Kunstuni Linz – INTERFACE CULTURES

In @theorchid_beauty, the orchid becomes a cyborg in symbiosis with social media, revealing the relationship between capitalism and nature. This orchid survives on Instagram likes. It has its own Instagram and uses it for its own needs. When it needs water, it posts a selfie on Instagram and gets watered with likes.

999 is a virtual-reality project researching the realm of psychedelic entities. Users embark on a mind-altering digital journey, through an immersive and transformative trance.

Imagine being part of a network of devices. Data management sheds light on organizational challenges, misinterpretation and information transfer failure in your community. A Mesh/Mess Of Beings envisions an ecosystem where non-human entities prioritize their own interests, exploring absurd-yet-plausible relationships between familiar electronic devices.

An aesthetic presentation of speculative collective imaginaries and narratives invites the audience to question the constructed nature of our shared realities and notions of truth. Further aesthetic exploration of AI tools adds a new layer of complexity, amplifying new possibilities for biases and errors that can arise from this new shared agency.

Contained Infinity explores the philosophical themes behind Khayamiya, the art of tentmaking. Khayamiya art is a visual representation of the Egyptian community and identity.

Welcome to Laser Talk Linz, organized by the Interface Cultures department at the University of Arts Linz. In 2021, Linz joined the Leonardo LASER network. We continue our series Danube Songs looking into water as medium.

Data Trail Diary explores current mass surveillance. Previously limited and more targeted by its physical, visible presence, surveillance is now being replaced by a relentless digital ghost, ever-present in all layers of our lives.

In the eyes of progress, the past is immutable. It is a crystallized mineral. It is a continuously growing, exponential segment. All the points form that line we call “History”; blessed and sacred events that have shaped our world as it is today. How can we get rid of History?

I died on Facebook is a game experience set in a cemetery, where Facebook profiles have been memorialized by their loved ones. The artwork prompts us to contemplate the impact of our immaterial selves on our physical lives, and the consequences of prioritizing our online personalities.

Can we achieve perfect communication? The artwork consists of three parts: “Confiding,” “Sharing,” and “Spreading.” Users can experience unique communication. “Confiding”: user conversations are transformed into visuals. “Sharing”: is an open space for artist performances and translation.

LumiCore: Light-hearted Touch Interface blends art and science, fusing tactile and visual elements with the aim of creating an interactive environment to take you on an immersive journey beyond ordinary perception.

Reflections are formed in our minds and shape our ideas about who we are. Mirror Me! is an attempt to answer from different perceptions, the question: Who am I? What is the nature of self-reflection and how does it shape our perception of personal identity?

Parallax Window creates an interface in which perception is not a passive act of observation but an active engagement with the world. The work allows us to see the gap between different viewpoints, creating a parallax effect.

The artwork Qualia is an individual immersive experience that seeks to alter the viewer’s perceptually diverse range of experiencing realities. Through an optical and virtual sonic landscape, the user is induced to encounter the “reality” that is juxtaposed inside the eyeball and the image from outside.

Raindrop Price Index features two generative animations based on measurements of terrestrial ecosystems’ water balance cycles.

Reconsolidated Memories is an interactive video installation using pictures from the artist’s archive to illustrate how memories are processed and manipulated by the brain.

Resonating Absence is inspired by a feeling defined by the untranslatable word “Awumbuk.” This refers to the melancholy and sense of emptiness that lingers after visitors have left. The work detects the presence and movement of the viewers and attempts to communicate with them.

This work explores the personal interior and dissolves it through collective interaction. Participants occupying the space are scanned to reveal layers of a hybrid human radiological volume. As these layers build up, more of its form is revealed.

After I experienced racism, Skin Street encouraged me to interact with society and expand my comfort zone in this new city.

Unlearning Gender speculates on alternative modes of categorization to resist algorithmic-binary normalization. Through the symbolic hacking of the computer vision interface, the project aims to escape from gender and break with the technosocial binarisms embedded in technology.

What we like to remember is a performance and sound installation, gathering four artists from the University of Arts Linz at Interface Cultures to inquire about the nature of memory and community.