Hello! My name is Kseniia Khrabrykh I am independent filmmaker and media artist from Saint-Petersburg, Russia. In this blog I share projects that I found interesting: interactive art, web documentary, photography, installations, etc.
Interactive installation “Identity Wheel” 2015
by Kseniia Khrabrykh
Developer: Vladimir Lugovkin
Design: Koivo
By interacting with this touch-screen, the audience can approach the complicated and controversial issue of constructing the identity, as well as to construct their own identities.
The installation includes seven circles: sex (as in a passport or ID), gender identity, spectrum of gender expression, sexual orientation, romantic orientation, sexual practice, and an empty circle, which is a blank category that can take on any meaning.
You can rotate the circles, putting together a combination that suits specifically you. It is important to note that we have created two extra options for each circle: black and white. Black stands for opting out of a category altogether, while white is an opportunity to fill in your own choice. So if you did not find the term you would prefer, you can always add your own. Or you can completely ignore a certain category.
On some circles, you may notice apparently synonymous concepts. We chose to use them because specific words and phrases are often key to the process of constructing and representing our identities. For example, a homosexual woman may not want to refer to herself as a lesbian, but prefer the word “gay.”
We intentionally used concepts that come from different theories and approaches, some binary and others non-binary. This is not an attempt to create an objective and all-encompassing model, but rather the author’s perspective on the question of identity. Our goal is to showcase diversity, interconnectedness, and the non-linear nature of identity. We would like to inspire a discussion. You are free to decide for yourself, which of the suggested categories and options are personally relevant to you, to explore the diversity of possible combinations, and to create a reflection of your identity.
The interface is based on the principle of work of the logical machine “Ars Magna”, created by Ramon Llull. He was one of the pioneers of combinatorial science and believed that by various combinations of existing concepts one can derive new truths (similar to combining letters to form words, including new words). Ars magna was made of paper circles, and by rotating these circles the readers could make new combinations of concepts and categories, thus perceiving the world. Later this method was used in TRIZ, as well as special cards for calculating, converting values, learning irregular verbs in English, etc.
The installation was created with support from the International Festival of Queer Culture Queer Fest 2015.
During the creative process, we analyzed various approaches, which exist in the field of sexology, gender and queer theories. We added a special dictionary to the interface, so that every viewer could check the meaning of the unfamiliar concepts he or she might come across in the circles.
At the Queer Fest, we presented the alpha-version of our installation, which we intend to improve. More specifically, to update the dictionary, to translate the interface into several languages, to make an online version, to add the option of printing out the combinations, as well as to create an interactive infographics for analyzing data from around the world.
If you are interested in our project and would like to help us with the implementation or to display our project in a museum space, we will be happy to cooperate!
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One day I dreamed a mouth that spoke to me from the heart of the galaxy.
The geometric lines that composed it were fractals that intersected with a regular intervals. This voice was singing a Mantra in an unknown language: i did not understand the meaning of his words
but I could snatch the essence of his voice.
Informed me that the human was lifeform most anomalous of all the Cosmos:
the perfection of the body, the mind irrationality and our false perception of time.
The next day I woke up and I asked how I could visually represent my dream and after 123 days of hard work this is the result.
Created and directed by
Pask D'Amico
Camera, editing and post-production by
Klesha production
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1194D is originally a tweak of 115C8 (vimeo.com/45569702), one of my "Algorithmic Creature" series based on recursive triangle subdivision. The idea and complexity of the work started to go beyond the initial expectation after I decided to experiment with multiple "creatures" co-existing within the environment. So I created this grid with regular tetrahedron as its unit cell, put these triangle-based "creatures" into this environment and tested their mutation and combination in various ways.
The entire work is programmed and generated in Processing, with a few scenes using some blur and blend modes in Premiere during composition stage.
VR experience by Mac Cauley recreates scenes and objects from paintings by artist Vincent Van Gogh for you to explore. The work is a submission for the Oculus VR Jam:
What did the world look like through Van Gogh’s eyes? Enter into his painting to find out.
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Information tech isn’t dead — it has just matured to the point where all we’ll get are better iterations of the same thing. Better cameras and apps for our phones. VR that actually works. But these are not revolutionary gadgets. They are just realizations of dreams that began in the 1980s, when the information revolution transformed the consumer electronics market.
But now we’re we’re entering the age of infrastructure gadgets. Thanks to devices like Tesla’s household battery, Powerwall, electrical grid technology that was once hidden behind massive barbed wire fences, owned by municipalities and counties, is now seeping slowly into our homes. And this isn’t just about alternative energy like solar. It’s about how we conceive of what technology is. It’s about what kinds of gadgets we’ll be buying for ourselves in 20 years.
Annalee Newitz for Gizmodo: The Information Age Is Over. Welcome to the Infrastructure Age.
(via prostheticknowledge)
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