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An interactive digital exhibition. Browse artworks grouped by theme below.
Artist: Lidia Sinelnik and Oskar Freye, Germany
Type: interactive
“Prime Radiant” (2025) is an interactive web-based work that places the viewer at the center of a responsive ecosystem of light and sound. Hand movements are translated into the behavior of thousands of particles forming a luminous sphere. This celestial body responds to gesture: it can be rotated, reshaped, its particles redirected across the screen. But the system is sensitive. Sudden, agitated movements trigger a shift — particles turn red, sound distorts into anxiety, the entire environment enters a state of stress. The work offers three positions: the observer who watches, the participant who shapes, and the force that destabilizes. Created using AI-based tools for real-time motion tracking and generative response, the work explores the relationship between small gestures and large-scale consequences. What happens when control is absolute? What trembles at the movement of a hand? Lidia Sinelnik is a video artist and documentary theatre director born in Russia and now living in Germany. Her practice combines video, interactive media, and documentary materials. With a background in social sciences, cinema, and contemporary theatre, she is currently completing an MA in Scenography at Fachhochschule Dortmund. Working with generative video and AI-based tools, Lidia creates interactive environments that explore themes of control, scale, and the relationship between individual gesture and collective consequence. Her works translate abstract processes into immediate, sensory experiences.
Artist: Michael Betancourt, USA
Type: interactive
“The ____________ Manifesto” is an interactive art manifesto for the Internet age: an avant-garde ‘Mad Libs’, that remixed historical manifestos, allowing online readers to an open, unstable field of art potentials where they can fill in the blanks. It parodies the Post-Modern desire for obfuscated meaning, and highlights the Contemporary demands for post-colonial self-awareness. It makes us aware that the nervousness that shies from all positions of authority—authorial, cultural and political—is a new status quo that signals a vast epoch of retreat into familiar territories and nostalgic reveries of what once was. Michael Betancourt is a Cuban-American research artist who has cultivated a conceptual-theoretical practice that combines media art production with discursive, critical analysis focused on art history, digital technology, and capitalist ideology.
Artist: Kenji Kojima, Japan/USA
Type: video
The video begins with an image of a 48-star American flag painted by Jasper Johns. The flag breaks down into 100,284 color pixels that are scattered randomly across the screen. Then, the image data are replaced one by one with binary data. It starts from the top left corner and moves rightward. However, the misalignment of the data is intentional, making it appear as if the vertical data on the left has been swapped like a glitch. Additionally, the video plays a sound that converts the RGB values of the original image data using an RGB music algorithm developed by Kojima. Each pixel has red, blue, and green values ranging from zero to 255. One pixel makes three musical notes in harmony. Kojima sets the roughly centered RGB value of 120 to middle C on a 12-note scale, automatically allocating other notes above and below it. White, with values of 255, 255, 255, represents silence. In the video, these no-sound values represent the horizontal white stripes of the American flag. The second half of the video shows the American flag, which has been replaced by the original image, being broken down into 100,284 color pixels, which are randomly scattered across the screen. The second half of the video shows the American flag, which replaces the original image, being broken down into 100,284 color pixels, which are then scattered randomly without sound. Can you hear the pixels? Kenji Kojima was born in Japan and moved to New York City in 1980. He spent the first 10 years of his time there painting in egg tempera. Personal computers improved rapidly in the 1980s. Kojima felt more comfortable creating computer art than painting. In the early 1990s, he converted his artwork to digital format. In 2007, he developed the computer software 'RGB MusicLab'. This software converts visual data into musical notes. In 2014, he programmed the "Luce" software for the "Techno Synesthesia" project. His digital art series has been exhibited in New York and at media art festivals around the world, as well as in online exhibitions. Following the onset of the pandemic, he was unable to go out and shoot videos, but he found numerous archival artworks online. He launched a new series titled "The Musical Interpretation of Paintings". In 2023, he began the "Bitwise Splitting and Merging of Pixels" series by asking himself, "With the development of generative AI, can we create visual art that is not an assemblage of past visual data?" Currently, all media is recorded in binary form. This fact enables the manipulation of colour pixels using bitwise operations.
Artist: Owen Roberts, USA
Type: interactive
“i dont think i think i dont” is a web-based work of procedurally generated music with accompanying animation. The music is generated by a program called GREG, Guided Real-time Euphony Generator. GREG was originally a solution to the problem of creating music for games and works of art with variable duration. GREG evolves a theme indefinitely and can react to changes in game states, using a flexible set of parameters leading to a range of outcomes, from contained performances with little change, to wildly reactive and expansive performances. By starting with an original composition, however, the music can have recognizable themes associated with specific works or stages within a work. The name GREG is a reference to Gregorian chant, an early inspiration for the style and melodic content of the compositions for games and animation. My work often borrows from themes, symbolism, mythology and imagery of religious art and literature. The structure of the early compositions using GREG are loosely inspired by the historical development of Gregorian chant and sacred music. Early forms of chant were monophonic, then at later stages, developed into forms like organum, which introduced a parallel harmony at a fixed fourth or fifth interval, and independent rhythmic and harmonic movement. After working with GREG primarily as a tool to make music for video games and animations, I began thinking about it more on its own terms as a standalone music composition and performance tool. I created an album, "four compositions", of music using GREG, and a website where users can set the number of loops for each composition in the album when they listen to it. "i dont think i think i dont" is a piece from the album. The version for this submission includes an animation that uses my animation program Lines which adds procedurally generated animation to my drawings and reacts to changes in the music. Thematically, "i dont think i think i dont" is a reflection on the way memories change through degradation and reconstruction. This is visualized through shifting landscapes and partially rendered figures. Memories can be like procedurally generated performances, they are familiar but change and vary over time. Owen Roberts (b. 1985, Burlington, Vermont, USA) is an artist and educator based in Brooklyn, New York. His work consists of animation, art games and other multimedia works. He builds software tools to synthesize coding and multimedia with research, writing and drawing practices, resulting in a characteristic style and voice influenced by indie comics, early 3d video games, glitch aesthetics, theatre of the absurd, religious texts, symbolism and the occult, networked narratives and whatever recent rabbithole he has descended into. Owen is an Associate Professor in the Media Arts and Technology Department at the Borough of Manhattan Community College.
Artist: Nikolina Schuh-Netz, Austria
Type: interactive
“Listening Unit” is a browser-based, generative text work structured as a minimal system log. The page remains in a permanent listening state, registering presence while explicitly refusing response. Over time, the text erodes algorithmically until only a single word remains. This residual output can be read as a non-intentional oracle: meaning is not produced by the system itself, but projected by the viewer. Listening is framed here not as communication or empathy, but as a cold, procedural operation. At the same time, the work combines poetic language with an oracular structure. “Listening Unit” marks a new formal practice in which poetry is no longer approached as expression or narration, but as residue, system state, and surface for projection. Within this form, poetry becomes newly accessible to the artist—not as authored text, but as a process through which meaning emerges only in the act of perception. Nikolina Schuh-Netz is a visual artist working curently across AI-based generative systems, installations, objects, photography, print, and text. Her practice investigates hybrid visual languages that emerge from the interaction of digital processes, found materials, and structural disruption. Drawing on post-brutalist and post-vandalistic strategies, she recomposes fragments, errors, and analog failures into immersive image environments. Her work focuses on systems of perception, breakdown, and reconstruction within physical and digital spaces, examining how meaning is produced when images operate autonomously from human intention. Through generative processes and simulated realities, her practice explores the tension between control and instability in contemporary visual culture.
Artist: Anna Feldman, United States
Type: video
“i’m here if you need anything” is a short video composed of commonly used polite phrases associated with availability and care. The phrases appear sequentially, without a defined speaker or addressee. The language follows a familiar social protocol and remains emotionally flat. The video conveys the persistence of a polite social protocol that continues independently of response or feeling. This produces a bodily sensation of emptiness and loneliness that arises through time and repetition. Anna Feldman is a visual artist based in the San Francisco Bay Area. Her work engages questions of identity and presence as they shift under emotional and social pressure. Her background includes long-term experience in performance and structured environments, which informs her attention to physical effort and pressure over time. She develops independent projects presented in physical and online exhibitions. Her work has been shown at Pacific Art League, Arc Gallery, SFWA Gallery, and Drawing Room SF.
Artist: Shuyu Zhang, United Kingdom
Type: video
“Silent Waiting” is a coding based generative artwork that functions as a dysfunctional clock, visualizing the agonizing temporality of immigration bureaucracy. The Audience can sense the time through their eyes. The work is anchored by the Chinese characters for "Waiting" -- 等待 -- which do not sit still but act as a mechanical clock hand, rotating at a strict, jarring rhythm of 1 frame per second. This silhouette is constituted by a perpetual storm of over 300 micro-words sourced from online forums where immigrants share their anxieties. These particles are bifurcated into two conflicting data sets: the "Visceral Body" containing words like anxious, drowning, and homesick, and the "Cold System" containing words like visa, pending, and deportation. By transforming the abstract concept of waiting into a literal, ticking mechanism, the piece exposes the biopolitical violence of time. The low frame rate creates a stroboscopic, disorienting effect which serves as a visual metaphor for the suspended reality where one's life is paused by administrative silence. It is a clock that measures not seconds, but the weight of uncertainty. Shuyu Zhang is an Interactive and Digital Artist born in 2001 in Xining, China, currently based in London. Integrating backgrounds in motion capture, installation, coding and painting, her practice explores the bidirectional interaction between physical reality and virtual environments. Shuyu utilizes AR and generative code to bridge these realms, creating immersive works where technical complexity transforms into intuitive sensory experiences. Her art seeks to evoke immediate resonance, investigating how human perception adapts to an increasingly digital existence.
Artist: Jessica DiCosta, Australia
Type: video
“KOMA” captures the poignant transformation of a small town amidst gentrification as it navigates the delicate dance between progress and preservation. Through an observational lens, it reflects on the evolution of local identity as the physical world evolves. The work is not a lament, but a witness to the resilience of place, the fragility of memory and the human impulse to both build and belong. Jess is a visual artist based in Gadigal/Sydney. She graduated with a First-Class Honours degree from UNSW College of Fine Arts, and was one of 30 students selected nationwide to exhibit her graduating film, at the Perth Institute of Contemporary Art. In 2019, Jess received a scholarship funded by the San Sebastián International Film Festival to complete a Master’s in Film Creation at the experimental film school Elías Querejeta Zine Eskola in San Sebastián, Spain. Since returning to Australia, her work has been screened and exhibited nationally and internationally at festivals and prizes including SXSW Sydney, Venice’s Arte Laguna Prize, St Kilda Film Festival, Cannes Art Film Festival, Venice Film Week, and numerous major Australian art prizes. Her practice has also been recognised with awards such as the inaugural TWT Excellence Award and the Tony White Memorial Art Award. In 2023, Jess was selected as one of 50 international directors to participate in PlayLab Film’s Creator’s Lab in Yucatán, Mexico. Her film SEE ME LIVING was later selected for international distribution in 2024. In 2024, Jess was awarded the Power Institute Fellowship Grant to undertake a residency at the Cité Internationale des Arts in Paris in 2025.
Artist: On Daydreaming Leave, UK
Type: video
This is a digital media work by On Daydreaming Leave and contains a live coding performance and 3D digital art. I finished this piece during August. This artwork is presented on Peckham Digital 2025. Explored the boundary between performance and new media, bringing symbols and music to one; the visual changes when music does. This artwork shows the sign from east of China, upgrading botanic to a digital form. The bottle gourd used to be a water container, and it is widely farmed in the east of China. People used to use it as a water bottle; now it's more like a decoration. The symbol of the bottle gourd is a lucky and accumulative cultural representation. The echo and melody mocking the sound of the bottle gourd. With this work, the artist builds an ethereal space with live coding with pixels, which last and vanish in pixels and echoes, simulating the last period of my grandmother's life. The artwork explores memories of my grandmother – a strong and creative woman who inspired me. With music to celebrate her life. I would like to bring vastness and void within the artwork to simulate death and question: is death really the end? Or digital is the alternative memory. On Daydreaming Leave is a digital artist and photographer based in London. Her research contains symbols and digital art and explores cultural identity, diaspora, and simulation. Combining visual communication skills with technical proficiency to create visual stories.
Artist: Liann J. Kang, South Korea
Type: sound
Like in drawings, a sound material not only exists in the moment but sometimes hints at the path it can be heading next. The direction is derived from very subtle traits of the sound—not only the texture, gestural aspect, degree of tension but also implied visuality and expectation generated from it. While working on my fixed media piece, “Openings”, I followed the invisible but tangible threads that the sound materials were organically engendering and chased the sonic sceneries that emerged afterward. Born in Seoul, South Korea, Liann J. Kang is a composer and vocalist who writes music that brings out imagery and sensory responses that can be stimulated uniquely through the time-based auditory experience of music, inspired by her experience of synesthesia. Kang is interested in the vulnerable, fragile, fleeting, and intangible qualities of “in between” feelings and emotions, manifesting from transitory phenomena such as nostalgia and foreignness. She pays close attention to the qualities of everyday sounds around us, especially their influence as familiar objects to shape listeners’ perception of space – its physical, acoustical, and imaginary aspects. Kang has been awarded the 2026 MacDowell Fellowship, 2025 Tanglewood Music Center Composition Fellowship, 2025 ICMC Best Student Music Award, First Prize of the 2024 Sweetwater/SEAMUS Commission Award, and 2024 Kate Neal Kinley Memorial Fellowship. Her works have featured internationally at events and conferences including SEAMUS, MA/IN Festival, EMM, NYCEMF, ICMC, CHIMEFest at University of Chicago, Sound Spaces in Malmö, Sweden. Her primary teachers have included Philippe Hurel, Yan Maresz, João Pedro Oliveira, Eli Fieldsteel, and has previously had masterclasses led by Kaija Saariaho and John Harbison. Currently, Kang is a doctoral candidate in composition-theory at the University of Illinois at Urbana-Champaign.
Artist: Thanos Tsiousis, Greece
Type: video
In “Polaroids”, a digitally processed series of polaroid-style photographs presents a vase in constant transformation—alternating between realistic, abstract, organic, and artificial forms. The accompanying narration, delivered from the perspective of the object itself, reflects on identity, observation, memory, and existence. The video investigates the relationship between still life, digital mediation, and self-perception through an object-centered voice. In this work, the vase communicates with the viewer through a poetic inner monologue, questioning the singular gaze through which we perceive objects. The narration threads through the evolving Polaroid-like images, drawing connections between each transformation and the vase’s shifting sense of self. The piece offers itself as a performative pause; a proposal for slowness in contrast to the logic of output. Thanos Tsiousis (b. 1984) is an interdisciplinary visual artist and graphic designer based in Athens. His practice combines material and digital works to explore the environment, technology, and humanity as embedded in the tools we create. At the same time, he is concerned with past cultural heritage practices and how they affect human psychology. He is interested in the value of ritual and design as an event and contribution to human interpretation. Storytelling plays a vital role in his work, based on the study of inheritance, critical thinking, and practice towards imagination and visions of possible scenarios.
Artist: Inam Zimbalista, United Kingdom
Type: video
"Circle | Clapping music" is a video work that transforms Steve Reich's minimalist composition "Clapping Music" (1972) into an exploration of distance, connection, and the temporal space between bodies. The piece documents my father and me performing Reich's rhythmic structure from two separate locations, our hands becoming instruments of both separation and reunion. Reich's composition operates through a process of phasing: two performers begin in unison, clapping an identical twelve-beat pattern. One maintains the foundational rhythm while the other systematically shifts the pattern forward by one beat every twelve bars, creating a gradual divergence before the rhythms eventually realign. This mathematical structure becomes, in our performance, a meditation on familial bonds stretched across physical space. The video captures this process of drift and return. As I keep the steady pulse and my father shifts through the phases, we move through states of consonance and dissonance, our clapping hands speaking across the distance that separates us. The work makes visible the invisible architecture of relationship, the way we move apart and come together, how we maintain connection even when out of sync, and the patient inevitability of realignment. What Reich conceived as a study in pattern and perception becomes, through the layering of two remote performances, a portrait of intergenerational dialogue. The clapping, a gesture both percussive and communicative, carries the intimacy of bodies making sound together, even when apart. The circular structure of the composition mirrors the cyclical nature of family relationships: patterns repeated, rhythms inherited, the continuous return to familiar ground. The piece exists in the tension between precision and emotion, between the mechanical and the human. Reich's score demands exactitude, yet our performance carries the weight of personal history. Every clap is both a musical event and a gesture of reaching across distance, of keeping time together when physical togetherness is impossible. Circle | Clapping music asks viewers to listen with their eyes, to perceive rhythm as a visual phenomenon, to feel the accumulation of small shifts, and to experience time not as linear progression but as circular return. The work proposes that connection is not about perfect synchronization but about the willingness to maintain a shared pulse, even through phases of misalignment. Inam Zimbalista is a multidisciplinary artist and director working across moving image, installation, and photography. His practice explores the complexities of human relationships, identity, and perception through a narrative-driven, cinematic lens. With a background in fine art and film, he blends fiction with visual experimentation to challenge social conventions, clichés, stereotypes, and traditional storytelling structures. Central to his work are investigations into identity, social patterns, familyhood, gender, and the ways we perceive our day to day lives. Born in 1999, he graduated in 2023 from the Moving Image pathway in the MA Contemporary Art Practice programme at the Royal College of Art, London. His work has been exhibited at institutions including Tate Britain, Tate Modern, Schechter Gallery, Soho House, The Rubin Museum, and The Tagli Gallery
Artist: Fabio Meinardi, Italy
Type: video
How can we see sound? How can we visualize the invisible damage we inflict on other beings? “if I can’t hear you, I can’t see you.” is a video installation that explores the more-than-human perspective of marine mammals in the North Sea, caught in a soundscape increasingly disrupted by anthropogenic underwater noise pollution. These beings rely on a phenomenon called echolocation, a form of biological sonar in which they emit sound waves and interpret the returning echoes to navigate, communicate, hunt, and interact with their surroundings. As human activities such as shipping, seismic surveys, and offshore infrastructure expand, they introduce constant and invasive noise into this fragile habitat. Underwater noise pollution is invisible to us. It moves through a realm that does not belong to us, in frequencies we cannot hear. Yet for those who live immersed in that acoustic space, such disturbance is akin to a form of blindness. This video work uses glitch aesthetics, archival footage, and field recordings, all altered and corrupted by visual distortions, to visually translate the disrupted, confused, and impaired perception of marine mammals. It is an attempt to listen, see and reflect. Fabio Meinardi (Turin, 1996) is an Italian visual artist and researcher based between Italy and the Netherlands. His interdisciplinary practice merges photography, video, ecological fieldwork, and experimental game design to explore the entangled relationships between human and more-than-human life. Rooted in both personal experience and collective inquiry, Fabio’s work uses participatory practices to foster reflection on climate change, extractivism, and the narratives we build around nature. Fabio reimagines the role of the photographer not as a document of fixed truths, but as a facilitator of poetic and political dialogue. His practice resists traditional hierarchies in art-making, favoring horizontal processes and ecocentric perspectives.
Artist: Kevin R. Frech, USA
Type: video
Commune: (1) to communicate intensely. (2) The smallest community unit in many European countries. In “Commune”, a group of nine people (filmed individually) communicates with the viewer non-verbally while they interact with others via their smartphones. They are at once together yet separate, intense but removed, expressive yet occluded, connected to us and to the unseen people they interact with, yet also separated by the same technologies (video and smartphones) that facilitate this very communication. Their arrangement and body language, as well as their collective gaze focuses downward to the texts they send and read, is reminiscent of a trial jury or a church choir with their hymnals. Kevin R. Frech is an award-winning artist working in video, performance, sculpture and mixed media. His uncompromising and unconventional work examines the contradictions of western society: interconnectivity vs. alienation, plentifulness vs. scarcity, immediacy vs. dislocation, and consumption vs. conservation. He explores ideas of “value,” not only in the sense of “price,” but as a shared ideal: What do human beings value today? How do we assign those values? What are the friction points between different value systems? Often deploying humor as a strategy, his work thrives in the disconnect between the way we hope to see ourselves and how we actually exist.
Artist: Kami Usu (Kamilia Iusupova), Kyrgyzstan
Type: video
“Generation” is a project that brings together random generativity and graphic sound. The work is inspired by Wolfgang Amadeus Mozart’s research on the generation of notes based on chance events, the works of Iannis Xenakis, and the experiments of electronic music pioneers Arseny Avraamov, Evgeny Sholpo, Boris Yankovsky, and Nikolai Voinov, who worked with graphic sound. The author reflects on what graphic sound can be today. Is it possible to use RGB camera content as a graphic pattern, where the flow of people contains an element of randomness? The work is an eight-channel sound installation or video documentation in which each camera produces its own tone. The viewer is invited to listen to each camera individually and then all together. The project was created as part of the Master’s program “Technological Art” at NUST MISIS. Kami Usu (Kamilia Iusupova) is a media artist, sound researcher and VJ. She works with algorithmic aesthetics, generative graphics and sound art. Her projects reveal phenomena invisible to human perception, such as information flows, radio waves and the sounds of spatial distortion. In her practice, Kamilia Iusupova uses digital and analog tools, artificial intelligence, and machine vision, focusing on the exploration of new models of interaction.
Artist: Slava Park, Russia
Type: video
“playground” is a video installation exploring the roots of violence through childhood behaviors. Childhood is often seen as a period of innocence, empathy, and kindness. This work examines how early experiences, such as play, can shape attitudes toward aggression. The concept focuses on a familiar scene: boys playing soldiers, shooting imaginary guns at each other with smiles on their faces. These games, normalized in society, are explored as a lens to understand one of the formative ways humans encounter and enact violence. The installation confronts the viewer with the juxtaposition of a child’s playful world and the adult reality of cruelty. It encourages reflection on how ordinary childhood rituals can carry hidden traces of aggression. The visual narrative follows a boy in white clothing, playing soldiers in an abstract white-tiled room, a liminal space reminiscent of limbo. Something goes wrong in the game. He attempts to “cleanse” the room and himself with a simple cloth, but it proves insufficient. Through playground, the audience is invited to witness and reconsider one pathway through which violence emerges, the fragility of innocence, and the blurred boundary between play and aggression. Slava Park (b. 2002) is a video artist and filmmaker working with video and cinema. He graduated from the Contemporary Art program at HSE University and is currently based in Moscow, Russia. In his practice, he explores extreme emotional states, psychological intensity, and the articulation of inner experiences, addressing the nature of cruelty and violence. He is particularly interested in dreams, the boundary between reality and imagination, memory, and the subconscious.
Artist: Yulia Glukhova, Russia/Germany / Programming: Nikita Prudnikov
Type: interactive
> "To me, the perfect film is one that unwinds behind your eyes as though your eyes were projecting it > themselves, showing you exactly what you want to see. Film is like thought. It’s the art form that most > closely resembles the thought process”. > > Christian Science Monitor, 1973, John Huston > "In a sense, when you edit a film by replacing one visual impression with another, you blink for the viewer". > > In the Blink of an Eye, 1992, Walter Murch Each viewer experiences their own generative film. Unrelated frames and elements of image and sound acquire meaning and interconnections in the viewer's mind, offering the opportunity to track the sensation of the moment within oneself. Different combinations of sound and images create a narrative that exists only in the present moment for each viewer. Randomness is at the core of our perception of the world, and this installation models it, providing the opportunity to explore this mechanism. The number of human eye blinks is physiologically excessive. Research confirms that blinking serves an additional important function: it plays an active role in brain function by "rebooting" the attention mechanism and helping to separate the flow of external information into small chunks. REM sleep is a stage of sleep in humans characterized by eye movements and vivid, memorable dreams. It is believed that REM sleep facilitates the exchange of information between the conscious and subconscious minds. Drawing from the classic "Kuleshov effect" in editing, where the combination of two neutral images creates a third meaning that neither image possesses individually, as well as Michel Chion's theoretical calculations on how our perception of an image depends on sound, the installation offers each viewer their own unique film, which could be considered a dream. Yulia Glukhova (she/her) -- sound artist, sound designer, composer born in 1989 in Moscow, currently based in Berlin. She is passionate about time-based arts and enjoys exploring the power of sound in storytelling and its relationship to the visual. She creates sound design, makes installations and performances exploring perception mechanisms, feeling of time and sense of presence. Her works has received several international awards, including Phonurgia Nova Award for her multichannel installation “Ci(r)cadian Rhythm”. She hosts creative field recording workshops, works as a sound supervisor for the podcast studio “Radio Arzamas” and runs the sound studio "Bar Zahlen".