interactive art Tag

Canada Council for the Arts Grant

I am proud to announce that I have been awarded a research and creation grant from the Canada Council for the Arts to conduct preliminary research into an interactive installation work involving machine learning (GANs), biosensor data, 3D printed wearables, and method actors. This project is a collaboration with Sofian Audry. I’ll be sure to send you updates as they come!

We acknowledge the support of the Canada Council for the Arts.

About Canada Council for the Arts

The Canada Council for the Arts is Canada’s public arts funder, with a mandate to foster and promote the study and enjoyment of, and the production of works in, the arts. The Council champions and invests in artistic excellence through a broad range of grants, services, prizes and payments to professional Canadian artists and arts organizations. Its work ensures that excellent, vibrant and diverse art and literature engages Canadians, enriches their communities and reaches markets around the world. The Council also raises public awareness and appreciation of the arts through its communications, research and arts promotion activities. It is responsible for the Canadian Commission for UNESCO, which promotes the values and programs of UNESCO in Canada to contribute to a more peaceful, equitable and sustainable future. The Canada Council Art Bank operates art rental programs and helps further public engagement with contemporary arts.

 

 

FILE Festival São Paolo

FILE Festival – SESI Arte Galeria

Exhibition Opening June 25, 2019

Exhibition runs from June 26 to August 11, 2019

Avenida Nossa Senhora da Penha, 2053, Ed. Findes, Santa Lúcia, Vitoria – ES – Brazil

I am proud to present my interactive web work Laughing Web Dot Space in São Paolo, Brazil through the FILE Electronic Language International Festival. Laughing Web Dot Space is an online website for recording and listening to the laughter of survivors of sexual violence. The site does not collect any data beyond presence.

I’m encouraged that the curators invited me to show this work in the context of media art in Brazil. Currently, the President of Brazil Jair Bolsonaro is known for his anti-homophobic and misogynist statements. He has taunted woman about rape and called women tramps. Under this government, artists have been subject to death threats and intimidation, including calls to dissolve the culture department into education. I look forward to sharing the defiant laughter, hope, joy, and solidarity of Laughing Web Dot Space with the public in Brazil during this very important festival for media art.

Elektra Festival Montreal

Project H.E.A.R.T. (Holographic Empathy Attack Robotics Team) (2017), my popstar/militainment VR game mashup with an affective control interface made in collaboration with Alex M Lee, is going to be featured at the upcoming Elektra festival XX in Montreal!  Look for it this June!

 

Exhibition opening: June 7, 6pm-9pm

Exhibition Dates: June 7-15, 2019

Perte de Signal 5445 Avenue de Gaspé local #107, Montréal, QC H2T 3B2, Canada

 

Click here to check out the full programming of Elektra Festival 2019

Laughing Web Dot Space at Yards Gallery, Chicago. Photo: Micki Harris

Scapi Magazine Chicago

My interactive sound art website Laughing Web Dot Space was featured in a very thoughtful review of the Entanglements exhibition curated by Chelsea Welch and Iryne Roh of Her Environment, and on exhibit at the Yards Gallery in Chicago in January-February 2019.

“Now that we’re all agreed that harassment is no laughing matter, let’s stop by Erin Gee’s #metoo resonant Laughing Web Dot Spacea virtual “laugh-in” featuring survivors of sexual violence. Attendees were invited to don headphones and listen to an overlapping chorus of victims laughing and/or contribute (anonymously) their own laughter. The maxim “Question your laughter”  came to mind, as I thought of both the violent and cathartic valences of joining in laughter. My favorite element of this installation was the way it built in consent, in the form of a STOP button. “

-NOA/H FIELDS

 

For the full review of the show, click here

Cluster Festival Winnipeg Canada

Cluster Festival: Winnipeg’s most dynamic take on contemporary art and sound.

Cluster X : Feb. 28 – Mar. 3, 2019

Great news: I’m going to Winnipeg for the first time!  As a proud Canadian hailing from the prairie provinces, I have always wanted to get to know the experimental art and music scene there. In March I’m going to be at the 10th edition of Cluster Festival, I’ll be featured almost every day all weekend! Whether it is a talk on my practice, a public discussion about diversity in music with an amazing bunch of musicians and composers, the Canadian debut of my newest biohardwares installation pinch and soothe, and a new version of Machine Unlearning (2019) where I will sweetly whisper an unraveling version of Wuthering Heighs into your wireless headphone-d ears as a means of giving you neural stimulation and language de processing treatment. It’s all about sound and body-hacking and the festival looks amazing. See you there! For more information  www.clusterfestival.com

Cluster Festival X 2019 Promo from Cluster Festival on Vimeo.

CLUSTER 2019 ARTISTS

Andrea Robers • Beast Nest • Davis Plett • Erin Gee • Eliot Britton • Luke Nickel • Grace Hrabi • Hong Kong Exile • Kristen Wachniak • Maksym Chupov-Ryabtsev • Matt Poon • Mirror Frame • Natalie Tin Yin Gan • Remy Siu • Sharmi Basu • Susan Britton •TAK • Vicky Chow • William Kuo • XIE

Entanglements Exhibition Chicago

Laughing Web Dot Space is featured in Entanglements Exhibition curated by Her Environment

Saturday – 1/26 through Friday 2/15

Yards Gallery, 2028 S Canalport Ave
Chicago, IL 60616
www.theyardsgallery.com @theyardsgallery

Click here for Facebook Event Page for the Opening

Entanglements challenges both the logical and emotional connections between us and our technology. The tensions that surface from these dynamics are often all encompassing; they seep deeply into every aspect of the human condition. Through accepting that technology is an integral part of our lives, we explore what it means to have a relationship with it.

This show is a collaboration between the curators and the artists in which we create a space where electronics, wires, and artworks are deliberately installed to visualize the complexities and closeness of the human/technology relationship. We are reminded of the global connection that technology can bring with works such as Erin Gee’s “Laughing Web Dot Space” website where visitors are invited to record their laughter and join in with a chorus of other laughs belonging to other survivors of sexual violence. Jen Kutler also uses the power of human connection as her piece “The Other” is a polyphonic textural synthesizer driven by skin contact between two people. The system is able to recognize very subtle changes in pressure and movement, so when two people touch fingertips what comes out of the speaker is a synthesis of physical connection.

The show also explores the very complicated ways in which there is a mutual balance of power and reveals the ways in which the power of destruction can hide beneath the surface of the interface. With works such as Snow Xu’s “Perfecthuman Harasser,” a machine that catcalls human passersby, we see that because we humans are the creators of the machines, our biases show up in the development of technology and can cause more harm on groups that already experience social disadvantages.

Through the dynamic conversations of all of the pieces we invite the visitors to take an experiential walk through our take of contemporary relationships with technology.

Please join Her Environment at Yards for the opening reception of Entanglements on Saturday, Jan. 26 at 7pm-11pm.

Artists:
Anxious to Make (SF and LA)
Erin Gee (Montreal)
Hannah Newman (Portland)
Snow Xu (Chicago)
Madeeha Lamoreaux (Chicago)
Sara Goodman and Sasha Tycko (Chicago)
Jen Kutler (New York)

Review: Canadian Art

Amber Berson wrote a thoughtful review on the occasion of Eastern Bloc’s 10th anniversary exhibition Amplification that features discussion and images of my first internet-artwork https://laughingweb.space

This exhibition meant a lot to me as an artist that has been supported by Eastern Bloc over the years not only by the fact that they have exhibited me and involved me in many projects…but also I have been enriched an supported by their fantastic programming.  I salute Eastern Bloc and wish them all the best in their next 10 years!

To read the article, click here.

Erin Gee - Swarming Emotional Pianos

Swarming Emotional Pianos

A looming projection of a human face surrounded by six musical chime robots driven by biological markers of emotion.

(2012 – ongoing)

Aluminium tubes, servo motors, custom mallets, Arduino-based electronics, iCreate platforms

Approximately 27” x 12” x 12” each

The projected face is that of an actor (Laurence Dauphinais or Matthew Keyes), who for 20 minutes moves between extreme emotional states of surprise, fear, anger, sadness, sexual arousal, and joy in 5 minute intervals. During the actor’s performance, Gee hooked the performer up to a series of biosensors that monitored how heart rate, sweat, and respiration changed between her emotional states.

The music that the robots surrounding the projection screen play as the actress moves between emotional states is in reaction to these physiological responses: the musical tones and rhythms shift and intensify as heart rate, sweat bursts, blood flow and respiration change in the actress. While the musical result is almost alien to assumptions of what emotional music might sound like, one might encounter the patterns as an abstracted lie-detector test that displays the unique internal fluctuations of the actress that move beneath the surface of her large, projected face. Does emotion lie within the visibility of facial expression, or somewhere in the audible made audible, the patterns of bodily sensation in her body? Is the actor sincere in her performance if the emotion is felt as opposed to displayed? Micro bursts of emotional sentiment are thus amplified by the robots, providing an intimate and abstract soundtrack for this “emotional movie”.

Emotional-physical outputs are extended through robotic performers as human actors focus on their internal states, and in fact activate their emotions mechanistically, as a means of creating change in their body, thus instrumentalizing emotion.

Custom open-source biosensors that collect heartrate and signal amplitude, respiration amplitude and rate, and galvanic skin response (sweat) have been in development by Gee since 2012.  Click here to access her GitHub page if you would like to try the technology for yourself, or contribute to the research.

Credits

Thank you to the following for your contributions:

  • Martin Peach (my robot teacher) – Sébastien Roy (lighting circuitry) – Peter van Haaften (tools for algorithmic composition in Max/MSP) – Grégory Perrin (Electronics Assistant)
  • Matt Risk, Tristan Stevans, Simone Pitot, and Jason Leith for their hours of dedicated studio help
  • Concordia University, the MARCS Institute at the University of Western Sydney, Innovations en Concert Montréal, Conseil des Arts de Montréal, Thought Technology, and AD Instruments for their support.

Swarming Emotional Pianos (2012-2014) Machine demonstration March 2014 – Eastern Bloc Lab Residency, Montréal