Unbounded Unleashed Unforgiving_EXHIBITION

Gathering Bodies
Tactile substitutes and fleshy simulations. 
An unacquirable quest for physical contact and geographical proximity online. 

In the past months many people have become isolated as they refrain from physical contact with others. For all bodies apart and all bodies left untouched; Digital closeness has become the primary closeness for many. And so there we are, swiping through Instagram feeds and videocalls. Actual contact now substituted for digital presence. 
The touchscreen has allowed its user to experience a new type of tactility. Because the visual proximity of the hand to the image, the tactile part of the brain is stimulated much more than what is to be expected from a flat polished surface. Using your fingers to zoom in and move over the image provides you with a tactile experience of some sort. Gathering Bodies allows you to upload your skin to the archive and share it with those you are unable to touch.
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Maria van der Togt explores the role of space in a post-human world through writing and multimedia installations. Continuously dissecting the new structures of awareness that manifest within us as a result of today’s technostructure. Her installations move and manipulate the actual through lines of code. Fictioning the non-fictional. Her work pushes to start conversations on worlding in a digital age.

Miller examines her mother’s unexpected death during the pandemic through the lens of “everyday” quarantine life, where everything happens through digitally mediated experiences.Temporalities shift between the virtual and the real, the past and the present, the dreamy and
the distressing. The landscape is unstable and fantastical: error messages interrupt video transmissions and the coronavirus appears on a conference call. The artist’s struggle to locate her mother in the afterlife manifests in a 3D model of the titanium hip she received after her
mother’s cremation. What is real and what is simulacra?
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Jill Miller is an artist who works across a range of different mediums, including public interventions, collaborative workshops, and video installation. Her research explores the merging of physical places and virtual sites, often bridging the gap between the two. She is an Assistant Professor at UC Berkeley in the Department of Art Practice and Berkeley Center for New Media. Her work has been shown nationally and internationally, and collected in public institutions worldwide including CA2M Centro de Arte Dos de Mayo in Madrid and the Hirshhorn Museum and Sculpture Garden.

Gathering Bodies
Tactile substitutes and fleshy simulations. 
An unacquirable quest for physical contact and geographical proximity online. 

In the past months many people have become isolated as they refrain from physical contact with others. For all bodies apart and all bodies left untouched; Digital closeness has become the primary closeness for many. And so there we are, swiping through Instagram feeds and videocalls. Actual contact now substituted for digital presence. 
The touchscreen has allowed its user to experience a new type of tactility. Because the visual proximity of the hand to the image, the tactile part of the brain is stimulated much more than what is to be expected from a flat polished surface. Using your fingers to zoom in and move over the image provides you with a tactile experience of some sort. Gathering Bodies allows you to upload your skin to the archive and share it with those you are unable to touch.
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Maria van der Togt explores the role of space in a post-human world through writing and multimedia installations. Continuously dissecting the new structures of awareness that manifest within us as a result of today’s technostructure. Her installations move and manipulate the actual through lines of code. Fictioning the non-fictional. Her work pushes to start conversations on worlding in a digital age.

I am real is an original interactive animation built entirely with code and sound. The code analyzes the frequency of the sound and then using that data determines the intensity and colors of the graphics. The audio is a recording of a voice whispering to itself intimately. The video documentation shows the interaction of the site animation that can also be accessed through the link http://pink-noise.info/. 

This animation was made using the p5.js library.
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Amanda is a media artist who investigates how innovations in communication technologies affect perceptions of identity, agency, and visibility, emphasizing concepts of embodiment and the "historically constituted body" within a networked-society. Her work has been shown nationally and internationally in venues such as the Hammer Museum, Los Angeles, and Ars Electronica, Linz. Her work has also been featured in publications like Artillery magazine, The New York Times, and The Associated Press.

Amanda holds an MFA in Media Arts from UCLA. She is currently an Assistant Professor of Digital Media at Monmouth University, NJ.

How (not) to Grow an Abortion focuses on DIY herbal abortion and the digital culture of online forums where knowledge about DIY herbal abortion is shared. It meditates on the complex history of herbal abortions from colonialism to today, and how DIY methods can be simultaneously framed as an act of resistance, as part of colonial exploitation, as ancient practices passed on in secrecy, and as a current trend on Reddit forums. It also questions the potential uses of XR technology as a form of augmented cyberfeminism and the role it may play in the long epistemic arch of secret-recipes.
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Yvette Granata is Assistant Professor of Digital Media at the University of Michigan in the Department of Film, Television, and Media and the Digital Studies Institute. She creates immersive installations, interactive environments, video art, and hypothetical technological systems. She writes about digital culture, digital feminism, media theory and technosocial life.

The act of ‘skinning’ has acquired a new meaning in the age of 3D media. It refers to the application of a surface to an object. While this usage of the word stands in opposition to its traditional meaning of removal of the skin, its archaic meaning, involving the covering of a wound, has been partially restored. However, the transgressive element of the application of design to skin arises with an ideological departure from its aesthetic conception as a conventional surface in the first place, toward the use of skin as a design material that can be used to shift the borders of organisms and re-imagine the separation of the inside from the outside, the material from the non-material, the real from the phantasmic, and the private from the public. In this project, I survey the digital body from the point of its potential, and peel away its outer layer with what feels like a febrile chaos. The misshapen and unruly body blurs and melts the human contours that we identify with and are so attached to, revealing a landscape of geometrical definition intermingled with amorphous blobs. The entity wants to be all that remains when stripped of its veneer: a body of pure movement, intensity, speed, energy, and desire. This flesh is at once the foundation of things and the apogee of formlessness.
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Anastasiia Raina is an artist, researcher, and an Assistant Professor at Rhode Island School of Design. She graduated from the Yale School of Art with an MFA in Graphic Design. In her research-based practice, Raina is interested in exploring the aesthetics of technologically mediated natures through machine vision, neuroscience, evolutionary biology, and the incorporation of biomaterials into the artistic vernacular. She draws upon scientific inquiry and collaborations with scientists as a means for generating new methodologies and forms in design. 

How (not) to Grow an Abortion focuses on DIY herbal abortion and the digital culture of online forums where knowledge about DIY herbal abortion is shared. It meditates on the complex history of herbal abortions from colonialism to today, and how DIY methods can be simultaneously framed as an act of resistance, as part of colonial exploitation, as ancient practices passed on in secrecy, and as a current trend on Reddit forums. It also questions the potential uses of XR technology as a form of augmented cyberfeminism and the role it may play in the long epistemic arch of secret-recipes.
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Yvette Granata is Assistant Professor of Digital Media at the University of Michigan in the Department of Film, Television, and Media and the Digital Studies Institute. She creates immersive installations, interactive environments, video art, and hypothetical technological systems. She writes about digital culture, digital feminism, media theory and technosocial life.

How (not) to Grow an Abortion focuses on DIY herbal abortion and the digital culture of online forums where knowledge about DIY herbal abortion is shared. It meditates on the complex history of herbal abortions from colonialism to today, and how DIY methods can be simultaneously framed as an act of resistance, as part of colonial exploitation, as ancient practices passed on in secrecy, and as a current trend on Reddit forums. It also questions the potential uses of XR technology as a form of augmented cyberfeminism and the role it may play in the long epistemic arch of secret-recipes.
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Yvette Granata is Assistant Professor of Digital Media at the University of Michigan in the Department of Film, Television, and Media and the Digital Studies Institute. She creates immersive installations, interactive environments, video art, and hypothetical technological systems. She writes about digital culture, digital feminism, media theory and technosocial life.

Sweet Slow: Indirection is a performance video that combines the natural and the digital.  A drone was used to capture footage of myself walking across a lake in a clear acrylic ball, which was then animated and altered to create a distilled utopian space where my figure is cut out, replaced, replicated, submerged, emerged, fit in, and squeezed out.  Sweet Slow: Indirection also uses pace, pattern, and coincidence to recognize gender, race, and geography. It enjoys the absurd, with built costumes and obstacles, and layers moments of fantasy and failure within a sublime midwestern landscape. 
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Annette Isham is an artist and professor currently living in Denver, Colorado. Her latest video series comes from the need to compose a new legend. The modern feminine inhabits her landscape, is multi-colored and multi-dimensional, moving in and out of origin, multiplying and dividing. Isham received her M.F.A. from The American University and teaches 4D and Animation at Rocky Mountain College of Art + Design . Isham has exhibited nationally, most recently showing the series, Among The Multitudes, at CURRENTS International Media Festival in Santa Fe and her film Unfolded at Side Stories in RiNo Denver.

Classic, Gold, Premium is an interface, made in collaboration with Kerry Rodden, that considers the forms of 'reproductive work' elicited by the bioeconomy as it intersects with internet infrastructures. The interface re-appropriates user data surveillance technologies (local storage) as a tool to visualise the 'value' of user interaction in real time. CGP responds to research around Barcelona's assisted reproductive technology (ART) market. It was made with support from the Centre for Art, Design and Social Research.
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Criticaldías is artistic research duo Anyely Marín Cisneros (Venezuela) and Rebecca Close (UK). Since 2013 they have been giving workshops and developing collective research at the intersections of poetry, new media, decolonial studies and feminist histories of science. They have presented numerous projects on memory, archives and art/activist histories. They are based in Barcelona.

twitter @criticaldías
instagram @readingpoemstothings
http://criticaldias.net/

Pronouns: 
Rebecca Close: They/them/theirs
Anyely Marín Cisneros: She/Her/Hers

Gangnam Makeover Project
Main Project Site: https://gnmo.net
English Translated Site: https://gnmoen.cargo.site

Gangnam Makeover is an online participatory augmented reality (AR) intervention at the Sinsa subway station in the Gangnam district in Seoul, South Korea. The project collects ideas about beauty from women in Korea through a central website(gnmo.net). The collected messages are then displayed over the numerous cosmetic surgery advertisements in the Sinsa subway station through a mobile AR application. The project is meant to makeover a problematic public space that propagates a restrictive standard of beauty into a space of imagination and solidarity for women. The project explores the potential for AR to augment society by envisioning alternative realities.
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Agatha Park (Sunyoung) is a new media artist and creative technologist who creates works on issues of cultural identity and women’s experiences. She has presented her work at SIGGRAPH, the College Arts Association Conference and the Czong Institute for Contemporary Art.

Classic, Gold, Premium is an interface, made in collaboration with Kerry Rodden, that considers the forms of 'reproductive work' elicited by the bioeconomy as it intersects with internet infrastructures. The interface re-appropriates user data surveillance technologies (local storage) as a tool to visualise the 'value' of user interaction in real time. CGP responds to research around Barcelona's assisted reproductive technology (ART) market. It was made with support from the Centre for Art, Design and Social Research.
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Criticaldías is artistic research duo Anyely Marín Cisneros (Venezuela) and Rebecca Close (UK). Since 2013 they have been giving workshops and developing collective research at the intersections of poetry, new media, decolonial studies and feminist histories of science. They have presented numerous projects on memory, archives and art/activist histories. They are based in Barcelona.

twitter @criticaldías
instagram @readingpoemstothings
http://criticaldias.net/

Pronouns: 
Rebecca Close: They/them/theirs
Anyely Marín Cisneros: She/Her/Hers

As we exist within an imperialist and capitalist society in the age of information, so too do we exist under a surveillance state in which all traits by which we can be identified will be weaponized against us. Under this surveillance, the safety and wellbeing of marginalized individuals often depends on digital anonymity. "Datura" is an attempt to claim some of this anonymity: its three reflective veils obstruct its wearer just enough to evade facial recognition technology. In doing so, the work effectively erases the identity of its wearer in relation to the surveillance state, allowing them to exist undetected.
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Jeremy Diamond (any pronouns) a metalsmith, digital fabricator, and interdisciplinary artist currently operating out of Athens, Georgia, where they are pursuing their MFA at the University of Georgia. Diamond’s research is concerned with the interaction between the human body and objects, and the effect of that interaction on one’s lived experience.

Jeremydiamondmetalsmith.com

A “tribute to the ENIAC six,” refers to a group of women who programmed the first digital computer, while simultaneously channeling the “visions” of Agnes Martin. It intends to evoke the desert of history which surrounds these women in a minimal, patch-generated video environment. The second link is an earlier analog video synthesis performance channeling the histories and bodily gestures of early women programmers to a soundtrack by Elaine Radigue, a historical female synthesist.

 KLOTZMAN
(They/Them)
http://www.laurenklotzman.com

Lauren Klotzman is an interdisciplinary artist, writer, and curator. They studied art and poetics at Sarah Lawrence College and Naropa University's Jack Kerouac School of Disembodied Poetics, and are interested in nostalgia, plagiarism, and appropriation in media, hardware, and software. They have published with Hyperallergic, Salon, TROLLTHREAD, and The Operating System. Their recent work and research explore hardware obsolescence, digital entropy, marginalized technologists, and the 1990s. They are a firm believer in lo-fi decadence.

Surf, A Visual Poem

Surf is a phonetic reflection of an identity crisis, being alienated from reality to switch into a digital realm where things change with the speed of technological singularity.
It’s a subtle satire of one's coming of an age story in the age of surveillance capitalism and binary world of modernism. Building a profile while compromising one's potential self(s) and destroying the tension between one’s essence and potentials by being stuck in a filter bubble of sameness.
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Serra Şensoy
She/Her 
She/They

Serra is a 3D artist/ multimedia designer currently based in Istanbul. Recently graduated from University for Creative Arts completing studies in Graphic Design: Visual communication BA in 2020. She defines her design practice as a playground that signifies playfulness, experimentation, exploration, and research. “Playground” is also meant to function as a gateway to contribute to potential futures by design thinking and maintaining ethical values as a designer; making conscious choices in the area of work and study. 
Her current work is heavily influenced by media cultures and futurism as well as language; codes, and metaphors. She does experimental video art and 3D animation as her practice alongside research as well as editorial and motion graphic design as a freelancer.

We are Overworld. We are a trio of Colorado, New Jersey, and Luisiana based performers and multi-media artists interested in kissing at the intersection of art and technology. You can watch. 
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Overworld is an evolving project between collaborators Laura Conway, Brittney Banaei, and Constance Harris. It is a multilayered alternative universe that  repurposes language and systems of control from websites like MyFreeCams.com to look at agency inside sexualized cyber spaces in which we have worked. The trace we are sending to you is a "live" performance created during an artist residency during COVID-19 that we performed for ourselves.

Some of our central questions are: how does being watched (or not watched) influence identity, behavior, and self-perception? How does our choice to be seen or not be seen translate to empowerment? Are we ever turned “off?” What are the social and political implications of hyper-visibility, especially as it relates to marginalized bodies?

"After Nature Soundscape" (2020) is an audio visual performance. At the same time we produce and play live with electronic and digital platforms, we search for organic interactions and also to commune and communicate with people and other living ecosystems. Through the digital, we express the voice of the organic, we talk about social processes of transformation and regeneration. About the importance of the land. The history of oppression and how the machination of the world moved us away from our autonomy. We reclaim this autonomy when we use digital media to express the intelligence of living organisms. We are both self identified as women, but also don’t limit ourselves to this social role, this is our practice of #Cyberfeminism. To be free and autonomous to think and question the established paradigms and to co-create and perform new ones. Integrating and going beyond fictional oppositions.
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We are a collective. We create audio visual experiences in transmedia. Our message is simple and apparently difficult to understand: Planet Earth is a Living Organism and we are Planet Earth. What changes in human relations from this perspective? We work for the Ecologies of perception and we believe that Art and Music in their different medias have fundamental roles in this process. Return to Earth. Why not also digitally? What is Nature after Nature?

Luïza Luz y Vi Amoras, After Nature Collective.

Luïza Luz (She/Her): www.luizaluz.com @luizaluzzz
Brazilian multimedia artist interacting with organic and digital to create experimental learning platforms for social criticism and integration among human beings, culture and environment. Lives now in Berlin, Germany, and is a master student at Art in Context Institut, Berlin University of Arts.

Vi Amoras (She/Her): https://www.behance.net/victoriamoras @viamoras
Visual artist working with different media such as painting, performance, costume design, video art and installation. Her work as a Vj is based mainly on authorial videos and projection of live paintings. Always looking to develop her artistic work with less environmental impact, she uses the surrounding nature as a source of inspiration and personal empowerment.

The Philosophy of Goo
2020
13:17

Tamara Johnson (b. 1984, Waco, TX) currently lives in Dallas, TX and works primarily in sculpture, installation and video. Johnson obtained her BFA from the University of Texas at Austin in 2007 and her MFA in Sculpture from the Rhode Island School of Design (RISD) in 2012. Her recent projects have been exhibited at The Nasher Sculpture Center, The Blanton Museum of Art, Carillon Gallery at Tarrant County College, the FT Worth Modern Museum, ex ovo gallery as well as various spaces in New York such as Socrates Sculpture Park, The CUE Art Foundation, Wave Hill, Maria Hernandez Park, SPRING BREAK Art Show, Microscope Gallery, NURTUREart, Black Ball Projects, and the Newhouse Center for Contemporary Art. Johnson has received grants from the Brooklyn Arts Council, the Foundation for Contemporary, the Santo Foundation, a Faculty Development Grant from Southern Methodist University (SMU) where she currently works as a Visiting Lecturer in Sculpture and most recently an NEA Grant in conjunction with Wassaic Projects in NY. 
www.tamarajohnsonstudio.com

Trey Burns (b. 1984, Goldsboro, NC) currently lives in Dallas, TX and is primarily a lens-based artist, but also works as a curator, multimedia producer, and serial collaborator. Burns attended the Savannah College of Art & Design and received an MFA in 2008. In 2018, he started Sweet Pass Sculpture Park with his wife Tamara Johnson; as a non-profit 501(c)(3) organization they are dedicated to experimentation, community engagement, and creating systems that exist in the gaps between ideas of gardens, green spaces, and public spaces while supporting contemporary art. Burns has had solo exhibitions at et al Projects (Brooklyn, NY), The May Gallery (New Orleans, LA), The Hand (Queens, NY) and been shown at the Ecole Nationale d’Architecture Paris, Malaquais Gallery (Paris, France) Pavillion Vendôme (Clichy-la-Garenne, France), the St. Paul’s Cultural Center (Chicago, IL), Wassaic Projects (Wassaic, NY), ex ovo (Dallas, TX), Trestle Gallery (Brooklyn, NY). In 2020 he received an ArtsActivate grant from the City of Dallas Office of Arts and Culture and teaches creative computation at SMU beginning in the fall of 2020.
www.treyburns.com

Hold My Hand Tell Me That You Love Me (2020)
On the internet, trans people have complete control over their identities and can manifest these true identities through pronouns, names, and virtual personas. In other words, trans people exist perfectly in a virtual space; imperfectly in the physical realm. Hold My Hand Tell Me That You Love Me is a monologue from a transgender computer named Tom Cruise.
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as bev yockelson awoke one morning from uneasy dreams it found itself transformed in its bed into a gigantic insect. c’est la vie, i guess. bev holds a BA in creative writing with a minor in film studies from the university of san francisco, and an MFA in multidisciplinary art from the mount royal school of art at MICA. bev currently lives in queens, ny with its partner nico and their fat cat, calloway. see more work at www.bevyockelson.com or follow bev on twitter @transrobocop.

Global Mode > is an interactive, experimental online performance on ecological disaster, power, interdependence and non-linearity. Occupying three reimagined mythological stories: Prometheus Herding PigGooses; Narcissus and Drowning Animals; and Cassandra > Low Witness Objects; the virtual space is presented as a playground, in which to find agency in uncertainty, reconfigure relationships with "others.” 
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Eva Davidova [She/ her, Person/ per] is an interdisciplinary artist with focus on new media(s), information, and their political implications. Disrupting and challenging a singular narrative, she combines influences from ancient mythology with the current technological moment and the impending ecological catastrophe. Davidova has exhibited at the Bronx Museum, the Everson Museum, the Albright Knox Museum, CAAC Sevilla, La Regenta, and CBBAA Madrid among others. She is a member of NEW INC, the NEW MUSEUM Incubator.

Over the course of 2016, while corporate media turned their attention to one ridiculous boob, I focused the camera on another; ar+ show is a glitch art performance made possible my exploiting a glitch in Snapchat’s face detection algorithm wherein it recognizes my breast as a face.


Like previous works, ar+ show refuses the hegemonic gaze, the assumption that feminized bodies exist primarily to be consumed as passive sexual objects. I control my image and the narrative around my body. I look back. I poke fun. I am vain and vulnerable and carefree. This isn’t for you, but you are invited to witness.
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A.M. Darke is an artist designing radical tools for social intervention. Still in the class war. Now in the pandemic. He’s in the combination class war and pandemic. Assistant Professor of Digital Arts and New Media, and Critical Race and Ethnic Studies, she directs The Other Lab, an interdisciplinary, intersectional feminist research space for experimental games, XR and new media at UC Santa Cruz. Darke's recent work includes ‘Ye or Nay?, a Kanye West-themed game about Black culture, and he is currently developing the Open Source Afro Hair Library, a 3D model database for Black hair styles and textures.

We are Otrus Extraviadus, an artistic collective from Bogotá, Colombia started by three artists.

🧿Otrus Extraviadus is a latent body in continuous implosion and expansion. we are the same unfolding and inhabiting different dimensions, that give us the possibility of multiple faces.

This mythical manifesto is an action, an activity, a movement and it would not be possible if it did not invoke exchange, encounter, becoming, chance and friendship.

Otrus Extraviadus opens spaces to poetic and political events through the construction of networks of affection and online-offline experiments. 
The question starts with how do we create a new way of life?

What are the rules of this game?✨
We begin with collaborative work based on differences, thanks to the ephemeral creation of experimental tribes.

We build this parallel world as a result of multiple actions and conversations that can exist here. We see this space as a place to continuously growing, changing, updating. Sharing your thoughts, opinions, and suggestions with us is what gives life to this world.

All the material found in this interface we don’t only call it "art" but can also be considered as offerings, talismans or rhizomes, which we send to you as supporters of this stellar game.

Love them, pass them, hate them, burn them, ask them questions, hack their forms.
 
Conceive it as a subject to review, open source, pirate software, an open platform for continuous discussion and incessant precipitation of bodies. 

Or don't see them if you don't want to
go dance instead!

🌐How is it possible to world-building a new world from and within chaosmosis?  

We have asked that question to ourselves and we extend the invitation of the doubt to you.

The presence of unresolved contradictions is noticed, and if you were believing that we built a beautiful utopia or a self-help group, you can forget everything and go back to the beginning because where you thought all the answers were, new questions arrived.


To create this parallel world with seven dimentiosn and characters that We like to call “machine monsters”  we investigate macabre xeno-goddesses to rediscover them in magic from detachment in our own flesh and voice. Since the incorporation of the post-UFO, we seek to mutate and take notions of self-identity to the extreme.

We look for the possible construction of our own categories regardless of the notion of the real, inhabiting irony, contradiction and conflict.

Beyond the utopian we run away and start from a dystopia.
And we can only guess how that experience is configured with the body of others.

Otrus Extraviadus is perhaps, being something else that is not yet known what form it has, more than a result, it is a conversation, a process that has no destination yet.
Because there are certain things that cannot be understood at a conceptual level, you have to live/feel them.

Let's live the delirium, the un-automate
The plane of fantasy and the plane of reality.
Because we inhabit the two dimensions.

There is no genesis, there is no specific order.
We are not an author or individual thought, we are legion.

And if it is not understood, we invite you to live it as a call to experiment.

Otrus Extraviadus
XENOR Conspiración
ఠీੂ೧ູ࿃ूੂʞoɹʞ ʞoɹʞ ʞoɹʞ
ʞoɹʞ✧ළඕั࿃ूੂළඕั✧ı̴̴̡ ̡̡͡​|​̲̲̲͡ ̲̲̲͡͡π̲̲͡͡ ɵੂkrok krok krok krok≢࿃ूੂ೧ູఠీੂ ඊꉺლ༽இkrok krok krok•̛)ྀ◞ ूੂ೧ູఠీੂ ʅ͡͡͡͡͡͡͡͡͡͡͡​(​ƟӨ​)​ʃ͡͡͡͡͡͡͡͡͡͡ ꐑ​(​ཀ ඊູ ఠీੂ೧ູ࿃ूੂ✧ළඕั࿃ूੂʞoɹʞ ʞoɹʞ ʞoɹʞ
ʞoɹʞ࿃ूੂੂ࿃ूੂළඕั✧ı̴̴̡ʞoɹʞ ʞoɹʞ ʞoɹʞ
ʞoɹʞ

The act of ‘skinning’ has acquired a new meaning in the age of 3D media. It refers to the application of a surface to an object. While this usage of the word stands in opposition to its traditional meaning of removal of the skin, its archaic meaning, involving the covering of a wound, has been partially restored. However, the transgressive element of the application of design to skin arises with an ideological departure from its aesthetic conception as a conventional surface in the first place, toward the use of skin as a design material that can be used to shift the borders of organisms and re-imagine the separation of the inside from the outside, the material from the non-material, the real from the phantasmic, and the private from the public. In this project, I survey the digital body from the point of its potential, and peel away its outer layer with what feels like a febrile chaos. The misshapen and unruly body blurs and melts the human contours that we identify with and are so attached to, revealing a landscape of geometrical definition intermingled with amorphous blobs. The entity wants to be all that remains when stripped of its veneer: a body of pure movement, intensity, speed, energy, and desire. This flesh is at once the foundation of things and the apogee of formlessness.
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Anastasiia Raina is an artist, researcher, and an Assistant Professor at Rhode Island School of Design. She graduated from the Yale School of Art with an MFA in Graphic Design. In her research-based practice, Raina is interested in exploring the aesthetics of technologically mediated natures through machine vision, neuroscience, evolutionary biology, and the incorporation of biomaterials into the artistic vernacular. She draws upon scientific inquiry and collaborations with scientists as a means for generating new methodologies and forms in design. 

Feminist Data Set is a multi-year project that interrogates every step of the AI process that includes data collection, data labeling, data training, selecting an algorithm to use, the algorithmic model, and then designing how the model is then placed into a chat bot (and what the chatbot looks like).  Every step exists to question and analyze the pipeline of creating using machine learning—is each step feminist, is it intersectional, does each step have bias and how can that bias be removed? 

Current projects under the Feminist Data Set umbrella include Feminist Data Set workshops, the Feminist Data Set Tool Kit, and TRK (an open source tool to address wage inequity in data training and data labeling). This project has been shown at LABoral, Ars Electronica, Victoria and Albert Museum, the Museum of Modern Arts Bologna, SPACE Art and Technology, RePublica, SOHO20 Gallery, as well as others. 
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Caroline Sinders is a critical designer and artist. She has worked with the United Nations, Amnesty International, and has held fellowships the Harvard Kennedy School,  the Mozilla Foundation, Pioneer Works, Eyebeam, Ars Electronica, the Yerba Buena Center for the Arts, and the European Commission. 

Laura Splan’s recent work results from remote collaborations. Unraveling Together blends recorded Zoom sessions with participants who unravel textiles while reflecting on pandemic experiences. Accompanying AI-transcribed excerpts are presented as texts that are of varying legibility. Entangled Entities is a series of weavings that include unraveled threads that were mailed by participants. Their threads are interwoven with the wool of laboratory llamas and alpacas who are used to produce antibodies for human drugs including vaccines. The work destabilizes notions of the presence and absence of bodies, evoking the mutability of categories that delineate their status during the biotechnological age.
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Laura Splan creates tactile artworks that connect the materialities of science and technology to poetic subjectivities of the everyday. Her biomedical themed artworks have been commissioned by The CDC Foundation, exhibited at the Museum of Arts & Design and are represented in the collections of the Thoma Art Foundation and The Chan Zuckerberg Initiative. Articles including her work have appeared in The New York Times, Frieze, American Craft, and Discover Magazine. She has taught courses including “Embodied Interfaces” and “Data as Material” at Stanford University. She is currently a Creative Science member of NEW INC, the New Museum’s cultural incubator.

Laura Splan’s recent work results from remote collaborations. Unraveling Together blends recorded Zoom sessions with participants who unravel textiles while reflecting on pandemic experiences. Accompanying AI-transcribed excerpts are presented as texts that are of varying legibility. Entangled Entities is a series of weavings that include unraveled threads that were mailed by participants. Their threads are interwoven with the wool of laboratory llamas and alpacas who are used to produce antibodies for human drugs including vaccines. The work destabilizes notions of the presence and absence of bodies, evoking the mutability of categories that delineate their status during the biotechnological age.
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Laura Splan creates tactile artworks that connect the materialities of science and technology to poetic subjectivities of the everyday. Her biomedical themed artworks have been commissioned by The CDC Foundation, exhibited at the Museum of Arts & Design and are represented in the collections of the Thoma Art Foundation and The Chan Zuckerberg Initiative. Articles including her work have appeared in The New York Times, Frieze, American Craft, and Discover Magazine. She has taught courses including “Embodied Interfaces” and “Data as Material” at Stanford University. She is currently a Creative Science member of NEW INC, the New Museum’s cultural incubator.

Sweaty Mother Slow Groove is an engagement in magical thinking that proposes a displacement of swamp methodologies into the virtual realm during the fourth wave. In doing so the cyborg and goddess are united in a re-routing of essentialism and the neo-liberal domination of technology. The metaphorical swamp is the possibility of a mushy danger zone that harnesses the absorption of an unwanted space: a disintegration of the binary and the soft-coded awareness of the body as a process, not a site.
others. 
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Devin Harclerode holds an MFA in Painting + Printmaking from Virginia Commonwealth, and a BFA in Painting from The University of Florida. 

Her work uses speculative discourse to rival oppressive phenomena in contemporary society. She conjures mythologies to explore fluidity (teasing the slips between speculation and the material), softness (weaponizing the malleable and bruised), and monster birth (alter egos for reproductive disembodiment).

Recent solo and two person exhibitions include Loopholes (2020) at Fuller Rosen, Portland, OR, Boundaries (2020) at Museum of Contemporary Art, Salt Lake City, UT, Prolapse (2018) at Public Pool Gallery, Los Angeles, CA and Maternity Leave: Para-natural Pregnancies (2017) at Sediment Gallery, Richmond, VA.

She is currently a Visiting Lecturer at The University of Florida. 

Sweaty Mother Slow Groove is an engagement in magical thinking that proposes a displacement of swamp methodologies into the virtual realm during the fourth wave. In doing so the cyborg and goddess are united in a re-routing of essentialism and the neo-liberal domination of technology. The metaphorical swamp is the possibility of a mushy danger zone that harnesses the absorption of an unwanted space: a disintegration of the binary and the soft-coded awareness of the body as a process, not a site.
others. 
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Devin Harclerode holds an MFA in Painting + Printmaking from Virginia Commonwealth, and a BFA in Painting from The University of Florida. 

Her work uses speculative discourse to rival oppressive phenomena in contemporary society. She conjures mythologies to explore fluidity (teasing the slips between speculation and the material), softness (weaponizing the malleable and bruised), and monster birth (alter egos for reproductive disembodiment).

Recent solo and two person exhibitions include Loopholes (2020) at Fuller Rosen, Portland, OR, Boundaries (2020) at Museum of Contemporary Art, Salt Lake City, UT, Prolapse (2018) at Public Pool Gallery, Los Angeles, CA and Maternity Leave: Para-natural Pregnancies (2017) at Sediment Gallery, Richmond, VA.

She is currently a Visiting Lecturer at The University of Florida. 

Red Emoji Heart (2016) is part of Alex Saum’s #SELFIEPOETRY_Women&Capitalism digital poetry series. It explores the intersection between the Self and its most contemporary representation (i.e., the selfie) within a variety of intermingled structures (cultural, sexual, neoliberal), as these are experienced in the Web. As such, this poem was a precarious and distributed experience built and stored in the now disappeared NewHive, and just like the platform, died in 2018. Enjoy its ruins. 
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Alex Saum is a poet whose work explores the intersection of female representation in digital media and online spaces as these relate to offline environments in the Capitalocene. Her digital artwork and poetry have been exhibited in galleries and art festivals in the United States and abroad. She is also an Associate Professor of New Media and Contemporary Spanish Literature at UC Berkeley, part of the Executive Committee of the Berkeley Center for New Media and the board of directors of the Electronic Literature Organization. She held a 2020 Arts Research Center poetry fellowship.

We are Otrus Extraviadus, an artistic collective from Bogotá, Colombia started by three artists.

🧿Otrus Extraviadus is a latent body in continuous implosion and expansion. we are the same unfolding and inhabiting different dimensions, that give us the possibility of multiple faces.

This mythical manifesto is an action, an activity, a movement and it would not be possible if it did not invoke exchange, encounter, becoming, chance and friendship.

Otrus Extraviadus opens spaces to poetic and political events through the construction of networks of affection and online-offline experiments. 
The question starts with how do we create a new way of life?

What are the rules of this game?✨
We begin with collaborative work based on differences, thanks to the ephemeral creation of experimental tribes.

We build this parallel world as a result of multiple actions and conversations that can exist here. We see this space as a place to continuously growing, changing, updating. Sharing your thoughts, opinions, and suggestions with us is what gives life to this world.

All the material found in this interface we don’t only call it "art" but can also be considered as offerings, talismans or rhizomes, which we send to you as supporters of this stellar game.

Love them, pass them, hate them, burn them, ask them questions, hack their forms.
 
Conceive it as a subject to review, open source, pirate software, an open platform for continuous discussion and incessant precipitation of bodies. 

Or don't see them if you don't want to
go dance instead!

🌐How is it possible to world-building a new world from and within chaosmosis?  

We have asked that question to ourselves and we extend the invitation of the doubt to you.

The presence of unresolved contradictions is noticed, and if you were believing that we built a beautiful utopia or a self-help group, you can forget everything and go back to the beginning because where you thought all the answers were, new questions arrived.


To create this parallel world with seven dimentiosn and characters that We like to call “machine monsters”  we investigate macabre xeno-goddesses to rediscover them in magic from detachment in our own flesh and voice. Since the incorporation of the post-UFO, we seek to mutate and take notions of self-identity to the extreme.

We look for the possible construction of our own categories regardless of the notion of the real, inhabiting irony, contradiction and conflict.

Beyond the utopian we run away and start from a dystopia.
And we can only guess how that experience is configured with the body of others.

Otrus Extraviadus is perhaps, being something else that is not yet known what form it has, more than a result, it is a conversation, a process that has no destination yet.
Because there are certain things that cannot be understood at a conceptual level, you have to live/feel them.

Let's live the delirium, the un-automate
The plane of fantasy and the plane of reality.
Because we inhabit the two dimensions.

There is no genesis, there is no specific order.
We are not an author or individual thought, we are legion.

And if it is not understood, we invite you to live it as a call to experiment.

Otrus Extraviadus
XENOR Conspiración
ఠీੂ೧ູ࿃ूੂʞoɹʞ ʞoɹʞ ʞoɹʞ
ʞoɹʞ✧ළඕั࿃ूੂළඕั✧ı̴̴̡ ̡̡͡​|​̲̲̲͡ ̲̲̲͡͡π̲̲͡͡ ɵੂkrok krok krok krok≢࿃ूੂ೧ູఠీੂ ඊꉺლ༽இkrok krok krok•̛)ྀ◞ ूੂ೧ູఠీੂ ʅ͡͡͡͡͡͡͡͡͡͡͡​(​ƟӨ​)​ʃ͡͡͡͡͡͡͡͡͡͡ ꐑ​(​ཀ ඊູ ఠీੂ೧ູ࿃ूੂ✧ළඕั࿃ूੂʞoɹʞ ʞoɹʞ ʞoɹʞ
ʞoɹʞ࿃ूੂੂ࿃ूੂළඕั✧ı̴̴̡ʞoɹʞ ʞoɹʞ ʞoɹʞ
ʞoɹʞ

Reanne “Immaculata” Estrada, Eliza “Neneng” Barrios, and Jenifer “Baby” Wofford have worked collaboratively as Mail Order Brides/M.O.B., a trio of Filipina-American artists engaged in an ongoing conversation with culture and gender for over 20 years. M.O.B. is based in SF and LA, California.

Manananggoogle is an ongoing project of Mail Order Brides/M.O.B. that has taken various forms since 2013. It satirizes societal mistrust of women in power by conflating Philippine mythology and the forces of tech-corporate global domination.

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“Manananggoogle’s mission is to organize the world and make it universally accessible and useful. With offices all around the globe, its headquarters remain in Mountain View, California. Certain circles in Silicon Valley have not taken kindly to this powerful company’s formidable influence, and nervous whispers abound. Manananggoogle’s founders and chief executive officers are sometimes rumored to in fact be the legendary, mythical Philippine manananggal.”

German Lavrovsky’s project builds and documents, using a variety of media, a relationship with a reborn doll: a 3D-printed posthuman baby. Interacting with the doll, the artist explores questions of postgender reproduction, queer and feminist theories, bioengineering, and alternative configurations of family; and creates speculative practices of emancipatory coming into being.
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German Lavrovskii (b. 1995, Moscow) is a research based artist whose interests include queerness, care, reproduction, and the prototyping of the future. Starting out in fashion and codes of self-design and moving into postdigital plastic arts, Lavrovsky is interested in contemporary visual economies of gender and historical experiments with postnuclear family relationships. All of his work can be seen on public platforms and is open code and free of copyright. He lives and works in Moscow.