Floating Utopia Act 2
制作年
作家名
作家周辺情報(ジャンル,所属機関,受賞歴など)
Bio
In her projects Julia addresses to semiotics and linguistics of modernity. Area of her interest includes redefinition of prior distances between biology and technology, natural and synthetic intelligence. As part of her research-based practice she tends to develop speculative narratives in the blind spots of the reality like unobvious communications and crypto-economies. She is curious about borderline bodies, cyber organisms and revisiting concepts of human and non-human. Accelerating automation and replacing people with machines poses an artist in front of new political, ethical and philosophical questions. Julia’s practice is focused on research and diving deep into the context of mutating, accelerating reality.
モスクワ在住のメディアアーティストで、Academy of Media Art Cologneの修士
公式(本人)の説明
生態系や環境が変化する領域と領域の境界部、「クリティカルゾーン」の代表例として沼地を取り上げ、沼地を3次元にモデル化することによって「機械」という第三の生態系を、クリティカルゾーンに持ち込む。地球上の生物が徐々にプラスチックで埋め尽くされていく一方で、新しい(バイオ)多様なユートピアが機械によって書かれている。それは自然を再構築し、自然の損傷した部分や断絶の想像上の表面や神話を縫い合わせるものである。
Swamps are zones of geological instability, floating boundaries between land and water. They are also natural ecotones - sources of biodiversity, places of stress where ecosystems meet. Loss of biodiversity is related to the ability of one species (human) to cause global changes within an ecosystem, similar to fractures and tearings in its tissues. The place where this change takes place is called the “critical zone”: the area of the Earth’s surface, thin but vital skin of the planet, where organisms regulate the flow of resources necessary to sustain life. As a result of human impact on ecosystems, a rupture occurs in the surface of the self-regulating skin of the planet.
Modeling the fragile and heterogeneous skin of critical zones could be a challenge for algorithms and neural networks. Everything solid and material is currently being melted into data. We create reconstructions of natural landscapes, embedding another ecosystem into them - the ecology of machines. The boundaries of biological and digital skins are blurred like the surface of wetlands. Our reconstructions are hybrid patches that fill the gaps in the planet’s epidermis. They are inhabited by a variety of myths and weird inhabitants - datasets involved in rehearsing the end of the world and visualizing its recovery.
While living organisms on earth are gradually filling up with plastic, a new (bio) diverse utopia is being written by machines. It reconstructs the natural, stitching together imaginary surfaces and myths of nature’s damaged parts and ruptures.
取り上げた理由
2021秋のx-visualでは三次元再構成が技術的なテーマなので、それらのモデルを利用した作品群をサーベイしていた。
一つのオブジェクトとして明確に定義できるものではなく、沼地という境界が曖昧かつ大きな領域の再構成を行っている点に面白さ(モデルの誤用)を感じる。
画像、動画
https://gyazo.com/82c39e5bd83b18d4430cc68879126d27
https://youtu.be/hoiYd6-g-Ps
あれば)第三者(批評家,キュレーター)の批評