#interactiveart — Public Fediverse posts

Cornell's Interactive Wall of Birds

https://academy.allaboutbirds.org/features/wallofbirds/?_hsmi=428996456

Comments: https://news.ycombinator.com/item?id=48962282

#HackerNews #CornellBirds #InteractiveArt #BirdWatching #NatureTech #WildlifeEducation

Cornell's Interactive Wall of Birds

https://academy.allaboutbirds.org/features/wallofbirds/?_hsmi=428996456

Comments: https://news.ycombinator.com/item?id=48962282

#HackerNews #CornellBirds #InteractiveArt #BirdWatching #NatureTech #WildlifeEducation

Cornell's Interactive Wall of Birds

https://academy.allaboutbirds.org/features/wallofbirds/?_hsmi=428996456

Comments: https://news.ycombinator.com/item?id=48962282

#HackerNews #CornellBirds #InteractiveArt #BirdWatching #NatureTech #WildlifeEducation

Cornell's Interactive Wall of Birds

https://academy.allaboutbirds.org/features/wallofbirds/?_hsmi=428996456

Comments: https://news.ycombinator.com/item?id=48962282

#HackerNews #CornellBirds #InteractiveArt #BirdWatching #NatureTech #WildlifeEducation

Cornell's Interactive Wall of Birds

https://academy.allaboutbirds.org/features/wallofbirds/?_hsmi=428996456

Comments: https://news.ycombinator.com/item?id=48962282

#HackerNews #CornellBirds #InteractiveArt #BirdWatching #NatureTech #WildlifeEducation

Localghost lässt entfernte Bewegungen als Licht im eigenen Raum erscheinen.

Zwei leuchtende Objekte an getrennten Orten reagieren auf Bewegung: Geht jemand vorbei, wandert seine Spur zeitgleich durch das andere Objekt, wie ein unsichtbarer Gruß aus der Ferne.

Treffen Bewegungen von beiden Seiten aufeinander, antworten sie sich in unterschiedlichen Farben.

#Localghost #InteractiveArt #Medienkunst #Design #PhysicalComputing #IoT #CreativeCoding #codeandcontext

Localghost lässt entfernte Bewegungen als Licht im eigenen Raum erscheinen.

Zwei leuchtende Objekte an getrennten Orten reagieren auf Bewegung: Geht jemand vorbei, wandert seine Spur zeitgleich durch das andere Objekt, wie ein unsichtbarer Gruß aus der Ferne.

Treffen Bewegungen von beiden Seiten aufeinander, antworten sie sich in unterschiedlichen Farben.

#Localghost #InteractiveArt #Medienkunst #Design #PhysicalComputing #IoT #CreativeCoding #codeandcontext

Localghost lässt entfernte Bewegungen als Licht im eigenen Raum erscheinen.

Zwei leuchtende Objekte an getrennten Orten reagieren auf Bewegung: Geht jemand vorbei, wandert seine Spur zeitgleich durch das andere Objekt, wie ein unsichtbarer Gruß aus der Ferne.

Treffen Bewegungen von beiden Seiten aufeinander, antworten sie sich in unterschiedlichen Farben.

#Localghost #InteractiveArt #Medienkunst #Design #PhysicalComputing #IoT #CreativeCoding #codeandcontext

Localghost lässt entfernte Bewegungen als Licht im eigenen Raum erscheinen.

Zwei leuchtende Objekte an getrennten Orten reagieren auf Bewegung: Geht jemand vorbei, wandert seine Spur zeitgleich durch das andere Objekt, wie ein unsichtbarer Gruß aus der Ferne.

Treffen Bewegungen von beiden Seiten aufeinander, antworten sie sich in unterschiedlichen Farben.

#Localghost #InteractiveArt #Medienkunst #Design #PhysicalComputing #IoT #CreativeCoding #codeandcontext

Localghost lässt entfernte Bewegungen als Licht im eigenen Raum erscheinen.

Zwei leuchtende Objekte an getrennten Orten reagieren auf Bewegung: Geht jemand vorbei, wandert seine Spur zeitgleich durch das andere Objekt, wie ein unsichtbarer Gruß aus der Ferne.

Treffen Bewegungen von beiden Seiten aufeinander, antworten sie sich in unterschiedlichen Farben.

#Localghost #InteractiveArt #Medienkunst #Design #PhysicalComputing #IoT #CreativeCoding #codeandcontext

Geez, how behind am I on admin? One more artwork from 2025 I never posted, till now: the Box of Cancer.

https://majnouna.com/portfolio/cancerbox/
#zodiac #interactiveart

Geez, how behind am I on admin? One more artwork from 2025 I never posted, till now: the Box of Cancer.

https://majnouna.com/portfolio/cancerbox/
#zodiac #interactiveart

Geez, how behind am I on admin? One more artwork from 2025 I never posted, till now: the Box of Cancer.

https://majnouna.com/portfolio/cancerbox/
#zodiac #interactiveart

Geez, how behind am I on admin? One more artwork from 2025 I never posted, till now: the Box of Cancer.

https://majnouna.com/portfolio/cancerbox/
#zodiac #interactiveart

@rhempel I've always felt that being an artist does not give you a free pass (and it's one of the reasons why I always struggled to call myself an artist).

Even if the viewer doesn't see a discernible difference, I think considering energy consumption and algorithmic efficiency as (some of the) hidden costs of art making & viewing always should be a consideration. I also think it's a sign of maturity, both personal and in the larger picture as discipline, to be considerate of these things, even more so for animated or time-based pieces which are running nonstop at galleries/exhibitions/homes for weeks/months. Unfortunately, this is an extreme minority opinion in this field...

But energy aspects aside, especially for animated and/or interactive works, achieving a minimum frame rate (at the very least 30fps, better 60fps or 120fps) is important (not always though!) and failing to do so, can have a negative impact on the overall aesthetics, feel, experience, immersion etc. Optimizing a piece from 2-3 fps to 30+ fps can be a literal make-or-break switch...

Also for realtime audio, which is much less forgiving, hard time limits are enforced by the underlying OS/hardware audio driver. All (sonic) hell breaks loose if you don't manage to compute N new samples for the next time window in a shorter time than that window's duration (usually just a few milliseconds a slice)...

So back to your question: Is there a way to convey a elegance and design in implementing of algorithmic art? I think the answer here is: Yes. At least for the group of time-based works, these aspects are partially/indirectly conveyed precisely via working smoothly within these time & resource constraints, some of them enforced by our own perception thresholds, others by hardware. An animated or interactive system which feels sluggish hardly ever communicates "elegance" (where it matters and in an abstract sense, but even "glitch art" often works with a more or less artist controlled form of glitchiness). For interaction it can even very quickly become actively frustrating once certain action-response delays are exceeded regularly...

Some artists are trying to free themselves from the efforts having to deal with these things via means of clever framing and post-rationalization, i.e. by stating the artwork presented is merely a 1:1 instance of the actual artwork which is just a sequence of instructions given on paper (or as text file, as voice instruction etc.) and therefore has neither conceptual nor technical room for addressing these aspects... I can think of some cases where any form of optimization truly isn't desired (e.g. those concepts which communicate exponentially increasing complexity or time effects of a given system), but I'd say these are not the norm... Mostly it feels like: Purity for purity's sake and an easy way out... 🤷‍♂️

In some sense the problem for algorithmic artists is similar to that of game devs: Developing your idea on high-end hardware with top-range compute can be a recipe for disaster when deploying your artwork on lower spec hardware. In that sense a well optimized implementation or one which is aimed at lower compute resources, simply means the piece is much more adaptable and also generally less resource/energy intensive, something which we as society are maybe just not yet valuing sufficiently enough, but which I believe we will come to (value)... People will still want to have engaging digital art in the future, even if compute availability will be much more unevenly available/affordable, less abundant, and more artists, especially them, will be working/showing on devices with lower compute (relatively speaking) due to exploding hardware costs and centralization...

That quote I mentioned in the linked posts above is a perfect summary of this all:

"Too often in this industry hardware is used to solve software problems."

#AlgorithmicArt #InteractiveArt #TimebasedArt #Optimization #Performance #FrugalComputing

@rhempel I've always felt that being an artist does not give you a free pass (and it's one of the reasons why I always struggled to call myself an artist).

Even if the viewer doesn't see a discernible difference, I think considering energy consumption and algorithmic efficiency as (some of the) hidden costs of art making & viewing always should be a consideration. I also think it's a sign of maturity, both personal and in the larger picture as discipline, to be considerate of these things, even more so for animated or time-based pieces which are running nonstop at galleries/exhibitions/homes for weeks/months. Unfortunately, this is an extreme minority opinion in this field...

But energy aspects aside, especially for animated and/or interactive works, achieving a minimum frame rate (at the very least 30fps, better 60fps or 120fps) is important (not always though!) and failing to do so, can have a negative impact on the overall aesthetics, feel, experience, immersion etc. Optimizing a piece from 2-3 fps to 30+ fps can be a literal make-or-break switch...

Also for realtime audio, which is much less forgiving, hard time limits are enforced by the underlying OS/hardware audio driver. All (sonic) hell breaks loose if you don't manage to compute N new samples for the next time window in a shorter time than that window's duration (usually just a few milliseconds a slice)...

So back to your question: Is there a way to convey a elegance and design in implementing of algorithmic art? I think the answer here is: Yes. At least for the group of time-based works, these aspects are partially/indirectly conveyed precisely via working smoothly within these time & resource constraints, some of them enforced by our own perception thresholds, others by hardware. An animated or interactive system which feels sluggish hardly ever communicates "elegance" (where it matters and in an abstract sense, but even "glitch art" often works with a more or less artist controlled form of glitchiness). For interaction it can even very quickly become actively frustrating once certain action-response delays are exceeded regularly...

Some artists are trying to free themselves from the efforts having to deal with these things via means of clever framing and post-rationalization, i.e. by stating the artwork presented is merely a 1:1 instance of the actual artwork which is just a sequence of instructions given on paper (or as text file, as voice instruction etc.) and therefore has neither conceptual nor technical room for addressing these aspects... I can think of some cases where any form of optimization truly isn't desired (e.g. those concepts which communicate exponentially increasing complexity or time effects of a given system), but I'd say these are not the norm... Mostly it feels like: Purity for purity's sake and an easy way out... 🤷‍♂️

In some sense the problem for algorithmic artists is similar to that of game devs: Developing your idea on high-end hardware with top-range compute can be a recipe for disaster when deploying your artwork on lower spec hardware. In that sense a well optimized implementation or one which is aimed at lower compute resources, simply means the piece is much more adaptable and also generally less resource/energy intensive, something which we as society are maybe just not yet valuing sufficiently enough, but which I believe we will come to (value)... People will still want to have engaging digital art in the future, even if compute availability will be much more unevenly available/affordable, less abundant, and more artists, especially them, will be working/showing on devices with lower compute (relatively speaking) due to exploding hardware costs and centralization...

That quote I mentioned in the linked posts above is a perfect summary of this all:

"Too often in this industry hardware is used to solve software problems."

#AlgorithmicArt #InteractiveArt #TimebasedArt #Optimization #Performance #FrugalComputing

@rhempel I've always felt that being an artist does not give you a free pass (and it's one of the reasons why I always struggled to call myself an artist).

Even if the viewer doesn't see a discernible difference, I think considering energy consumption and algorithmic efficiency as (some of the) hidden costs of art making & viewing always should be a consideration. I also think it's a sign of maturity, both personal and in the larger picture as discipline, to be considerate of these things, even more so for animated or time-based pieces which are running nonstop at galleries/exhibitions/homes for weeks/months. Unfortunately, this is an extreme minority opinion in this field...

But energy aspects aside, especially for animated and/or interactive works, achieving a minimum frame rate (at the very least 30fps, better 60fps or 120fps) is important (not always though!) and failing to do so, can have a negative impact on the overall aesthetics, feel, experience, immersion etc. Optimizing a piece from 2-3 fps to 30+ fps can be a literal make-or-break switch...

Also for realtime audio, which is much less forgiving, hard time limits are enforced by the underlying OS/hardware audio driver. All (sonic) hell breaks loose if you don't manage to compute N new samples for the next time window in a shorter time than that window's duration (usually just a few milliseconds a slice)...

So back to your question: Is there a way to convey a elegance and design in implementing of algorithmic art? I think the answer here is: Yes. At least for the group of time-based works, these aspects are partially/indirectly conveyed precisely via working smoothly within these time & resource constraints, some of them enforced by our own perception thresholds, others by hardware. An animated or interactive system which feels sluggish hardly ever communicates "elegance" (where it matters and in an abstract sense, but even "glitch art" often works with a more or less artist controlled form of glitchiness). For interaction it can even very quickly become actively frustrating once certain action-response delays are exceeded regularly...

Some artists are trying to free themselves from the efforts having to deal with these things via means of clever framing and post-rationalization, i.e. by stating the artwork presented is merely a 1:1 instance of the actual artwork which is just a sequence of instructions given on paper (or as text file, as voice instruction etc.) and therefore has neither conceptual nor technical room for addressing these aspects... I can think of some cases where any form of optimization truly isn't desired (e.g. those concepts which communicate exponentially increasing complexity or time effects of a given system), but I'd say these are not the norm... Mostly it feels like: Purity for purity's sake and an easy way out... 🤷‍♂️

In some sense the problem for algorithmic artists is similar to that of game devs: Developing your idea on high-end hardware with top-range compute can be a recipe for disaster when deploying your artwork on lower spec hardware. In that sense a well optimized implementation or one which is aimed at lower compute resources, simply means the piece is much more adaptable and also generally less resource/energy intensive, something which we as society are maybe just not yet valuing sufficiently enough, but which I believe we will come to (value)... People will still want to have engaging digital art in the future, even if compute availability will be much more unevenly available/affordable, less abundant, and more artists, especially them, will be working/showing on devices with lower compute (relatively speaking) due to exploding hardware costs and centralization...

That quote I mentioned in the linked posts above is a perfect summary of this all:

"Too often in this industry hardware is used to solve software problems."

#AlgorithmicArt #InteractiveArt #TimebasedArt #Optimization #Performance #FrugalComputing

@rhempel I've always felt that being an artist does not give you a free pass (and it's one of the reasons why I always struggled to call myself an artist).

Even if the viewer doesn't see a discernible difference, I think considering energy consumption and algorithmic efficiency as (some of the) hidden costs of art making & viewing always should be a consideration. I also think it's a sign of maturity, both personal and in the larger picture as discipline, to be considerate of these things, even more so for animated or time-based pieces which are running nonstop at galleries/exhibitions/homes for weeks/months. Unfortunately, this is an extreme minority opinion in this field...

But energy aspects aside, especially for animated and/or interactive works, achieving a minimum frame rate (at the very least 30fps, better 60fps or 120fps) is important (not always though!) and failing to do so, can have a negative impact on the overall aesthetics, feel, experience, immersion etc. Optimizing a piece from 2-3 fps to 30+ fps can be a literal make-or-break switch...

Also for realtime audio, which is much less forgiving, hard time limits are enforced by the underlying OS/hardware audio driver. All (sonic) hell breaks loose if you don't manage to compute N new samples for the next time window in a shorter time than that window's duration (usually just a few milliseconds a slice)...

So back to your question: Is there a way to convey a elegance and design in implementing of algorithmic art? I think the answer here is: Yes. At least for the group of time-based works, these aspects are partially/indirectly conveyed precisely via working smoothly within these time & resource constraints, some of them enforced by our own perception thresholds, others by hardware. An animated or interactive system which feels sluggish hardly ever communicates "elegance" (where it matters and in an abstract sense, but even "glitch art" often works with a more or less artist controlled form of glitchiness). For interaction it can even very quickly become actively frustrating once certain action-response delays are exceeded regularly...

Some artists are trying to free themselves from the efforts having to deal with these things via means of clever framing and post-rationalization, i.e. by stating the artwork presented is merely a 1:1 instance of the actual artwork which is just a sequence of instructions given on paper (or as text file, as voice instruction etc.) and therefore has neither conceptual nor technical room for addressing these aspects... I can think of some cases where any form of optimization truly isn't desired (e.g. those concepts which communicate exponentially increasing complexity or time effects of a given system), but I'd say these are not the norm... Mostly it feels like: Purity for purity's sake and an easy way out... 🤷‍♂️

In some sense the problem for algorithmic artists is similar to that of game devs: Developing your idea on high-end hardware with top-range compute can be a recipe for disaster when deploying your artwork on lower spec hardware. In that sense a well optimized implementation or one which is aimed at lower compute resources, simply means the piece is much more adaptable and also generally less resource/energy intensive, something which we as society are maybe just not yet valuing sufficiently enough, but which I believe we will come to (value)... People will still want to have engaging digital art in the future, even if compute availability will be much more unevenly available/affordable, less abundant, and more artists, especially them, will be working/showing on devices with lower compute (relatively speaking) due to exploding hardware costs and centralization...

That quote I mentioned in the linked posts above is a perfect summary of this all:

"Too often in this industry hardware is used to solve software problems."

#AlgorithmicArt #InteractiveArt #TimebasedArt #Optimization #Performance #FrugalComputing

@rhempel I've always felt that being an artist does not give you a free pass (and it's one of the reasons why I always struggled to call myself an artist).

Even if the viewer doesn't see a discernible difference, I think considering energy consumption and algorithmic efficiency as (some of the) hidden costs of art making & viewing always should be a consideration. I also think it's a sign of maturity, both personal and in the larger picture as discipline, to be considerate of these things, even more so for animated or time-based pieces which are running nonstop at galleries/exhibitions/homes for weeks/months. Unfortunately, this is an extreme minority opinion in this field...

But energy aspects aside, especially for animated and/or interactive works, achieving a minimum frame rate (at the very least 30fps, better 60fps or 120fps) is important (not always though!) and failing to do so, can have a negative impact on the overall aesthetics, feel, experience, immersion etc. Optimizing a piece from 2-3 fps to 30+ fps can be a literal make-or-break switch...

Also for realtime audio, which is much less forgiving, hard time limits are enforced by the underlying OS/hardware audio driver. All (sonic) hell breaks loose if you don't manage to compute N new samples for the next time window in a shorter time than that window's duration (usually just a few milliseconds a slice)...

So back to your question: Is there a way to convey a elegance and design in implementing of algorithmic art? I think the answer here is: Yes. At least for the group of time-based works, these aspects are partially/indirectly conveyed precisely via working smoothly within these time & resource constraints, some of them enforced by our own perception thresholds, others by hardware. An animated or interactive system which feels sluggish hardly ever communicates "elegance" (where it matters and in an abstract sense, but even "glitch art" often works with a more or less artist controlled form of glitchiness). For interaction it can even very quickly become actively frustrating once certain action-response delays are exceeded regularly...

Some artists are trying to free themselves from the efforts having to deal with these things via means of clever framing and post-rationalization, i.e. by stating the artwork presented is merely a 1:1 instance of the actual artwork which is just a sequence of instructions given on paper (or as text file, as voice instruction etc.) and therefore has neither conceptual nor technical room for addressing these aspects... I can think of some cases where any form of optimization truly isn't desired (e.g. those concepts which communicate exponentially increasing complexity or time effects of a given system), but I'd say these are not the norm... Mostly it feels like: Purity for purity's sake and an easy way out... 🤷‍♂️

In some sense the problem for algorithmic artists is similar to that of game devs: Developing your idea on high-end hardware with top-range compute can be a recipe for disaster when deploying your artwork on lower spec hardware. In that sense a well optimized implementation or one which is aimed at lower compute resources, simply means the piece is much more adaptable and also generally less resource/energy intensive, something which we as society are maybe just not yet valuing sufficiently enough, but which I believe we will come to (value)... People will still want to have engaging digital art in the future, even if compute availability will be much more unevenly available/affordable, less abundant, and more artists, especially them, will be working/showing on devices with lower compute (relatively speaking) due to exploding hardware costs and centralization...

That quote I mentioned in the linked posts above is a perfect summary of this all:

"Too often in this industry hardware is used to solve software problems."

#AlgorithmicArt #InteractiveArt #TimebasedArt #Optimization #Performance #FrugalComputing

Funny Fake Shadows (20 Photos)

https://streetartutopia.com/2026/05/11/street-artist-paint-funny-fake-shadows/

Funny Fake Shadows (20 Photos)

https://streetartutopia.com/2026/05/11/street-artist-paint-funny-fake-shadows/

Funny Fake Shadows (20 Photos)

https://streetartutopia.com/2026/05/11/street-artist-paint-funny-fake-shadows/

Funny Fake Shadows (20 Photos)

https://streetartutopia.com/2026/05/11/street-artist-paint-funny-fake-shadows/

Funny Fake Shadows (20 Photos)

https://streetartutopia.com/2026/05/11/street-artist-paint-funny-fake-shadows/

RE: https://mastodon.art/@jennylam/116400559656917731

The closing reception was #onthisday 14 years ago! http://www.artistsonthelam.com/i-can-do-that

#OTD #Chicago #Interactive #InteractiveArt #ContemporaryArt #ModernArt #FineArt #Art #MastoArt #FediArt #Arte #Artwork #Artist #Artists #Curator #Community #Painting #Photography #FotoMontag #PhotoMonday #Photos #Gallery

RE: https://mastodon.art/@jennylam/116400559656917731

The closing reception was #onthisday 14 years ago! http://www.artistsonthelam.com/i-can-do-that

#OTD #Chicago #Interactive #InteractiveArt #ContemporaryArt #ModernArt #FineArt #Art #MastoArt #FediArt #Arte #Artwork #Artist #Artists #Curator #Community #Painting #Photography #FotoMontag #PhotoMonday #Photos #Gallery

RE: https://mastodon.art/@jennylam/116400559656917731

The closing reception was #onthisday 14 years ago! http://www.artistsonthelam.com/i-can-do-that

#OTD #Chicago #Interactive #InteractiveArt #ContemporaryArt #ModernArt #FineArt #Art #MastoArt #FediArt #Arte #Artwork #Artist #Artists #Curator #Community #Painting #Photography #FotoMontag #PhotoMonday #Photos #Gallery

RE: https://mastodon.art/@jennylam/116400559656917731

The closing reception was #onthisday 14 years ago! http://www.artistsonthelam.com/i-can-do-that

#OTD #Chicago #Interactive #InteractiveArt #ContemporaryArt #ModernArt #FineArt #Art #MastoArt #FediArt #Arte #Artwork #Artist #Artists #Curator #Community #Painting #Photography #FotoMontag #PhotoMonday #Photos #Gallery

Decay and Desire / bb15 x AMRO / Exhibition Opening & Artist Guided Tour

bb15 – space for contemporary art, Thursday, May 14 at 05:00 PM GMT+2

Decay and Desire
bb15 x AMRO Festival

The exhibition is part of AMRO26 - Art Meets Radical Openness Festival, which will take place in Linz from 13 to 16 May 2026.

Exhibition Opening & Artist Guided Tour on Thursday 14th May at 17:00
(Soft opening 14th May at 10:00)
Opening hours: 14. – 16. Mai 2026 | (Opening hours: Everyday, 10:00-19:00)

18. – 22. Mai 2026 | (Opening hours: Tue-Sat, 15:00-18:00)

Two immersive installations by jiawen uffline and by Maja Bojanić and Brin Žvan from Ljudmila Art and Science Laboratory blur nature's irrational forces with institutional critique and artivism. Both works invite visitors to participate in order to activate them. The exhibition explores ideas of communication and sustainability and create a parallel realm where visitors gain agency.

The works in the exhibition connect questions of interaction, maintenance and yearning with nature as medium, as channel of transmission, and as a site through which existing structures can be transferred into subversive and irrational forms.

Exhibiting artists: Maja Bojanić and Brin Žvan (Ljudmila) & jiawen uffline
jiawen uffline [https://worrymetaphor.net/]
Ljudmila, Art and Science Laboratory [wiki.ljudmila.org]


---
AMRO programme: https://radical-openness.org
"Decay and Desire" in AMRO programme https://radical-openness.org/en/programm/2026/decay-and-desire

https://kulturkarte.servus.at/event/decay-and-desire-bb15-x-amro-exhibition-opening-and-artist-guided-tour

Decay and Desire / bb15 x AMRO / Exhibition Opening & Artist Guided Tour

bb15 – space for contemporary art, Thursday, May 14 at 05:00 PM GMT+2

Decay and Desire
bb15 x AMRO Festival

The exhibition is part of AMRO26 - Art Meets Radical Openness Festival, which will take place in Linz from 13 to 16 May 2026.

Exhibition Opening & Artist Guided Tour on Thursday 14th May at 17:00
(Soft opening 14th May at 10:00)
Opening hours: 14. – 16. Mai 2026 | (Opening hours: Everyday, 10:00-19:00)

18. – 22. Mai 2026 | (Opening hours: Tue-Sat, 15:00-18:00)

Two immersive installations by jiawen uffline and by Maja Bojanić and Brin Žvan from Ljudmila Art and Science Laboratory blur nature's irrational forces with institutional critique and artivism. Both works invite visitors to participate in order to activate them. The exhibition explores ideas of communication and sustainability and create a parallel realm where visitors gain agency.

The works in the exhibition connect questions of interaction, maintenance and yearning with nature as medium, as channel of transmission, and as a site through which existing structures can be transferred into subversive and irrational forms.

Exhibiting artists: Maja Bojanić and Brin Žvan (Ljudmila) & jiawen uffline
jiawen uffline [https://worrymetaphor.net/]
Ljudmila, Art and Science Laboratory [wiki.ljudmila.org]


https://kulturkarte.servus.at/event/decay-and-desire-bb15-x-amro-exhibition-opening-and-artist-guided-tour

RE: https://mastodon.social/@thenodeinstitute/116323532722575423

Reminder: The next VVVV Beginner Class starts April 27 2026 - 8 sessions, Mondays 18:00–21:00 CEST. In cooperation with Refik Anadol Studio.

Taught by Rosi Grillmair and Gabriela Gordillo . Perfect for newcomers and future Creative Technologists.

💲💲💲 Get 30% off with boostyourvvvv

https://thenodeinstitute.org/courses/vvvv-beginner-class-summer-2026/

Spread the word! #boostyourvvvv #madewithvvvv #vvvv #creativecoding #visualprogramming #creativetechnology #generativedesign #newmediaart #interactiveart #vvvvcommunity #nodelove

RE: https://mastodon.social/@thenodeinstitute/116323532722575423

Reminder: The next VVVV Beginner Class starts April 27 2026 - 8 sessions, Mondays 18:00–21:00 CEST. In cooperation with Refik Anadol Studio.

Taught by Rosi Grillmair and Gabriela Gordillo . Perfect for newcomers and future Creative Technologists.

💲💲💲 Get 30% off with boostyourvvvv

https://thenodeinstitute.org/courses/vvvv-beginner-class-summer-2026/

Spread the word! #boostyourvvvv #madewithvvvv #vvvv #creativecoding #visualprogramming #creativetechnology #generativedesign #newmediaart #interactiveart #vvvvcommunity #nodelove

RE: https://mastodon.social/@thenodeinstitute/116323532722575423

Reminder: The next VVVV Beginner Class starts April 27 2026 - 8 sessions, Mondays 18:00–21:00 CEST. In cooperation with Refik Anadol Studio.

Taught by Rosi Grillmair and Gabriela Gordillo . Perfect for newcomers and future Creative Technologists.

💲💲💲 Get 30% off with boostyourvvvv

https://thenodeinstitute.org/courses/vvvv-beginner-class-summer-2026/

Spread the word! #boostyourvvvv #madewithvvvv #vvvv #creativecoding #visualprogramming #creativetechnology #generativedesign #newmediaart #interactiveart #vvvvcommunity #nodelove

RE: https://mastodon.social/@thenodeinstitute/116323532722575423

Reminder: The next VVVV Beginner Class starts April 27 2026 - 8 sessions, Mondays 18:00–21:00 CEST. In cooperation with Refik Anadol Studio.

Taught by Rosi Grillmair and Gabriela Gordillo . Perfect for newcomers and future Creative Technologists.

💲💲💲 Get 30% off with boostyourvvvv

https://thenodeinstitute.org/courses/vvvv-beginner-class-summer-2026/

Spread the word! #boostyourvvvv #madewithvvvv #vvvv #creativecoding #visualprogramming #creativetechnology #generativedesign #newmediaart #interactiveart #vvvvcommunity #nodelove

RE: https://mastodon.social/@thenodeinstitute/116323532722575423

Reminder: The next VVVV Beginner Class starts April 27 2026 - 8 sessions, Mondays 18:00–21:00 CEST. In cooperation with Refik Anadol Studio.

Taught by Rosi Grillmair and Gabriela Gordillo . Perfect for newcomers and future Creative Technologists.

💲💲💲 Get 30% off with boostyourvvvv

https://thenodeinstitute.org/courses/vvvv-beginner-class-summer-2026/

Spread the word! #boostyourvvvv #madewithvvvv #vvvv #creativecoding #visualprogramming #creativetechnology #generativedesign #newmediaart #interactiveart #vvvvcommunity #nodelove

Me a few weeks ago inside #teamLab Future World at ArtScience #Museum in #Singapore ✨

#Museums #Art #Artwork #MastoArt #FediArt #Artist #Interactive #InteractiveArt #Installation #InstallationArt #ArtInstallation #Light #Lights #LightArt #Color #Colors #Colorful #Colour #Colours #Colorful #MobilePhotography #Photography #Photo #Portrait #PortraitPhotography #TravelPhotography #Travel #Tech #Technology #Science

Me a few weeks ago inside #teamLab Future World at ArtScience #Museum in #Singapore ✨

#Museums #Art #Artwork #MastoArt #FediArt #Artist #Interactive #InteractiveArt #Installation #InstallationArt #ArtInstallation #Light #Lights #LightArt #Color #Colors #Colorful #Colour #Colours #Colorful #MobilePhotography #Photography #Photo #Portrait #PortraitPhotography #TravelPhotography #Travel #Tech #Technology #Science

Me a few weeks ago inside #teamLab Future World at ArtScience #Museum in #Singapore ✨

#Museums #Art #Artwork #MastoArt #FediArt #Artist #Interactive #InteractiveArt #Installation #InstallationArt #ArtInstallation #Light #Lights #LightArt #Color #Colors #Colorful #Colour #Colours #Colorful #MobilePhotography #Photography #Photo #Portrait #PortraitPhotography #TravelPhotography #Travel #Tech #Technology #Science

Me a few weeks ago inside #teamLab Future World at ArtScience #Museum in #Singapore ✨

#Museums #Art #Artwork #MastoArt #FediArt #Artist #Interactive #InteractiveArt #Installation #InstallationArt #ArtInstallation #Light #Lights #LightArt #Color #Colors #Colorful #Colour #Colours #Colorful #MobilePhotography #Photography #Photo #Portrait #PortraitPhotography #TravelPhotography #Travel #Tech #Technology #Science

Wie klingts eigentlich, wenn man alle zugleich reinhaut (Vierknopftypus per Fernbedienung)

Die interaktive Arbeit greift das Motiv von Kreuzigung und Wiederbelebung auf. Eine nachrüstbare Zentralverriegelung, jahrelang auf dem Dachboden des Künstlers gelagert, wird auf das Kreuz genommen: Über eine Fernbedienung können alle vier Knöpfe gleichzeitig ausgelöst werden.

Der Moment zwischen Stillstand und Aktivierung, zwischen Exitus und technischem Erwachen hat eine literarische Parallele zum Ausstellungsort Ingolstadt, damals eine katholische Glaubensfestung: In Mary Shelleys Roman Frankenstein bringt der Student Victor Frankenstein während seiner Zeit an der Universität Ingolstadt mit Hilfe von Elektrizität eine Kreatur zum Leben.

Zwischen Kreuzigung und künstlicher Belebung verhandelt die Arbeit Fragen von Handlungsmacht, Kontrolle und der Aktualisierung sakraler Motive durch Technologie.

Die Arbeit war Teil der Ausstellung Endrohr Apokalypse im Kunstverein Ingolstadt (22. Nov 2025 – 21. Jan 2026).

#EndrohrApokalypse #Olsen #KunstvereinIngolstadt #InstallationArt #Frankenstein #ArtificialLife #TechAndFaith #ContemporaryArt #InteractiveArt #TechnologyAndTheology #modernPrometheus

Wie klingts eigentlich, wenn man alle zugleich reinhaut (Vierknopftypus per Fernbedienung)

Die interaktive Arbeit greift das Motiv von Kreuzigung und Wiederbelebung auf. Eine nachrüstbare Zentralverriegelung, jahrelang auf dem Dachboden des Künstlers gelagert, wird auf das Kreuz genommen: Über eine Fernbedienung können alle vier Knöpfe gleichzeitig ausgelöst werden.

Der Moment zwischen Stillstand und Aktivierung, zwischen Exitus und technischem Erwachen hat eine literarische Parallele zum Ausstellungsort Ingolstadt, damals eine katholische Glaubensfestung: In Mary Shelleys Roman Frankenstein bringt der Student Victor Frankenstein während seiner Zeit an der Universität Ingolstadt mit Hilfe von Elektrizität eine Kreatur zum Leben.

Zwischen Kreuzigung und künstlicher Belebung verhandelt die Arbeit Fragen von Handlungsmacht, Kontrolle und der Aktualisierung sakraler Motive durch Technologie.

Die Arbeit war Teil der Ausstellung Endrohr Apokalypse im Kunstverein Ingolstadt (22. Nov 2025 – 21. Jan 2026).

#EndrohrApokalypse #Olsen #KunstvereinIngolstadt #InstallationArt #Frankenstein #ArtificialLife #TechAndFaith #ContemporaryArt #InteractiveArt #TechnologyAndTheology #modernPrometheus

Wie klingts eigentlich, wenn man alle zugleich reinhaut (Vierknopftypus per Fernbedienung)

Die interaktive Arbeit greift das Motiv von Kreuzigung und Wiederbelebung auf. Eine nachrüstbare Zentralverriegelung, jahrelang auf dem Dachboden des Künstlers gelagert, wird auf das Kreuz genommen: Über eine Fernbedienung können alle vier Knöpfe gleichzeitig ausgelöst werden.

Der Moment zwischen Stillstand und Aktivierung, zwischen Exitus und technischem Erwachen hat eine literarische Parallele zum Ausstellungsort Ingolstadt, damals eine katholische Glaubensfestung: In Mary Shelleys Roman Frankenstein bringt der Student Victor Frankenstein während seiner Zeit an der Universität Ingolstadt mit Hilfe von Elektrizität eine Kreatur zum Leben.

Zwischen Kreuzigung und künstlicher Belebung verhandelt die Arbeit Fragen von Handlungsmacht, Kontrolle und der Aktualisierung sakraler Motive durch Technologie.

Die Arbeit war Teil der Ausstellung Endrohr Apokalypse im Kunstverein Ingolstadt (22. Nov 2025 – 21. Jan 2026).

#EndrohrApokalypse #Olsen #KunstvereinIngolstadt #InstallationArt #Frankenstein #ArtificialLife #TechAndFaith #ContemporaryArt #InteractiveArt #TechnologyAndTheology #modernPrometheus

RE: https://mastodon.social/@planetart/116170486406966430

#planetart the mothership behind GOGBOT and TEC ART, now has its own account. Follow it and stay plugged in!

#digitalart #artfestival #newmedia #interactiveart #fediverseart

RE: https://mastodon.social/@planetart/116170486406966430

#planetart the mothership behind GOGBOT and TEC ART, now has its own account. Follow it and stay plugged in!

#digitalart #artfestival #newmedia #interactiveart #fediverseart

Ah yes, XKCD fans rejoice! 🎉 Now you can make your own minimalist stick figures with the interactive magic of p5.js. Because what the world desperately needed was more over-engineered #doodles. 🤦‍♂️
https://editor.p5js.org/isohedral/full/vJa5RiZWs #XKCDfans #p5js #minimaliststickfigures #overengineered #interactiveart #HackerNews #ngated

Ah yes, XKCD fans rejoice! 🎉 Now you can make your own minimalist stick figures with the interactive magic of p5.js. Because what the world desperately needed was more over-engineered #doodles. 🤦‍♂️
https://editor.p5js.org/isohedral/full/vJa5RiZWs #XKCDfans #p5js #minimaliststickfigures #overengineered #interactiveart #HackerNews #ngated

Ah yes, XKCD fans rejoice! 🎉 Now you can make your own minimalist stick figures with the interactive magic of p5.js. Because what the world desperately needed was more over-engineered #doodles. 🤦‍♂️
https://editor.p5js.org/isohedral/full/vJa5RiZWs #XKCDfans #p5js #minimaliststickfigures #overengineered #interactiveart #HackerNews #ngated

Ah yes, XKCD fans rejoice! 🎉 Now you can make your own minimalist stick figures with the interactive magic of p5.js. Because what the world desperately needed was more over-engineered #doodles. 🤦‍♂️
https://editor.p5js.org/isohedral/full/vJa5RiZWs #XKCDfans #p5js #minimaliststickfigures #overengineered #interactiveart #HackerNews #ngated

This week I published a new post "Omega Mart: An Otherworldly Art Exihibit in Las Vegas."

Omega Mart is one of the Meow Wolf art galleries.

We found the extraterrestrial supermarket in the Area 15 complex.

And before we even reached Omega Mart, we knew from the sculptures outside that we were in for something unforgettable.

#omegamart #lasvegas #familytravel #meowwolflasvegas #interactiveart

https://youtu.be/h4hxTXrsxZQ

E545: "Transparent Cubes Pinscreen"
Clip from the end of yesterday's video (because no-one watches to the end, right?) showing the transparent variant of the cube pinscreen/depth push VFX.

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

https://youtu.be/h4hxTXrsxZQ

E545: "Transparent Cubes Pinscreen"
Clip from the end of yesterday's video (because no-one watches to the end, right?) showing the transparent variant of the cube pinscreen/depth push VFX.

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

https://youtu.be/SFnBkQ_YPfQ

E544: "Blocky PinScreen Revisit"
Small tweak to an old effect from E422 - particles cubes locked into grid, but pushed forward by (reprojected) depth, with two-tone flip from white plastic surface to rear0facing gold as it pushes forward.

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

https://youtu.be/SFnBkQ_YPfQ

E544: "Blocky PinScreen Revisit"
Small tweak to an old effect from E422 - particles cubes locked into grid, but pushed forward by (reprojected) depth, with two-tone flip from white plastic surface to rear0facing gold as it pushes forward.

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

https://youtu.be/oeOrD4JLgwI
E543: "Frozen Forms 9 (Wall and Floor Spawn Sims)"
With the bullet-time script, once you've popped, you can't stop!

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

https://youtu.be/oeOrD4JLgwI
E543: "Frozen Forms 9 (Wall and Floor Spawn Sims)"
With the bullet-time script, once you've popped, you can't stop!

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

Hey #Berlin
A few friends and I will have a #dance / #interactiveart / #video / #music performance at Kunstschule Berlin this Friday (20.02) at 19:00. 🤠
I'm having so much fun creating #realtimeVisuals with #TiXL !

Hey #Berlin
A few friends and I will have a #dance / #interactiveart / #video / #music performance at Kunstschule Berlin this Friday (20.02) at 19:00. 🤠
I'm having so much fun creating #realtimeVisuals with #TiXL !

https://youtu.be/zEae6XGl8z4

E542: "Frozen Forms 8 (Running in Bright Circles)"
Test session clips - this lot are the bright/emissive ones that kinda blow out the brightness of the bloom and LED screen. Makes it a bit tricky to film with my iPhone.

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #madewithunity #hdrp #vfxgraph #shadergraph

https://youtu.be/FkFGhwjNzgI
E541: "Frozen Forms 7 (Mostly Running Around in Circles)"
More clips from a test session with the "Bullet-Time" pause-and-orbit script. These ones mostly of me running around in a circle as it covered large part of the capture volume in the lifespan of the particles systems, so left a bunch of trails.

#creativecoding #interactive #interactiveart #realtime #realtimegraphics #realtimerendering #realtimevfx #procedural #generative
#unity #unity3d #vfxgraph #shadergraph

Finished at last: all videos are now on MakerTube, and my website shows only video stills. Calmer to browse—more laid-back for the eyes and the mind.

Pictured: The Turning Dog (2019) — a small wire dog on a turntable. Spin the disc and magnetic balls fall and latch on at random, reshaping the dog each time.

Watch: https://makertube.net/a/nikohendrickx/video-channels

Browse: https://www.nikohendrickx.be/english/

#ContemporaryArt #VideoArt #Sculpture #KineticArt #InteractiveArt #StudioNotes #WebsiteUpdate #SlowLooking