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AI Dreams for My Drone Sister 2.0
Spaces in this world:
Statement:
AI Dreams for My Drone Sister 2.0 is a research project developed by Anna Nazo as part of the Web3 for the Arts and Culture (WAC) Fellowship, supported by the Tezos Foundation.
This project operates as a case study to explore Web3 AI-Neurotech performance art with visitor participation in virtual environments, using 360-degree imaging that are turned into generative NFTs. It is created in collaboration with the developer Vincent Rebers of the Bureau of Extraordinary Affairs, New Art City virtual gallery, and the Tezos-based platform fx(hash).
Culminated in a virtual exhibition and, its first in a series, NFTs drop, it will be launched on Tuesday 30th May 2023 at 18:02 BST with a limited edition of 22 NFTs. These will be used as a fundraiser for an impact-driven collaborative art-research project SWERVE. SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds.
Using the New Art City virtual environment as an entry point, it allows the user to navigate the space and choose one video-performance work for each in a series of NFT drops. By clicking on that video and following the link to the fxhash project page, the user can generate a unique NFT. Each NFT contains an excerpt from the initial video-performance, based on the user’s unique hash assigned by the fxhash platform. Each NFT also includes a line of AI poetry linked to the video excerpt generated.
Link to the fxhash project page for NFT Edition 1.0: https://www.fxhash.xyz/generative/slug/ai-dreams-for-my-drone-sister-2.0
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AI Dreams for My Drone Sister 2.0 is an iteration of Anna Nazo’s virtual solo exhibition AI Dreams for My Drone Sister, New Art City Festival (2022).
ANNA NAZO (she/they) is a London-based performance artist, researcher/educator whose practice engages computing technologies, AI in contemporary philosophy-poetics and art practice-led science. Her current focus is on AI & narrative ecologies including non-Western onto-epistemologies, neurotechnology, drone storytelling and web3. Anna’s work includes a live phygital audiovisual performance that relies on aviation technology via drones (swarm intelligence), neurotechnology (EEG headsets), spoken word AI poetry, and compound CGI (brainwave imaging, 360-degree imaging, AI-systems). It investigates questions of distributed forms of sensuousness, digital queer ecologies, and ethics of technology.
Over the last 8 years Anna’s professional practice and artistic research have spanned over 13 countries. She has exhibited and performed at globally leading cultural institutions in the UK and internationally including WRO Biennale (2021), FORMAT International Photography Festival (2021), Performistanbul (2020), Museum of Contemporary Art Kiasma (2019), National Museum of Art of Latvia/ RIXC Art Science Festival (2019), Angewandte Innovation Laboratory (2019), ArtFutura Festival (2019), Ars Electronica Festival (2018), CRXSS PLATFXRM Festival of Street Culture (2018), Victoria & Albert Museum’s Digital Futures (2016; 2018), MozEx exhibition curated by the Tate and V&A (2016), Tate Liverpool (2016), NYC Creative Tech Week (2016).
Currently a Research Tutor at the Royal College of Art (UK), Anna is also a founder of SWERVE, an impact-driven collaborative performance art research initiative.
SWERVE was initiated in 2021 as part of the Terra Carta Design Lab, a competition to develop solutions to the climate crisis, conceived by King Charles III and Sir Jony Ive within the Sustainable Markets Initiative.
AI DREAMS FOR MY DRONE SISTER is a virtual exhibition, launched as part of New Art City Festival in 2022. It provides a glimpse at a retrospective of Anna Nazo’s performances with the drone, AI poetry and brainwave CGI. This retrospective includes drone storytelling (follow the drones to read 'Artificial Grief: Distribution of the Sensuous' book chapter written by Anna), 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.
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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.
(Text by Megan Irusta Cornet).
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
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
Enceladus Hiss
APSS Mars
Island
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
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.
Drone
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.
Drone
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.
Drone
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.
Drone
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.
Drone
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.
Drone meditations
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.
Flame 2.0 / NFT Edition 1.0 (22)
This work is part of the NFT Edition 1.0 of 22 Unique Generative Performance Works on fxhash: https://www.fxhash.xyz/generative/slug/ai-dreams-for-my-drone-sister-2.0 Follow the link above to generate a unique NFT. Each NFT contains an excerpt from this video-performance, based on the user’s unique hash assigned by the fxhash platform. Each NFT also includes a line of AI poetry linked to the video excerpt generated. This NFTs drop will be used as a fundraiser for an impact-driven collaborative art-research project SWERVE. SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds. It was initiated in 2021 as part of the Terra Carta Design Lab, a competition to develop solutions to the climate crisis, conceived by King Charles III and Sir Jony Ive within the Sustainable Markets Initiative. Video credit: Anna Nazo (2020), Performance for Entanglement: Just Gaming, RCA Visual Cultures Lecture Series, Zoom/ Royal College of Art, London, UK, 0.10’ AI Poetry from the performance: 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
(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 AI Dreams for My Drone Sister 2.0, a virtual exhibition and, its first in a series, NFTs drop, is used as a fundraiser for an impact-driven collaborative art-research project SWERVE. SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds.
Fractal Lymph
(2019) Performance for Data Loam: Sometimes Hard, Usually Soft [the future of knowledge systems], a group exhibition, Angewandte Innovation Laboratory, Vienna, Austria, 0.15’ AI Dreams for My Drone Sister 2.0, a virtual exhibition and, its first in a series, NFTs drop, is used as a fundraiser for an impact-driven collaborative art-research project SWERVE. SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds.
Granular Silt
(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’ AI Dreams for My Drone Sister 2.0, a virtual exhibition and, its first in a series, NFTs drop, is used as a fundraiser for an impact-driven collaborative art-research project SWERVE. SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds. It was initiated in 2021 as part of the Terra Carta Design Lab, a competition to develop solutions to the climate crisis, conceived by King Charles III and Sir Jony Ive within the Sustainable Markets Initiative.
Phasing Never
(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
Through these relations come forward other forms of liveness and performativty, the liveness and performativity of, unexpectedly, a new understanding of the archive.
Drone
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.
Cactus03
Cactus02
Cactus01
SWERVE X Casa Copal 2.0
AI Dreams for My Drone Sister 2.0, a virtual exhibition and, its first in a series, NFTs drop, is used as a fundraiser for an impact-driven collaborative art-research project SWERVE. NFT Edition 1.0 of 22 Unique Generative Performance Works on fxhash: https://www.fxhash.xyz/generative/slug/ai-dreams-for-my-drone-sister-2.0 SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds. SWERVE was initiated in 2021 as part of the Terra Carta Design Lab, a competition to develop solutions to the climate crisis, conceived by King Charles III and Sir Jony Ive within the Sustainable Markets Initiative.
SWERVE X Casa Copal 3.0
AI Dreams for My Drone Sister 2.0, a virtual exhibition and, its first in a series, NFTs drop, is used as a fundraiser for an impact-driven collaborative art-research project SWERVE. NFT Edition 1.0 of 22 Unique Generative Performance Works on fxhash: https://www.fxhash.xyz/generative/slug/ai-dreams-for-my-drone-sister-2.0 SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds. SWERVE was initiated in 2021 as part of the Terra Carta Design Lab, a competition to develop solutions to the climate crisis, conceived by King Charles III and Sir Jony Ive within the Sustainable Markets Initiative.
SWERVE X Casa Copal 1.0
AI Dreams for My Drone Sister 2.0, a virtual exhibition and, its first in a series, NFTs drop, is used as a fundraiser for an impact-driven collaborative art-research project SWERVE. NFT Edition 1.0 of 22 Unique Generative Performance Works on fxhash: https://www.fxhash.xyz/generative/slug/ai-dreams-for-my-drone-sister-2.0 SWERVE investigates radically different ethical-aesthetic narrative ecologies in collaboration with Indigenous communities, enabling critical cross-cultural ways of knowledge production through innovative storytelling in more than human worlds. SWERVE was initiated in 2021 as part of the Terra Carta Design Lab, a competition to develop solutions to the climate crisis, conceived by King Charles III and Sir Jony Ive within the Sustainable Markets Initiative.