These-Eyes is a live coding performance with an interactive component from the viewers. A website is set up on Heroku to grab an image from https://thispersondoesnotexist.com periodically and scanned for eyes using OpenCV. These eyes are then constructed in a collage and presented on the top of the site and dynamically updated. Optionally, the public can submit their own detected eyes by turning on their webcam.
The three Moirae are transformed from mythical entities to three algorithms and re-define the destiny of western archives. Mythical beings acquire algorithmic substance and derive material from the open licensed repositories of Western culture through the Europeana accumulator.
The stored files become operational after being fragmented and rebuilt through structural modification.
Designed by French artist Gaël Tissot, Nexploria is an artistic experience, playful and social, freely accessible. Equipped with a headset or loudspeakers, the user/explorer navigates on the interface, selects fragments of music, words and background sounds, assembles them and shares his creation on the platform.
Extracting official data of the Italian situation a specifically designed algorithm turns the daily numbers of confirmed cases, recovered patients and new deaths into ever-evolving sound waves.
Day by day, as the Covid-19 situation evolves, the numbers change, and so do the frequencies of the sounds that we hear, abandoning the initial harmony.
This game is a basic shooter that I coded during the Covid. My kids were driving me crazy during lockdown in Belgium.
Chloroquine pop-ups is a webessay composed around the moment in which Brazil exceeded 100,000 deaths from SARS-CoV-2. The work explores exhaustively sound, visual and interactive elements of the web browser interface: pop-ups, mouse movements and the dragging of the windows constitute the ways of playing the instrument that performs this composition.
What are digital abstractions? For modern, abstract painting, the physicality of its material components corroborates its meaning: the substrate, the paint itself, or collaged elements questioned conventional relations between figure and ground. Perspective was key to understanding this meaning, as was the picture plane (corresponding to the surface of a picture, perpendicular to the viewer’s line of sight) which fixed the object in time and space.