2017 Tag

Review in Canadian Art

I really appreciate this article by Tatum Dooley for Canadian Art on the Worldbuilding exhibition curated by John G Hampton and Maiko Tanaka at Trinity Square Video. My work Project H.E.A.R.T. which highlights VR and emotions made with Alex M Lee is featured, among other great works by Jeremy Bailey Kristen D Schaffer Eshrat Erfanian and Yam Lau.  Following is an excerpt from the article:

“The gamification of our bodies renders the physical form void, replaced by screens where our bodies and emotions can be morphed and manipulated. Perhaps the only way to create art with technology as advanced and recent as VR is to reckon with its potential consequences.

Gee’s project, the most realized out of the four artists in the exhibition, masters this reckoning. I spoke with Gee in the lead-up to the exhibition, and she explained the conceptual backbone of the piece. “I’m working through questions of emotional sincerity when it comes to self-help. In theory, if you can technologically master your emotions, if you can just make yourself excited, then you can make yourself a better, happier person. I don’t know how sincere that is…”

Click on the link below for the full article.

VR and the Failure of Self-Help Technology

In general, I feel very proud of this work but also very exhausted by it.  The work is matched in technical complexity by its conceptual complexity, as I conflate pop music with war, self help with sincerity, and ultimately I’m working through these issues of performativity in play and life.  During the panel for the exhibition, there was a question of whether I was “pro-war”, and it’s one that I have received a few times in facebook messages from curious friends from far away, so it’s obviously something that needs a bit of addressing.  I personally am not pro-war.  However I also am also dissatisfied at the idea of an artistic protest that makes a cartoonish, didactic utopia where rainbows and love shoot out of guns instead of flesh-tearing bullets.  The project is complex and confused and vague because I think it has to be.  I  do not understand “real” war, for starters.   I have never served my country in any military: I’m a millennial woman born on the Canadian prairies raised in relative privilege that went to art school.  The best I can understand is how war is mediated to me: through video games and news cycles, through abstract discussions of other people on the radio. In this way I don’t think that the goal of this project was ever to address the terror and complexity of geopolitical conflict, but rather, to propose a psychedelic pop culture mirror, imagining a video game ruled not by characters that espouse self-righteous violence and grit, but technologically manipulated empathy and enthusiasm.  This game fails to address war in the same way that all technologically mediated attempts to do so likely fail to address war.  I guess a part of me is wondering if perhaps maybe it’s easier to question and hate this version however because it’s feminized.

Ideas Lab Denmark

I will be giving a unique and in-depth workshop hosted by Emotional Data Lab (Aarhus University), Interactive Denmark and Ideas Lab in Aarhus, Denmark from November 21-23.  The workshop consists of 3 three-hour sessions where I will share my materials and experiences with incorporating physiological markers of emotion into the VR-compatible Unity environment.

Participants will be placed into “teams” in order to work together, experiment, and discuss the promises, problems and potential of using biosensors to capture a user’s emotional experience through digital tools.

Project H.E.A.R.T.

Project H.E.A.R.T. is the code name for the Holographic Empathy Attack Robotics Team, a biosensor-driven virtual reality artwork developed by Erin Gee in collaboration with 3D artist Alex M. Lee for use with the Oculus Rift.  The game was commissioned by Trinity Square Video for the exhibition Worldbuilding in November 2017.

A twist on popular “militainment” shooter video games, Project H.E.A.R.T. invites the viewer to place their fingers on a biodata gathering device and then summon their enthusiasm in order to direct their avatar, Yowane Haku, in “combat therapy.” The biosensor device gathers the human player’s positivity and energy to drive Haku’s voice forward to boost morale as soldiers battle not only against a group of enemies, but also against their own lack of confidence and rising anxiety.

Fans of the Vocaloid characters may recognize Haku as the “bad copy” of Japanese pop celebrity Hatsune Miku, a holographic personnage that invites her fans to pour their content and songs into her virtual voice.

 

 

As Kathryn Hamilton pointed out in her 2017 essay “Voyeur Realism” for New Inquiry,

“VR’s genesis and development is in the military, where it has been used to train soldiers in “battle readiness,” a euphemism for: methods to overcome the innate human resistance to firing at another human being. In the last few years, VR’s usage has shifted 180 degrees from a technology used to train soldiers for war, to one that claims to “amplify” the voices afflicted by war, and to affect “world influencers” who might be able to stop said wars.”

The colorful landscape of the game was built from from geopolitically resonant sites found on Google Maps, creating a dreamlike background for the warzone. In-game dialogue wavers between self-righteous soldier banter typical of video games, and self-help, bringing the VR participant to an interrogation of their own emotional body in a virtual space that conflates war, pop music, video games, emotional investment, and virtual-movement induced nausea.

Photography by Toni Hafkenscheid.  Images of Worldbuilding exhibition courtesy of Trinity Square Video, 2017.

Credits

Narrative Design: Sofian Audry, Roxanne Baril-Bédard, Erin Gee

3D Art: Alex Lee and Marlon Kroll

Animation and Rigging: Nicklas Kenyon and Alex Lee

VFX: Anthony Damiani, Erin Gee, Nicklas Kenyon

Programming: Sofian Audry, Erin Gee, Nicklas Kenyon, Jacob Morin

AI Design: Sofian Audry

Sound Design: Erin Gee, Austin Haughton, Ben Hinckley, Ben Leavitt, Nicolas Ow

BioSensor Hardware Design: Erin Gee and Martin Peach

BioSensor Case Design: Grégory Perrin

BioSensor Hardware Programming: Thomas Ouellet Fredericks, Erin Gee, Martin Peach

Featuring music by Lazerblade, Night Chaser and Austin Haughton

Yowane Haku character designed by CAFFEIN

Yowane Haku Cyber model originally created by SEGA for Hatsune Miku: Project DIVA 2nd (2010)

Project H.E.A.R.T. also features the vocal acting talents of Erin Gee, Danny Gold, Alex Lee, Ben McCarthy, Gregory Muszkie, James O’Calloghan, and Henry Adam Svec.

Thanks to the support of the Canada Council for the Arts and AMD Radeon, this project was commissioned by Trinity Square Video for the exhibition Worldbuilding, curated by John G Hampton and Maiko Tanaka.

This project would have not been possible without the logistical and technical support of the following organizations:

Technoculture Art and Games Lab (Concordia University)

Concordia University

ASAP Media Services (University of Maine)

WorldBuilding: TSV Toronto

My work made in collaboration with 3D artist Alex M. Lee for VR and emotional-biosensors, Project H.E.A.R.T. (2017) was debuted on November 5th at Trinity Square Video, Toronto.

This project was commissioned by TSV by curators John Hampton and Maiko Tanaka, thanks to the support of the Canada Council for the Arts. The exhibition also features amazing works by Canadian artists Jeremy Bailey and Kristen Schaffer, Eshrat Erfanian, and Yam Lau.

You can see Worldbuilding for yourself from November 3rd – December 9th 2017 at Trinity Square Video, 401 Richmond, Toronto Canada.

Worldbuilding was declared a “must-see” show by Canadian Art magazine!

Visit the Worldbuilding website by clicking here.

 

KidzLab Montreal

KIDZLAB September 28-29 2017

Perte de Signal is happy to announce the launch of its first edition of KidZlab, a 4-day digital arts festival for young creators: “Un laboratoire d’innovation pour l’imaginaire.”

For this first edition of KidZlab, I presented a workshop entitled “Strange Theremin” – teaching teams of young people to work in groups to assemble a circuit that allows them to manipulate musical tones with their skin conductance.  This new musical instrument allows students to explore touch, sweat, and emotional engagement as a potential musical material.

Here’s what my young students had to say:

 

The event also featured very interesting workshops by artists:

Eric Cariat (BE) – Stephanie Castonguay – Maxime Damecour – Erin Gee – Alice Jarry – Roby Provost-Blanchard – Alexandre Quessy

at Perte de Signal 5445 De Gaspé – Espace 107 (RDC) Montréal.

With thanks to:

Conseil des arts et des lettres du Québec
Wallonie-Bruxelles International
KIKK Festival 2017
Les Journées de la culture
Le Fab Lab du PEC

For more information (in French):
http://perte-de-signal.org/kidzlab-festival-dart-numerique-pour-le-jeune-public/

KidZlab Laboratoire d’innovation pour l’imaginaire from PERTE DE SIGNAL on Vimeo.

William Basinski @ Pop Montreal

September 15th, 2017 – 17h POP Box (3450 St Urbain, Montreal)

In the context of this year’s Pop Montreal Festival Symposium, I have been invited to engage in a public conversation with avant-garde composer William Basinski .

Click here for more information on the Pop Symposium, taking place September 14-17, 2017.

Creator of the widely acclaimed album set Disintegration Loops (2002), Basinski is an intuitive composer of ambient electronic music who works work magnetic tape loops to access dreamlike acoustic spaces.  He once described himself as investing incredible amounts of meditative energy towards improvisation and locating the “timeless, amniotic bubble” of sound one could float within. A bubble is an apt metaphor for these sounds: expansive, swirling voids that physically emanate from thin slips of magnetic tape.

Among other topics, I’m looking forward to this opportunity to speak with Basinski about the physicality of sound, both in the sound producing bodies (the magnetic devices he charms into circles and feedback-song) and the receptive media bodies (us leaky humans).

Take a listen below to Basinski’s soundcloud account in order to experience his processes in tape loop and delay systems, found sounds, feedback, and shortwave radio static.

Protected: Deep ASMR

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Jury member for Equitable Bank EDAA

I am pleased to have been selected to join the jury of the 2017 competition for the Equitable Bank Emerging Digital Artist Award.  Equitable Bank’s Emerging Digital Artist Award celebrates early-career artists doing exemplary works in digital media, reflecting their interest in creating opportunities for digital innovation.

Award Program Description

The Emerging Digital Artists Award (EDAA) is one of the only corporately funded digital art awards in Canada, designed to foster experimentation in the work of emerging artists and build on funding opportunities currently available to those working in digital media.

The Equitable Bank Collection

Equitable Bank began collecting art in the early 90s and currently holds over 150 artworks in its collection. Our collection focuses on modern and contemporary Canadian art, with a particular interest in modern painting. Our contemporary collection also includes video animation—an area of continued growth, concurrently with the growth of the EDAA.

For more information,

http://edaa.equitablebank.ca/

MediaLive Festival 2017

Happy to announce that I will be presenting a new version of my “BioSynth” at the MediaLive festival (Boulder Museum of Contemporary Art) in May.  This year’s festival features an amazing group of artists, gathering under the theme THE VOID.  For this upcoming performance I will be moving towards a more sophisticated sonic treatment of the physiological signals, and returning to the ideas of “choir” and “vocality” of emotion that I began with my earlier work “Song of Seven: BioChoir” with the Hamilton Children’s Choir.