Symbol 1 – Emotive Liminality is a strategy for humans to co-create with a technological entity, outside of language and in a way that feels effortless and familiar to humans. This installation doesn’t block the experience of technology by mediating through language or surfaces. Instead, it stays true to the intensity making it palpable as it creates a communicational opening. The human nervous system and psychology can absorb the stimulation as it rebalances itself vis a vis the technological system.

The participant is asked to put on the EEG headset and by doing so enters the interaction with the technological world. The brainwave patterns are read by the headset and passed on to the software for processing. The resulting image is an abstract aesthetic representation of the brainwave patterns. The project tracks three brainwave patterns. Beta (15 to 40 cycles per second) is typical of strongly engaged mind and represents strong mental activity. Alpha (9-14 cycles per second) represents the more relaxed state. Theta (5-8 cycles per second) is the meditative, daydreaming state.

A participant is invited to sit in front of a recording camera and look into the lens in an attempt to make an eye contact with it. The event is over when the participant decides to stand up and walk away. Later the participants are interviewed by the artist about their experience. The interviews are transcribed and arranged into a book. This is a work in progress.

The participants download an application to their mobile device, which activates once a person physically crosses over a geographical border delineated by longitude and latitude. Within that area the device is taken over by code displaying waves of colors on the phone screen and playing sounds. Each device acts as a pixel of a larger image that is mapped out onto the geographical area. As people wander through the space, the device rotates through different permutations of the overall image in time and space. A crowd of people with activated devices creates a meta-display of color waves and in extreme an image with a musical score. The larger event is picked up by a camera from up above and broadcasted at other locations such as the Internet or a video projection. The video coalesces the disparate parts into a coherent read in order to communicate it to the audience/participants.

I am Legion is a demonic feed generator designed to propagate itself through Twitter feeds grabbing posts according to its ʻprogram.ʼ The demon makes alliances with the Twitter software via a pact, the API and incorporates the human users, who in turn have pacts with Twitter and are part of the Twitter- becoming. The demonic collective appears as a feed generator selecting tweets based on common words. The sorcerer-user becomes incorporated as a component in I am Legion-becoming performing the function of the initiator. The demon does not engage dialectically but instead, it seeks to include everything in its order of existence via pacts. The price one pays for entering into that alliance is letting go of the illusion of oneself as a subject.

A historical science-fiction novel. The Imaginary 20th Century operates as an interactive data field with 2,200 imagies and an original sound composition. It is a whimsical meta-journey that requires a printed book and an online interface. The co-directors are Margo Bistis and Norman Klein. Blanka Deroko designed the online interface and the non-linear storytelling logic of the interface, in which the user co-creates with the authors arriving at alternative endings.

The explosion of social networking websites allows us a new way to relate to each other. Such is the conventional wisdom. If technology is our mirror, what sort of a face is looking back at us from the surface of the Internet? MeMyselfAndI is a virtual place where the subjective self went supernova. This appropriating gesture gives birth to semi-autonomous entities: the profiles alienated from their source and struggling for their own boundaries.

The video features airplanes flying in the sky at different intervals. The ambient soundscape focuses on a low familiar hum of an airplane from the distance. This lulling sound is contrasted with the roar of plane engines at close proximity provided by the headsets (if the viewer chooses to put them on). The violent headset sound transports the viewer miles up into the sky right next to the flying machine. The sensory experience turns into a purely psychological. Facilitated by imagination one performs an impossible leap in their mind to compensate fort he jarring discrepancy.

This space is designed to encompass the viewer with the sense of an outside space. Over time, an internal logic is revealed. The circular narrative is implied by the sounds of approaching steps and occasional reflection of a person in the pond. The viewers find themselves to be the protagonists of the unfolding environment as they approach the pond to examine it and perhaps look into it. They become rejected by this technological construct since they occlude the projection and cast a shadow into the pond. This shadow of a human in the technological landscape is what interests me.

The vast out of focus view presented in this video implies a detached outward gaze (the soft gaze). Only once a light is turned on, it becomes apparent that the focal point is fixed on the glass surface between the camera and the view. In that instance, a new space containing a room interior unfolds towards and past the viewer. This revelation lasts a moment and folds back once the light switch is hit again. The memory of the incident alters our secondary viewing of the video.