biosensors 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.

Ammerman Center for Arts and Technology

My work for VR and biosensor controller, Project H.E.A.R.T. (2017) has been selected for an exhibition at Hygienic Gallery, New London, Connecticut, as part of the Ammerman Center for Arts and Technology 16th Biennial Symposium for Arts and Technology. Hope to see you there!

The Ammerman Center for Arts and Technology 16th Biennial Symposium

Intersections

February 15 – 17, 2018

The Ammerman Center for Arts and Technology at Connecticut College is pleased to present “Intersections: the 16th Biennial Symposium on Arts and Technology.”

The aim of the symposium, now in its thirty-second year, is to create a forum for multidisciplinary dialogue at the intersection of arts, technology and contemporary culture. The symposium brings artists and researchers from a wide range of fields together to engage, interact and share ideas as they present new works, research and performances in a variety of formats. Featured events include a keynote address by Krzysztof Wodiczko, Featured exhibition by Natalie Bookchin, several commissioned multi-disciplinary works, panel discussions and paper presentations, workshops, gallery exhibitions, music concerts, installations, screenings, public interventions and live media performances.

Click here for more information from the symposium website

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.

Algorithms that Matter Residency: Austria

I’ve been selected to be a featured artist in residence at the Institut für Elektronische Musik und Akustik (IEM) in Graz, Austria, participating in the Algorithms that Matter Residency.  This residency will take place in April-June 2018, and even though it’s a year away I want to share the incredible news!

From the ALMAT website:

“Algorithms that Matter is an artistic research project by Hanns Holger Rutz and David Pirrò.  It aims at understanding the increasing influence of algorithms, translating them into aesthetic positions in sound, building a new perspective on algorithm agency by subjecting the realm of algorithms to experimentation.

Almat is grounded in the idea that algorithms are agents that co-determine the boundary between an artistic machine or “apparatus” and the object produced through this machine. The central question is: How do algorithmic processes emerge and structure the praxis of experimental computer music? The hypothesis is that these processes, instead of being separated from the composer—as generators and transformers of infinite shapes—exhibit a specific force that retroacts and changes the very praxis of composition and performance.”

 

Exploring these algorithms as unique electronic voices will extend my reach into exciting new territories, I am excited to play at the IEM and make unique new emotional sounds that combine physiological markers of emotion with algorithmic agencies.

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.

VR Commission Update

Here’s a sneak peek at some of the art developed last summer in a residency at the Technoculture Art and Games lab at Concordia University with lead 3D artist Alex Lee, AI designer Sofian Audry, art assistant Marlon Kroll, and research assistant Roxanne Baril-Bédard. Among holographic popstars who may or may not have their own consciousness to begin with, the project includes rhetorical analysis of post 9/11 counterterrorist video games, reality television, startup culture, and self-help manuals for improving emotional state.

I am implementing the Biosensor control system this Winter and plan on working on finalizing the game’s art, music and sounds this summer for a launch towards the end of 2017 in an exhibition at Trinity Square Video in Toronto.


In the future, weapons of war possess advanced AI systems, systems that guarantee successful automated combat on behalf of soldiers wielding the technology.  The military still trains its soldiers in case of equipment failure, but at this point, fighters function more as passive operators. The terrorist threat has nothing similar to this technology in their ranks, and the effectiveness of our systems is swift and deadly.  Historically, our soldiers manning the machines have never witnessed violence or devastation at this scale: the largest threat to soldiers today defending our nation’s values is Post Traumatic Stress Syndrome.

To address this unfortunate state of affairs, the military developed a startup fund open to the public to resolve this issue through technological innovation.  Significant scholarships and research funding was provided for researchers interested in devoting time to creating a means towards mitigating the psychological crisis.  A risky but intriguing proof of concept was eventually presented: the creation of a revolutionary entertainment for the troops as they fought the terrorist threat.

Yowane Haku became the face of this entertainment: a mobile holographic pop star engineered specifically for psychological distraction on the battlefield.  

The world’s most talented engineers, design consultants, and pop writing teams were assembled to enshrine Haku with every aesthetic and technical element to impress not only the troops, but the world with her next-generation technology.  However, the initial test-run of this mobile holographic pop medium in combat trials was….a failure.  

On the battlefield, Haku’s perfect body glowed faintly amongst the dust and screams, bullets and explosions passing ineffectually, dance moves precise, vocalizations on point. But ultimately her pop music performance lacked resonance with the battle.  Instead of the soldiers being emboldened by this new entertainment, which was intended to distract or inspire them from their gruesome tasks, their adverse psychological symptoms…flourished.  Some of the men went mad, laughing maniacally in tune with the holographic presence smiling sweetly at them.  It was only due to the superiority of our AI weaponry and automated drone operation that the morally corrupt foreign threat, with their violent and technologically crude methods, were stopped that day. The minds of our soldiers were lost.

Months later, a young pool of startup professionals would provide another solution.  This vocal minority of engineers…though others called them crazy….had a hunch. For the hologram pop star to “work,” her systems needed access pure emotion, to link a human element with the trauma of the human soldiers.  But it was not clear who, or what, could best provide this emotional link…and what amount of embodied “disruption” this might entail…

This enthusiastically crowdfunded group of millennials completed their groundbreaking research without the strings of ethics funding or institutional control.  Human emotions and consciousness now flow direct to Haku via experimental trials in VR technology.  Haku rises again on the battlefront.

Simultaneously, a new reality television show has been borne of these first human trials. The star of this reality show could be…….you.

Could you be the next American Sweetheart?  Do you have what it takes to provide 110% Best Emotional Performance?  Join us through advanced VR technologies, Live and Direct on the battlefield, to find out if you could be fit to man the ultimate weapon of war: Our Next Holographic Idol.

This project is supported by the Canada Council for the Arts and Trinity Square Video’s AMD VR lab

BioSolo

Using the BioSynth, I improvised a set for my breath/voice and my sonified heart and sweat release at No Hay Banda in an evening that also featured the very interesting work of composer Vinko Globokar (Russia).  The improvisation is very sparing, the goal is to exploit interesting rhythmic moments between heavy breath-song and the heartbeat, all the while exploring limits of respiratory activity and seeing what effect it has on my physiology.

Photography: Wren Noble

BioSolo was first performed at No Hay Banda series in Montreal at La Sala Rossa, organized by Daniel Àñez and Noam Bierstone.