
In recent years, use of AI technology has swiftly raised many significant ethical questions and concerns regarding AI/human interaction. Within this concern, a smaller number of scholars have made recent calls to action asking AI-related fields to undertake interspecies relations more carefully, and to better consider the implications their technological tools might have on species other than humans. There is a fast-growing and generally unmet need for more concern from AI fields towards their direct and indirect effects on individual animals as well as entire ecosystems. Current research on the use of AI in spaces that involve animals, or the impacts of AI on animals, include a wide range of examples, such as use of AI to control or monitor animals, direct interactions between animals and AI, or AI technology made for unrelated purposes that have unintended impacts on animals including indirectly affecting our ethical feelings towards animals.
The use of AI systems monitoring animals in factory farming, while by no means the only example, gives us a good indication of some of the many ways in which AI and sensors are being used in collaboration to interact with animals, including forms of ‘machine vision’, ‘machine listening’, and AI-made decisions. For example, AI systems are employed to monitor various aspects of factory farm animal life, including body weight, body temperature, vocalizations and/or other communication signals. Machine learning models have been designed to recognize disease and investigate mortality rates, as well as to visually identify medical issues such as parasites. In certain instances, AI can directly manipulate animals, sometimes with intentions that do not prioritize their well-being, administering electric shocks, emitting sounds, and capturing and sorting animals based on characteristics.
Given the fast-evolving nature of AI research, while there has been a rise in calls for ethically-sound approaches to AI engineering and implementation regarding animals, the actual practice of implementing strong animal ethics into large-scale AI projects is still emergent and needs further discussion. We find several possible examples under development such as: using AI to search for crop types producing plant proteins with physical parameters that mimic meat, with the hope being this research ultimately leads to less animals being subjected to factory farming. For a further example, AI systems that can predict the toxicity of novel chemicals are being developed: research which holds the potential to reduce chemical testing on animals.
There is also a further potential positive avenue for AI systems, which relates to the concept of developing empathy towards animals from humans, and promote positive anthropomorphism. The potential importance of this use of AI is based on our human notion of needing to see other creatures as ‘persons’ or as ‘minded’ in order to be caring and empathetic towards them. Many people hold beliefs that deny the mindedness of animals. Therefore, we see uses of AI that point towards decoding of animal signals, or even interspecies communication, as having the potential to drive empathy. Project CETI is one such example, a large research project still under development that is aimed at using AI to decode whale song. Part of their mission is to consider what it might mean for human/animal relations if we could partially understand what whales are ‘saying’. Humans have long yearned to talk with the animals: It is a concept seen across Sci-Fi, fantasy, children's stories, poetry, and a multitude of other literature and art forms, and one that could radically shift our understandings, ethics, religions, and cultural interactions with other species. We see these as inspiring and thought-provoking examples to follow as part of a workshop on Sci-Fi design fictions for AI/animal futures.
Pilot Study: The Flying Fox Translator
Before this workshop, a pilot study was conducted to explore how ‘Sci-Fi-led design fiction’ ideation techniques could generate new directions for our AI-focused creative practice. This process resulted in the concept of a ‘translator’ for flying fox vocalizations that interpreted flying fox vocalizations into human equivalent concepts. Building from the design fiction process, the concept was actualized into a web-based application that can recognize seven different flying fox signals, and generate a translation, based on the vocalization classifications of Christesen and Nelson. The purpose of the tool was to promote empathy and personhood of flying foxes to the public in areas of Australia where flying foxes and humans live in close proximity – highly contested spaces in which flying foxes can be openly hated and demonized by the public. This pilot idea serves as the inspiration for the kinds of design fictions that can be built and addressed in this workshop.
Dr Alinta Krauth
Dr. Alinta Krauth (PhD) is a creative technologist and researcher of ethical digital practices involving more-than-human participants and situations, originally from the ‘outback’ of Queensland, Australia. She is an Associate Professor of Digital Culture at the University of Bergen in Norway. She is interested in how digital art may be applied to highlight animal and environmental relationality and materiality. Much of her research involves ecological themes and scientific fieldwork alongside ecology experts and wildlife rescue organisations. Her recent work on interspecies communications and decoding the vocalisations of grey-headed flying foxes using AI techniques is currently shortlisted for Europe’s prestigious major creative technology award, the S+T+ART Prize through Ars Electronica. Her academic, literary, creative, and hybrid works have been exhibited and published globally, including featuring in The SAGE Encyclopedia of The Internet, Electronic Book Review Journal, and Social Alternatives Journal. Selected recent installations of her creative works have been seen in ZAZ10st Gallery Times Square NY, Science Gallery Detroit Detroit USA, The Glucksman Gallery Cork Ireland, HOTA Gold Coast Australia, Eidgenössische Technische Hochschule Zurich Switzerland, Gallery 3.14 Bergen Norway, Art Laboratory Berlin Berlin Germany, The Powerhouse Sydney Australia.
Dr Jason Nelson
Dr. Jason Nelson (PhD) is a researcher of creative technologies and cultural uses of artificial intelligence technologies. He is also the creator of wondrous digital poems and fictions, builder of art games and all manner of digital art creatures. He is an Associate Professor of Digital Culture at the University of Bergen in Norway and Adjunct Academic at Griffith University’s Queensland College of Art. Aside from coaxing his students into breaking, playing and morphing their creativity with all manner of technologies, he exhibits widely in galleries and journals, with work featured around the globe at FILE, ACM, LEA, ISEA, SIGGRAPH, ELO and dozens of other acronyms. There are awards to list, such as the Paris Biennale Media Poetry Prize, a Webby Award, The Digital Writing Prize, organizational boards he frequents, such as the Australia Council Literature Board and the Electronic Literature Organization, and fellowships he’s adventured into, such as a Fulbright Fellowship at the University of Bergen, and a Moore Fellowship at the National University of Ireland.
Related websites
Jason Nelson: www.secrettechnology.com
Alinta Krauth: www.alintakrauth.com
Contact us directly at alintakrauth(at)gmail(dot)com
SIGN UP HERE TO RECEIVE YOUR ZOOM LINK
Do you need to contact us directly?
Reach out to us
Connected: Birth-Death-Rebirth by Jinsil Hwaryoung Seo & John Alberse
with collaborator Wesley Taylor
Date: 2023
Media: Virtual Reality, Projection, Custom-made hand scanning box
Find the Artists
DE-compose II by donna davis
Year: 2022
Media: single channel video
Sound Design by Luke Lickfold
Find the Artists
Dolphins in the Reservoir
Will Luers (coding and images), Hazel Smith (text) and Roger Dean (sound)
Dolphins in the Reservoir: Play the interactive work here
(Opens in new tab)
Date: 2022
Media: An interactive recombinant work of text, image and sound.
Link to Will Luers
Link to Hazel Smith & Roger Dean
Dolphins in the Reservoir is an interactive and recombinant work that employs moving images, text and sound. It envisages a society stretching into the future, through fragmented and transitory evocations of what our society is like now and how we might understand it. It confronts the many social challenges (climate, disease, authoritarianism and technological change) we face through the subjective, contradictory and often uncanny experiences of individuals. Saturated with media, the individual experiences a multimodal montage of the imaginal and the mundane, the institutional and the vernacular, the dystopian and utopian, the human and the non-human; discourses over which they have limited control.
The interface, a programmed montage of media elements, evokes a murky, liminal realm. The piece is structured in six distinct cycles, which repeat with considerable variation. V/users can either drive the piece with clicks, or use the autoplay facility. In either case they can click and drag to rearrange elements in each cycle.
The screened text ranges between short narratives, poems and aphoristic statements contained in boxes of varying sizes that both complement and jostle against each other. Thematically it passes through six topics that impinge on society now and the development of future societies. These topics are challenges to health, the environment, and our fast-eroding democracy; our attempts to educate order out of chaos; philosophical and scientific ways of thinking about consciousness; and the possibilities and challenges the future presents including the rise of AI. A distinct metaphorical text about dolphins, which transmutes many of the ideas in the boxed text, creates a dialogue between the human and non-human on several different levels (mammalian, technological and environmental). It consists of fourteen sections that are sequenced one per cycle and then repeat.
Animated loops with images suggesting a passing material age (container ships, tanks, oil rigs) are layered with those of an information age (mapped and encoded models of bodies, molecular structures and virtual architecture. A single cycle of the work grows from isolated media fragments towards a dense plurality and diversity, arriving at a composition of inclusive abstraction, before returning again to the singular and fragmented.
The musical narratives move at different paces and with varying relationship to text, image and user interaction. The three preformed musical sources juxtapose environmental and machine sounds, acoustic and digitally transformed instrumental sound. They also include sound progressions that sonify the statistics of waves of Covid-19 in the world at large, juxtaposed with those of one particular country. One of the three preformed tracks features trumpet playing by internationally renowned soloist John Wallace, a long term collaborator in (austra)LYSIS, the creative ensemble of which all three authors are part. As the work progresses, the sound fields become more dense, though they continually fight for survival, and occasionally become submerged. They also undergo increasing real-time and variable transformations, so that the textures change over long periods.
The juxtaposition and multilayering of text, images and sound also employs polysemy and synaesthesia to enhance multiple dimensions of sensation and understanding.
The Artists:
Will Luers is digital artist, writer and media arts teacher. In the Creative Media & Digital Culture program at Washington State University Vancouver, he teaches multimedia authoring, creative programming, digital storytelling and digital cinema. As an artist-researcher in academic and experimental digital publishing, he created the international online journal The Digital Review and is the current Managing Editor of its sister journal, electronic book review.
Hazel Smith is a poet, performer, new media artist and academic. She has published five volumes of poetry and short prose including The Erotics of Geography (with CD Rom), Tinfish Press, Kaneohe, Hawaii, 2008, Word Migrants, Giramondo, 2016 and Ecliptical, Spineless Wonders, Sydney, 2022. Hazel has published two CDs of poetry and numerous performance and multimedia works; she has also performed and broadcast her work extensively nationally and internationally. In 2017, her multimedia collaboration with Will Luers and Roger Dean, novelling, was shortlisted for the Turn on Literature Prize, an initiative of the Creative Europe Program of the European Union. In 2018 novelling was awarded First Prize in the international Electronic Literature Organisation’s Robert Coover Award. Hazel is Emeritus Professor in the Writing and Society Research Centre, Western Sydney University. She has authored several academic books including The Contemporary Literature-Music Relationship, Routledge, 2016. She is a founding member of the sound and multimedia ensemble austraLYSIS and her website is at www.australysis.com.
Roger Dean is a composer/improviser/performer and researcher. He has created, presented and published several hundred compositions and sound works for intermedia art collaborations, and made numerous recordings. He is a represented composer of the Australian Music Centre, of which he has also been chair. His creative work appears on sixty LP/CD releases. Dean’s output ranges from acoustic to electroacoustic composition both for performers and for real-time algorithmic generation, as well as acousmatic (completely pre-composed and digitally recorded) music for live projection in concert. His music is often computer-interactive, and much involves improvisation. Many of his compositions are intermedia works for radio, DVD, and the Internet.
Dean’s composition and improvisation is deeply informed by his breadth of performing experience, both as pianist and laptop artist, and formerly as double bass player. He has worked in most of the leading new music ensembles in London and Sydney. He is founder and director of the sound and multimedia ensemble LYSIS, which became austraLYSIS when it moved to Australia in 1989. Dean has also been very active in European and Australian jazz.
Ghost Plant Radio by Polina Enuvesta
Explore the interactive work on Mozilla Hubs
(Opens in new tab)
Year: 2021
Media: XR Data Visualisation in Mozilla Hubs
Link to Polina Enuvesta
The Ghost Plant, also known as Monotropastrum, is an unusual flower that has white stem and leaves and is unable to perform photosynthesis. It assembles mycoheterotrophic relationships with the kingdom of fungi in order to survive. Plant and fungus populations are known to distribute information across long distances. Underground connections create a kind of communication network which allows us to imagine how nonhuman agents interact. What will ghost plant radio broadcast across Japan?
The concept is presented as creative data visualization in XR. Open biodiversity data from gbif.org is used to create a 3D communication network model in the boundaries of Japan island, exposed in Mozilla Hubs.
The Artist:
Polina Enuvesta is an emerging digital artist with a degree in Sociology and professional retraining in Moscow School of Contemporary Arts as a specialist in New Media. The main theme covered by the artist is reimagining technology by the means of speculative design, 3D and VR in order to explore alternate ways of development. Enuvesta’s practice focuses on preserving the value of hand-crafted in digital environments, poetic imagery and overcoming the feeling of fatality by keeping connection between human, nature and technology. In 2023 Polina Enuvesta took part in Digital Air artist residency by CCI Fabrika and 8XR.
Guardian Of The Mirage by Liudmila Fridman
Year: 2022
Media: Generative Art
Link to Luidmila Fridman
Lifeline by Krista Leigh Steinke
Year: 2021
Media: Digital Video
Audio, graphics, and musical score by Sherman Finch
Link to Krista Steinke
Link to Sherman Finch
Listening in the Wild: Reimagined Listening in the Wild by Leah Barclay
With Lyndon Davis & Tricia King
Listening in the Wild: See the work here
(Opens in new tab)
Year: 2020-2022
Media: Sound with imagery
Find the Artist
Listening in the Wild: Reimagined Listening in the Wild is a series of immersive soundscapes and site-specific photography exploring environments across the Sunshine Coast in Queensland, Australia. The project was commissioned for Horizon Festival 2020 in Australia and produced live and streamed for listeners at home as remote experiences during Covid-19 lockdowns. These experiences are created by artists Lyndon Davis, Dr Leah Barclay and Dr Tricia King as transient listening experiences interwoven with Kabi Kabi stories. The locations include virtual sound walks through Eudlo Creek National Park, a journey along the Maroochy River and an ocean expedition from Mooloolaba Beach with all audio produced and mixed live by Leah Barclay. Each soundscape is accompanied by site-specific photography by documentary photographer Tricia King.
These virtual listening experiences are interwoven with Kabi Kabi stories from Lyndon Davis and investigate how remote embodied experiences of natural environments can facilitate ecological empathy, cultural knowledge and connection to place. Listening in the Wild builds on a large-body of research in immersive media art responding to ecological crisis and climate action. Under the cultural guidance of Kabi Kabi artist Lyndon Davis, Listening in the Wild explored new ways of using virtual technologies with live soundscapes and site-specific photography to connect audiences to locations and cultural knowledge across the Sunshine Coast. The project developed new tools for streaming audio in a high-quality format and asked how we can appropriately and effectively use audio-visual experiences to connect communities to place and develop a deeper understanding of cultural and environmental knowledge.
The project was awarded the 2021 APRA Art Music Award for Excellence in Experimental Music – the highest accolade for experimental music in Australia. Judges’ comments included ‘There are no projects more exciting and necessary in Australia at this time.’
The Artist:
Leah Barclay is a sound artist, designer and researcher who works at the intersection of art, science and technology. Leah's research and creative work over the last decade has investigated innovative approaches to recording and disseminating the soundscapes of terrestrial and aquatic ecosystems to inform conservation, scientific research and public engagement. Her work explores ways we can use creativity, new technologies and emerging science to reconnect communities to the environment and inspire climate action. Leah has been the recipient of numerous awards and her work has been commissioned, performed and exhibited to wide acclaim internationally by organisations including the Smithsonian Museum, UNESCO, Ear to the Earth, Streaming Museum, Al Gore’s Climate Reality and the IUCN. Leah’s augmented reality sound installations have been presented across the world from Times Square in New York City to the Eiffel Tower in Paris for COP21. Leah leads several research projects including Biosphere Soundscapes and River Listening that focus on advancing the field of ecoacoustics. The design of these interdisciplinary projects are responsive to the needs of collaborating communities and involve the development of new technologies including remote sensing devices for the rainforest canopy and hydrophone recording arrays in aquatic ecosystems.
Men in Jeans by Sophie Hilbert
Year: 2018
Media: Digital Video
Find the Artist
Mikrokosmika by Alejandro Brianza, Jessica Rodríguez & Luis Guzmán
Year: 2015
Media: Mono-channel digital video
Find the Artists
Re:Peat by Anne Yoncha
Collaborative sound piece with composer Daniel Townsend
Year: 2022
Media: Stereo microscopy images of preserved sphagnum moss plant from conserved peatland, field recordings from Latvasuo & Pikkusaarisuo peatland extraction sites, hyperspectral imaging of soil core samples read as graphic music notation.
Find the Artist
slugs'n'tongues by Margareta Klose & Peter Várnai (Studio Matchka)
Year:2022
Media: Oral poem animation
The Museum of Ecological Racism and Human-Animal Connection
by Jaewook Lee
The Museum of Ecological Racism and Human-Animal Connection: Explore the VR work here
(opens in new tab)
Year: 2022
Media: Virtual Reality Virtual Exhibition
Find the Artist
The Museum of Ecological Racism and Human-Animal Connection is an innovative virtual exhibition within the Metaverse that confronts the intricate and frequently underappreciated issues surrounding environmental justice, the struggles of marginalized communities, and the symbiotic relationship between human and non-human species. Utilizing the Metaverse, the Spatial.io platform, this VR exhibition aims to provide an immersive and boundary-defying experience, bringing together individuals from various backgrounds to engage in meaningful discussions about the systemic environmental challenges communities worldwide face.
As an artist, my motivation is rooted in the conviction that art can catalyze significant conversations, raise awareness, and challenge conventional viewpoints. Through the Spatial.io Metaverse platform, I aim to establish an all-encompassing and captivating virtual environment, enabling visitors to delve into the unsettling reality of environmental racism and the deep connections that unite us with the natural world.
This VR space seeks to illuminate the stories and struggles of those most affected by these challenges, highlighting the need for equitable solutions and sustainable practices. The Water Justice Hall urges visitors to confront the realities of environmental injustice and reflect on their roles and responsibilities in addressing these issues.
The Museum of Ecological Racism and Human-Animal Connection transcends the limitations of traditional exhibitions by fostering a sense of global unity and shared responsibility. By immersing visitors in the pressing issues of our time, it aims to inspire empathy, understanding, and collective action toward a more equitable and environmentally-conscious future. As an artist, I hope this virtual exhibition will serve as a platform for change, encouraging individuals from all walks of life to join in pursuing environmental justice and preserving our shared planet.
The Artist:
Jaewook Lee is an artist using AR, VR, 3D animation, video game, and video installation as artistic media. Lee’s work addresses issues of environmental justice and presents the intertwined relationship between culture, nature, and politics. Lee is the recipient of awards such as the 4th SINAP (Sindoh Artist Support Program) and the SeMA Emerging Artists and Curators Supporting Program by the Seoul Museum of Art. Lee has participated in exhibitions, talks, performances, and screenings at such venues as Santa Fe Art Institute (2022), Museo de Antofagasta in Chile (2020), Hong-Gah Museum in Taiwan (2018), Art Sonje Center in Seoul (2017), the Guggenheim Museum in New York (2017), MEINBLAU Projektraum in Berlin (2016), NURTUREart in New York (2014), and the Museo Juan Manuel Blanes in Montevideo (2014), among others. Sculpture Magazine featured Lee’s work in May 2017. Lee’s work is in the permanent collections of several institutions, including the Gyeonggi Museum of Modern Art in Ansan, South Korea, and the Jordan National Gallery of Fine Arts in Amman, Jordan. Lee received MFAs from Carnegie Mellon University and the School of Visual Arts. Lee is an Associate Professor of New Media Art at Northern Arizona University.
The Patterns of the Past - The Promise of Tomorrow
by Grayson Cooke
Sound composition by Dugal McKinnon
Year: 2022
Media: Digital Video
Find the Artist
Vaches by Jean-Michel Rolland
Year: 2018 –
Media: Audiovisual ‘photovideographies’
Find the Artist
We do not ride on the railroad; it rides upon us
by Eamon O'Kane
Year: 2017-2019
Media: Three-screen video installation (video extract)
Find the Artist
An exhibition of digital art
curated by Alinta Krauth
for the International Digital Media & Art Association (iDMAa)
with website assistance from Jason Nelson
of the Center for Digital Narrative.