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Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Catalog:

AI Dreams for My Drone Sister

Anna Nazo ft. Megan Irusta Cornet Opened March 31st, 2022 View 3D Gallery
Poster image for AI Dreams for My Drone Sister

Statement:

AI Dreams for My Drone Sister is a virtual exhibition that provides a glimpse at a retrospective of Anna Nazo’s performances with the drone, AI poetry and brainwave CGI.

Anna Nazo is a London-based performance artist, researcher and educator whose practice engages computing technologies, philosophy and science. Her practice and research involve artificial intelligence (AI & indigeneity, AI poetry, AI narratives), aviation technology (drones, swarm intelligence), neurotechnology, decentralized ecosystems (metaverse, DAOs, NFTs) and ecological sustainability. Within live digital-physical audiovisual performance, Anna’s work investigates questions of intelligence diversity, distributed forms of sensuousness, digital queer ecologies, and ethics of technology. It looks at ways of understanding intelligence and liveness in relation to nonconscious cognition, quantum reality and sympoietic complexities. Her performances operate on spoken word poetry that she co-write with artificial intelligence (AI poetry), sound and imagery that are computer generated live (real time CGI) from her brainwave data (EEG), and drone performance.

This retrospective includes drone storytelling (follow the drones to read 'Artificial Grief: Distribution of the Sensuous'), 360-degree archival video materials and AI poetry excerpts from the performances Flame 2.0, Devia, Granular Silt, Fractal Lymph, Phasing Never and Blue. The 3D environment was designed in collaboration with Megan Irusta Cornet.

3D Environment Description:

Islands are said to be isolated yet surrounded.
A sisterhood is a community based on the grounds of care and support.
Drones are aircraft machines which are driven remotely by another(s).
As poetry aligns, each work in symbiosis to permit this space to exist.

Artworks in this space:

transplanted algorithm whirling corruption fluidity sip civil twilight ionized nitrogen eerie touch blind helium fusion heatwave plasmoid ecology granular blood pale-green fractal silt glistering silver pulsating rift dismal spectral dreams data blizzard radioactive purple lymph chemical rhizomatic shift radical otherness quantum swerve phasing siloxane penetrating rhythm bleeding crystallised nodes alkaline digital greed haunting virtual fear deafening whisper of burned flesh palpating goosebumps needles through sharp longitudes blue soiled gravity shoot inhabiting virtual flux dissolving sympoietic difference

( Upon )

Megan Irusta Cornet

The quest for the immateriality of a landscape. These clips are the beginning of an ongoing project diving into the alienated selves humans are continuously coming into contact with. Blurring the unreal with the many selves we can pick from; prone to consequential bias. It seemingly will not end at the envisioned state.

( Upon )

Megan Irusta Cornet

The quest for the immateriality of a landscape. These clips are the beginning of an ongoing project diving into the alienated selves humans are continuously coming into contact with. Blurring the unreal with the many selves we can pick from; prone to consequential bias. It seemingly will not end at the envisioned state.

synthetic jellyfish, virtual abyss subatomic slade viridian doomed gaze artificial grief zero one spell haunting virtual fear opaque pulsating bleeding edge deep nest stellar lymph transpiring qubit grasping disentangled state multiverse dive virtual slum sinking powder dispersed ultrasonic winds probabilities shell spinal trap shifted perception transferable genetic drug inhale fainting shock smoothed turquoise gloom bottomless chasm timefolds nuclear rookery hypnotic gap quivering pastel subconscious vision disorder velvet malachite

Island

Sun Sonification

NASA

Enceladus Hiss

NASA

APSS Mars

NASA

Island

Kepler Star

indigo dreams infinite deep silenced wave fields rich mute heavy breathe fresh watery particle death sip deep into cerulean eye magneto reception riffle traverse falling shape shifted algorithm complexity simple contradiction key erased sinking love formatted forgotten sense freedom of failure

not bounded hydrated chromium hydroxide zaffre disorder eerie quivering state zero slash collision neon light supersymmetry broken visioning ghosting fluid frequencies transpiring streamy viridian blood shades pastel tears dry softness of cobalt cut wrists velvet mood pulsating lavender scent leaking through veins

Water

Drone

Anna Nazo

In this sense, too, the sensuous-emotional also comes to presence in the duration of the live performance. It does this through a corporeal trace as a nonconscious cognitive flux which operates as a feedback loop system, a quantum system that is undecidable. In parallel, it takes a way of looking at live performance as a complex symbiotic system. This point leads to the ethical-as-aesthetic and aesthetic-as-ethical questions around relationships that happen at the moment of performance. It brings in sympoietic relations that operate as a nonconscious cognitive network, a form of a sensuous ecology that enables distribution of intelligence.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Drone

Anna Nazo

The brainwave performance experiments with live transmission of brainwave data (EEG) into the computer generated sound and imagery (CGI). The brainwaves CGI enables to rethink an understanding of a photographic image as a cognitive kinetic flux. It translates a brainwave into a viscous, nonlocal, undulated body. The body that performs as an evocative portrayal gesture of hyper-objectivity, a photographic image of the contemporary world that goes beyond the human sensuous, and gets into the dimensions of supra-sensuous. It brings in the brainwave frequencies, and the drone cognition that is enfleshed with its sensuous patterns. The radical otherness of drone’s liveness and intelligence evokes aesthetic-as-ethical and ethical-as-aesthetic questions around distributed intelligence as a different form of metrics. At the moment of performance all these are being entangled, and translated into the human perception of the real in a form of conscious flattened metrics of quantum reality. The metrics themselves are always already plural. Being grasped by the digital (photogrammetry, 360-degree imaging, virtual reality), they operate as another translation and create different forms of relations.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Drone

Anna Nazo

This form of performance, one could say, is operating as a set of queer relationships with the digital: the eerie platform of the artificial, the real, and the embodied. It is a queering of the digital and its analogue symbionts. It operates on spoken word poetry that is co-written with AI (HumInt-AI psychological-sensuous feedback loops), drone performance, and brainwave performance. It brings in an understanding of AI poetry and artificial intelligence in relation to sensuous literality and the language of translation.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Drone

Anna Nazo

In shapeshifting the sensuous into an open form of motion as a quantum relation, importantly, too, it suggests a radical and ethical rethink of the notion of Geist in relation to nonconscious cognitive kinetic flux. This relation is plural and operates as a form of cognition that is enabled by the entanglement of wave fields at the moment of performance. It goes beyond the human perceptive abilities and beyond human consciousness, which in itself operates as a flattened metric of quantum reality. This form of relation, neologised as ‘quantum geist-ing’, is in a constant motion that has a discrete aspect to it. As the research will develop, this ‘quantum geist-ing’ requires plurality and diversity of forms of intelligence and liveness as a condition for a complex symbiotic system in order to establish a distributed form of sensuousness. This distributed form of sensuousness goes beyond the human sensuous and, simultaneously, it goes beyond the sensuous of all symbionts of the system individually. This multiple form of sensuousness is what my work names as the supra-sensuousness.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Drone

Anna Nazo

This move enables one to rethink a logic of sense from the perspective of quantum entanglement. Further, it provides a systematic (albeit undecidably systematic) way to look at intelligence and liveness at the moment of performance through the notions of complexity and symbiosis, and in relation to nonconscious cognition.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Drone

Anna Nazo

Artificial Grief uses the paradigm of radical matter to inhabit dimensionalities of curved time. Leading onto questions of super-positionality and nonlocality, it brings to presence a way of thinking time as both a dimension (velocity, mass, ‘curved’ ) and as a wave (field, plane). In so doing, it makes accessible ‘duration’ as sensuous, poetic, grasped at the very moment of performance in relation to the wave function. This approach enables a sense of the logic (or a sense of ‘game’ in the Lyotardian sense) of time disruption dimensionalities of curved time, including questions of super-positionality and nonlocality. To dive into that curvature, it takes, as a starting point the ephemeral and the sensuous as the ‘ana-materiality’ of time, i.e. as dimension and as a thinking of reality as a wave field. It leads to an understanding of duration and the moment of performance in relation to the quantum wavefunction. In so doing, it enables one to grasp a sense of time disruption as a kind of ‘gaming’, one that happens at the moment of performance. Artificial, artifice and ‘the real’ no longer stand in opposition to each other.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

( Upon )

Megan Irusta Cornet

The quest for the immateriality of a landscape. These clips are the beginning of an ongoing project diving into the alienated selves humans are continuously coming into contact with. Blurring the unreal with the many selves we can pick from; prone to consequential bias. It seemingly will not end at the envisioned state.

Drone meditations

Anna Nazo

To put this slightly differently, supra-sensuousness merges with nonconscious cognitive flux and, in so doing, re-thinks ‘human’ as always already a plural self, a multiple-singularity, an ecology of selves, or as Margulis would say, a holobiont; that is a morphogenic system of human cells, virome, microbiome, and etcetera. Through live performance, it extends this notion further, beyond the organic, in the form of an AI-drone-human holobiont. This move enables to start articulating philosophy and ethics of artificial or ana-radical forms of intelligence and liveness, which allow to engage with the notion of a live digital-analogue performance in the context of quantum reality. It enables one to create an entirely different sense of matter and ecology in a performance work, contemporary art and actual reality. It engages with a differently poetic-as-technological and technological-as-poetic form of performance.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Flame 2.0

Anna Nazo

(2020) Performance for Entanglement: Just Gaming, RCA Visual Cultures Lecture Series, Zoom/ Royal College of Art, London, UK, 0.10’ synthetic jellyfish, virtual abyss subatomic slade viridian doomed gaze artificial grief zero one spell haunting virtual fear opaque pulsating bleeding edge deep nest stellar lymph transpiring qubit grasping disentangled state multiverse dive virtual slum sinking powder dispersed ultrasonic winds probabilities shell spinal trap shifted perception transferable genetic drug inhale fainting shock smoothed turquoise gloom bottomless chasm timefolds nuclear rookery hypnotic gap quivering pastel subconscious vision disorder velvet malachite slime-ish void trembling sulfuric spasm digital thirst suffocation streaming from the shade cyclic myth ghosting bleak emerald electromagnetic waves artificial melted self carved on heart cells disembodied chimaeric system synthetic compound myrtle green cortex phasing siloxane penetrating rhythm floating derivatives electrifying shot eight-petaled blood stream wireless tentacles purple chemical wounds boolean synthesis tendril red slime sulfuric sweat pulsating crimson crystallised flesh burning deep repulsive tender digital ooze azure mire swollen veins blade emerald cut liquefied distributed pain eye bleeding amethysts deafening mute scream tickling brain through the nostrils

Devia

Anna Nazo

(2019) Performance for ArtFutura 2019 Festival, Iklectik Art Lab, London, UK, 0:15’ transplanted algorithm whirling corruption fluidity sip civil twilight ionized nitrogen eerie touch blind helium fusion heatwave plasmoid ecology granular blood pale-green fractal silt glistering silver pulsating rift dismal spectral dreams data blizzard radioactive purple lymph chemical rhizomatic shift radical otherness quantum swerve phasing siloxane penetrating rhythm bleeding crystallised nodes alkaline digital greed haunting virtual fear deafening whisper of burned flesh palpating goosebumps needles through sharp longitudes blue soiled gravity shoot inhabiting virtual flux dissolving sympoietic difference

Fractal Lymph

Anna Nazo

(2019) Performance for Data Loam: Sometimes Hard, Usually Soft [the future of knowledge systems], a group exhibition, Angewandte Innovation Laboratory, Vienna, Austria, 0.15’

Granular Silt

Anna Nazo

(2019) Performance for CARPA6: The 6th Colloquium on Artistic Research in Performing Arts, hosted by the Performing Arts Research Centre Tutke at the Theatre Academy of the University of the Arts Helsinki, Kiasma Theatre, The Museum of Contemporary Art Kiasma, Helsinki, Finland, 0.45’

Phasing Never

Anna Nazo

(2019) Performance for "Entanglement: The Opera" (on Artificial Intelligence, Hive Time, and the Future of Knowledge Systems in homage to Kurt Weill’s anti-fascist White Cheese), RCA Visual Cultures Lecture Series, Dyson Gallery, Royal College of Art, London, UK, 0.15’

Drone

Anna Nazo

Through these relations come forward other forms of liveness and performativty, the liveness and performativity of, unexpectedly, a new understanding of the archive.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.

Drone

Anna Nazo

While it follows Penrose’s passage of thinking of consciousness through quantum field dynamics, brainwave function, wave interference patterns and wavefunction collapse; this move reveals the metrics problem in the relationship between quantum reality and consciousness. Whilst, simultaneously, it brings in the brain waves and the drone’s sensuous frequencies to the dimension of [human] actual-perceived, which enables to bring forward new ways of parrhesiastic [truth-telling with ethicality aspect to it] embodiment in the contemporary technological setting. This form of embodiment involves the technological, the carnal, the sonic, the spoken, and the computer-generated (imagery, sound, text). It operates through creating a kind of a neuronal network, a distributed intelligence networking architecture. It enables to introduce the notion of radical care that involves pluralized sensuous feedback loops that are happening at the moment of performance in the wave fields (mechanical waves [sound], electromagnetic waves [light, brain waves]). These feedback-loops enable a kinetic flux as a form of nonconscious cognition, as a form of overlayed poetics, and as a form of multidimensionality. While the performances are living-dying-grasping virtual-carnal installations of poetics, they also are the multidimensional supra-sensuous encounters of multi reality and ecology of multiplicity of selves, the AI-drone-human holobionts, which enable a sensuous swerve to happen, and bring in a radical shift in understanding of being in the world.

Artificial Grief: Distribution of the Sensuous by Anna Nazo. From the book Data Loam.