Author: Erin Gee

Now WTF online exhibition

Museums are closed. School is cancelled. The world is shut off and we’re stuck indoors. All the bread has been sold and Twitter has lost its mind. Fox News is killing off its own demographic. While everything is cancelled, why not have a show?

In spite of everything, Silicon Valet is pleased to present Well Now WTF?, an online exhibition curated by Faith Holland, Lorna Mills, and Wade Wallerstein featuring 80 artists with moving image practices opening April 4, 2020 from 8 to 10 pm EST.

Here is the facebook link for you to join in at the opening!  https://www.facebook.com/events/150877186204563/

Here is the URL for the exhibition: https://wellnowwtf.siliconvalet.org

With everything going on, we ask ourselves: Well Now WTF? We have no answer, but we do know how to make GIFs. We can come together and use the creative tools at our disposal to build a space for release outside of anxiety-inducing news cycles and banal social media feeds.

As co-curator Lorna Mills suggests, “Why masturbate alone, when we can all be wankers together?”

Well Now WTF? is as much an art show as a community gathering. Beginning with the opening on April 4 and throughout the exhibition, we will hold online events on the site itself and via Twitch where people can gather and talk as they would normally for a physical exhibition.

Well Now WTF? will be available online at wellnowwtf.siliconvalet.org. The exhibition will be free and open to the public, with a $5 suggested, pay-what-you-wish entry that gets redistributed to the artists contributing work.

The exhibition will be accompanied by essays by Wade Wallerstein and Seth Watter.

Participating artists: A Bill Miller, Ad Minoliti, Adrienne Crossman, Alex McLeod, Alice Bucknell, Alma Alloro, Andres Manniste, Anneli Goeller, Anthony Antonellis, Antonio Roberts, Ben Sang, Benjamin Gaulon, Carla Gannis, Carlos Sáez, Casey Kauffmann, Casey Reas, Cassie McQuater, Chiara Passa, Chris Collins, Cibelle Cavalli Bastos, Claudia Bitran, Claudia Hart, Clusterduck Collective, Daniel Temkin, Devin Kenny, Don Hanson, Dominic Quagliozzi, Elektra KB, Ellen.Gif, Eltons Kuns, Emilie Gervais, Erica Lapadat-Janzen, Erica Magrey, Erin Gee, Eva Papamargariti, Faith Holland, Geoffrey Pugen, Guido Segni, Hyo Myoung Kim, Ian Bruner, Jan Robert Leegte, Jenson Leonard, Jeremy Bailey, Jillian McDonald, Kamilia Kard, Laura Gillmore, Laura Hyunjhee Kim, Lauryn Siegel, Libbi Ponce, Lilly Handley, Lorna Mills, LoVid, Mara Oscar Cassiani, Mark Dorf, Mark Klink, Maurice Andresen, Maya Ben David, Molly Erin McCarthy, Molly Soda, Nicolas Sassoon, Nicole Killian, Olia Svetlanova, Olivia Ross, Pastiche Lumumba, Peter Burr, Petra Cortright, Rafia Santana, Rea Mcnamara, Rick Silva, Rita Jiménez, Ryan Kuo, Ryan Trecartin, Santa France, Sara Ludy, Sebastian Schmieg, Shawné Michaelain Holloway, Stacie Ant, Sydney Shavers, Terrell Davis, Theo Triantafyllidis, Tiare Ribeaux, Travess Smalley, Wednesday Kim, Will Pappenheimer, Yidi Tsao, Yoshi Sodeoka, and more to be announced

Artist Project Toronto

👾Project H.E.A.R.T. (Holographic Empathy Attack Robotics Team)👾 (2017) made by Erin Gee in collaboration with Alex M Lee is featured as part of the Telegenic booth at Artist Project Toronto. Our booth is just left of the entrance (can’t miss it) and is part of a sponsored exhibition with six other exciting new media artists.

Much thanks to EQ Bank, Telegenic, Radiance VR, and House of VR for sponsoring and organizing the exhibit. ☠️

 

to the sooe @ Squeaky Wheel, Buffalo, NY

Love & Sex Show: Sweet Nothings

Special Event | Friday, February 14, 7–10 pm

My work with Sofian Audry to the sooe (2018) will be featured as part of  The Love and Sex Show: Sweet Nothings at Squeaky Wheel Film and Media Arts Centre in Buffalo, NY. This edition of the annual event focuses on sound and voice, featuring my audio work on a set of wireless headphones that can be worn throughout the gallery, as well as film installations and kareoke and performance by Thirza Cuthand, Jess Dobkin, Caroline Doherty, Lauren Fournier, Erin Gee, Dina Georgis and Sharlene Bamboat, Desiree Kee, Hope Mora, Michael Robinson, and Wayne Yung.

Review: Akimblog, Canada

The first review for my solo exhibition To the Sooe at the MacKenzie Art Gallery is here!  To the Sooe is on view until April 19th in Regina, Canada.

“Gee delivers the output in ASMR style through role play and a sound performance that leave you both mesmerized and tingling to your core. The sterile white walls and scientific jargon of the exhibition texts should not deter you from this immersive and sensory experience. Gee’s complex communication configurations require your time, patience and an open mind.” -Alexa Heenan, Akimblog

Click here to read the full review

Machine Unlearning

Vision calibration from Machine Unlearning (2020). Photography by Elody Libe. Image courtesy of the artist.

Machine Unlearning is a video installation in the style of an ASMR roleplay, in which the artist offers a treatment administered through a chip she inserts at the back of the viewer’s neck. This chip allows the artist to directly administer the outputs of an LSTM algorithm through her whispered voice to the mind of the viewer as the algorithm unlearns language previously learned from the novel Wuthering Heights. This roleplay is complimented by a variety of physiological calibration routines and hypnotic hand gestures that play at visual rhythm and implied first person experience.
The combination of machine learning outputs and ASMR is intended to draw parallels to how the autonomous systems of algorithms are similar to the autonomous reactions of human sensory systems. Just as ASMRtists use specific sounds and visual patterns in their videos to “trigger” physical reactions in the user using stimuli, acting on the unconscious sensory processing of the listener as they watch the video, the algorithm also unconsciously responds to patterns perceived by its limited senses in order to develop its learning (and unlearning) processes.

Credits: Photography and videography by Elody Libe.

Production Support: Machine Unlearning video installation was produced at Perte de Signal with the support of the MacKenzie Art Gallery for the exhibition To the Sooe (2020) curated by Tak Pham.

The roleplay performance was developed during my artistic residency at Locus SonusÉcole Superieur d’art d’Aix en Provence and Laboratoire PRISM.

More...

The use of the word “intelligence” in the metaphor of AI focuses on higher functions of consciousness that algorithms do not possess. While algorithms have not meaningfully achieved a humanistic consciousness to date, today’s algorithms act autonomously on sensory information, processing data from its environment in unconscious, automatic ways. The human brain also responds unconsciously and automatically to sensory data in its environment, for example, even if you are not conscious of how hot a stove is, if you place your hand on a hot stove, your hand will automatically pull away. These unconscious, physiological actions in the sensory realm points to an area of common experience between algorithms and the human.  For more explanation of these ideas, take a look at the work of postmodern literary critic N. Katherine Hayles in her 2017 book Unthought: The power of the cognitive nonconscious.  In this way I wonder if the expression “autonomous intelligence” makes more sense than “artificial intelligence”, however like posthumanist feminist Rosi Braidotti I am deeply suspicious of the humanist pride that our species takes in the word “intelligence” as something that confers a special status and justification for domination of other forms of life on earth.

Live Performance

This work was first developed as a performance that debuted at Cluster Festival, Winnipeg in 2019.  During live performance, each audience member dons a pair of wireless headphones.  The performance allows the audience members to see the ASMR “result” of the performance for camera, simultaneous with the ability to see my “backstage” manipulation of props and light in real time.

Machine Unlearning (2019) Performance at Cluster Festival, Winnipeg. Photo: Leif Norman.

Machine Unlearning (2019) Performance at Cluster Festival, Winnipeg. Photo: Leif Norman.

Machine Unlearning (2019) Performance at Cluster Festival, Winnipeg. Photo: Leif Norman.

Cover Story: Leader Post

I was surprised for my exhibition To the Sooe to be featured as front-page news on January 27, 2020 in the Leader Post, the leading newspaper of Regina Saskatchewan. Inside the paper you can find an interview with exhibition curator Tak Pham and I regarding my solo show at the MacKenzie Art Gallery, To the Sooe.

““Erin’s work is very, very immersive. It’s really bringing the reaction, the chemistry, the biology within your body and really bringing it outwards and put(ting) it on display,” said Tak Pham, who curated this exhibition at the MacKenzie.”

Click here to read the full article.

 

 

Solo Exhibition MacKenzie Art Gallery

From January 24-April 19 2020, my first major solo exhibition in a Canadian museum, To the Sooe, will be on view at the MacKenzie Art Gallery in Regina, Canada.

To the Sooe is curated by Tak Pham, and features a collection of my embodied technological works to date, as well as a few brand new works made especially for this exhibition including video installation Machine Unlearning (2020) and interactive biodata sound sculpture Pinch and Soothe (2020).

The exhibition has already garnered major attention from the printed press in Regina, with front page feature stories in both the Leader Post and the Prairie Dog as well as a french language interview with Radio Canada.  As part of my exhibition activities I also gave an artist talk at the University of Regina as part of their Art for Lunch speaker series on January 24, 2020.

Cover Story: Prairie Dog Magazine

“Modernity and the Age of Reason kind of championed the brain as this really important thing that defined us as human,” she adds. “I’m interested in recent scientific studies that [show] it’s not all about the brain. Our thinking process actually happens in concert with our body beyond the brain. What I’m interested in is using technology to create a culture of the body.”

“I’m interested in making a conversation about technology that doesn’t centre on intelligence but on emotion.”

– Erin Gee, excerpts from interview with Gregory Beatty

My exhibition “To the Sooe” at the MacKenzie Art Gallery is front page news in Regina’s Prairie Dog Magazine!  The Prairie Dog is Regina’s top source for what is going on in entertainment and the arts, so it is a great honor to be featured.  I also appreciate the reporting done by Gregory Beatty on this interview.  Click here to read the full article.

As a very brief aside, I want to address to the use of the words “Sound-Shaman” on the cover of this magazine.  I have never used these terms to describe my practice, as I am not currently practicing any form of spiritual faith that would qualify me to do so. These words are not my own, but were an editorial decision that I do not identify with and strongly reject.

Toronto Biennial

November 16, 2019: 3pm-7pm

Toronto: (Check the web link here for updates)

I am please to be presenting my Larynx series (2015) compositions for live vocal quartet in the context of a  fantastic looking posthuman vocal concert curated by Myung-Sun Kim and Maiko Tanaka. The concert is included in the programming for the Toronto Biennial 2019.

Erin Gee - Larynx Series

Erin Gee – Larynx1. Epson UltraChrome K3 ink on acid-free paper.
Edition of 5.
86 x 112 cm.

TELLINGS—A Post-Human Vocal Concert seeks to challenge traditional conceptions of voice. Artists working experimentally with sound—live electronics, deep listening, sound art—perform compositions that explore new modes of vocal production. The experimental vocal compositions in solo and ensemble formats question the way we imagine the body of a voice and the “receiver” as well as the divisions made between nature and technology. Each composition performed in TELLINGS presents increasingly inter-species, inter-organ, feminist, and collaborative notions through the languages of plants, animals, and even human organs not normally associated with having authorship or intention.

Artists: Jeneen Frei Njootli, Erin Gee, Ts̱ēmā Igharas, Stephanie Loveless, and Miya Masaoka

Co-curated by Maiko Tanaka and Myung-Sun Kim.

Co-presented in partnership with Trinity Square Video and MVS Proseminar, University of Toronto—John H. Daniels Faculty of Architecture, Landscape, and Design

BIOS

Erin Gee (born in Regina, SK, Canada; lives in Montreal, QC, Canada) is an artist inspired by feminist, posthumanist approaches to ontology, consciousness, and the human body. Known for her work in choral composition, biodata-driven interfaces, robotics, and ASMR, she uses art to explore the autonomous nature of sensory cognition, emotion, and empathy in humans and non-human assemblages. Her work has shown internationally at venues such as: Ars Electronica, Linz; NRW-Forum Düsseldorf, and Musée d’art contemporain de Montréal. In 2020 she has a solo exhibition at MacKenzie Art Gallery, Regina.

Jeneen Frei Njootli (Vuntut Gwitchin First Nation, born in Whitehorse, YK, Canada; lives in Vancouver, BC, Canada) is a Vuntut Gwitchinartist working with mixed media, sound-based performances, textiles, and installation to explore Indigeneity in politics, community engagement, and history embedded in cultural materials. She was the 2017 recipient of the Contemporary Art Society of Vancouver’s Artist Prize. In 2018 alone she had solo exhibitions in venues such as: Contemporary Art Gallery, Vancouver; FIERMAN, New York City; and Artspace, Peterborough. Her work has appeared in numerous international exhibitions, including the Museum of Contemporary Art Toronto, Canada and Nottingham Contemporary among others.

Maiko Tanaka (born in Toronto, ON, Canada; lives in Buffalo, NY, USA) is the Executive Director of Squeaky Wheel Film & Media Art Center in Buffalo NY. She holds a BFA from OCADU and MVS from the University of Toronto. She has curated projects in Canada and abroad, including for TSV, Nuit Blanche at OCADU, Onsite, Justina M. Barnicke Gallery, InterAccess, Gendai, all in Toronto, as well as Casco, in Utrecht/NL. She co-edited The Grand Domestic Revolution Handbook (Casco) and Model Minority (Gendai) and has written for Scapegoat, C Magazine, and Fuse as well as various artist publications.

Miya Masaoka (born in Washington, USA; lives in New York City, NY, USA) is an American artist and composer. Her work explores bodily perception of vibration, movement, and time while foregrounding complex timbre relationships. Her work has been presented at the Venice Biennale; MoMA PS1, New York City; Kunstmuseum Bonn; and the Caramoor, NY. She is a 2019 Studio Artist for the Park Avenue Armory, and has previously received a Doris Duke Artist Award, Fulbright, and Alpert Award in the Arts. She teaches at Columbia University, New York City where she is the Director of the Sound Art Program.

Stephanie Loveless (born in Montreal, Canada; lives in New York, USA) is a sound and media artist whose research centres on listening and vocal embodiment. Her recent projects include a mobile web-app for geo-located listening and sound works that channel the voices of plants, animals, and musical divas. She holds MFAs from Rensselaer Polytechnic Institute (RPI) and Bard College, both in upstate New York, and a certification in Deep Listening from composer Pauline Oliveros. She teaches courses on Deep Listening and ecologically-oriented sound art at RPI.

Ts̱ēmā Igharas (Tahltan First Nation, born in Smithers, BC, Canada; lives in San Francisco, USA) is an award-winning interdisciplinary artist and a member of the Tahltan First Nation. Igharas is influenced by Potlatch methodology, teachings from her mentorship in Northwest Coast Formline Design at K’saan, her studies in visual culture, and time in the mountains. Igharas has shown and performed in various places in Canada and internationally, presenting her work that connects materials to mine sites and bodies to the land.

Pop Montreal

I will be part of a panel of artists as part of the Pop Montreal Symposium to discuss ASMR from artistic/scientific perspectives, come out to see me talking about my number one passion right now, also featuring…

Philippe Battikha holds a BFA in Integrative Music Studies and an MFA in Studio Arts (Interme-dia Concentration) from Concordia University. He is the co-founder of the Samizdat Records (SZR) label, based in Montreal and Brooklyn.

Jann Tomaro (Detroit/Montreal) is a doctoral student, researcher, and mental health practitioner who facilitates //practice//, a series using psychoacoustic properties of noise and sound to guide group meditations.

Click here for the facebook link to the event

Details!

What’s That Noise? ASMR For The Uninitiated
28 SEPT, 12 H 30, Piccolo Rialto

Autonomous Sensory Meridian Response (ASMR) is the static-like, tingling experience that people experience as a sensory response to auditory stimulus. ASMR has become a movement of its own in recent years, with the development of entire online communities of creators composing audio specifically tailored to produce pleasurable and relaxing effects for their audiences. So what’s the science behind ASMR? And where does it fit in the long tradition of “Brain Music,” from binaural beats to Muzak, through noise, musique concrète, and experimental sound art?

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C’est quoi ce bruit? L’ASMR pour les néophytes
Le 28 sept à 12 h 30 Piccolo Rialto

La réponse autonome sensorielle méridienne (ou ASMR pour Autonomous Sensory Meridian Response) est une réponse sensorielle au stimulus auditif qui se manifeste sous forme de pico-tement ou d’électricité statique. L’ASMR est devenu un véritable mouvement en soi au cours des dernières années à travers le développement de communautés digitales de créateur·rice·s qui créent des pièces élaborées afin de susciter un effet plaisant et relaxant pour l’auditeur·rice. Quelle est la science derrière l’ASMR? Et quelle est sa place dans la longue tradition de « mu-sique cérébrale », allant des sons binauraux à la Muzak et passant du bruit à la musique concrète et à l’art sonore expérimental?

Erin Gee est une artiste qui travaille dans la composition chorale, les interfaces de données bio-métriques, la robotique et l’ASMR, explorant la culture numérique à travers les métaphores des voix humaines dans des corps électroniques. Dans sa pratique, Gee s’inspire des approches fé-ministes et posthumanistes qui remettent en question les concepts traditionnels de la conscience humaine.

Philippe Battikha est titulaire d’un baccalauréat en Études des musiques intégratives et d’une maîtrise en Studio Arts (concentration Intermedia) de l’Université Concordia. Il a bénéficié de nombreuses bourses et distinctions, dont le programme d’accompagnement et de mentorat du MAI (Montréal, arts interculturels). Il est co-fondateur de l’étiquette Samizdat Records (SZR), ba-sée à Montréal et à Brooklyn. De 2008 à 2012, il a été membre fondateur du projet d’artistes L’Envers à Montréal.