Fear can sometimes produce a constructive response – like instigating the race to the moon.
This moon is reshaped by data from events during the Space Race. On it, mountains represent growth; and craters denote failures. Through the three telescopes, you see stories of the highest mountains and deepest craters that were caused by three pillars of innovation: leadership, dialogue and competition.
Exhibited: Royal College of Art, 2016 Video credits: Amir Afshar & Ziyang Zhang Role: Art Director, conceptor and fabricator
One small step for man
Empathic Futures Experiment
Empathic Futures is a research experiment by FELD studio for digital crafts and Volkswagen Group Future Center Europe that explores the relationship between artificial intelligence and human behaviour to develop ‘Empathic Intelligence’.
We conducted the first phase of our research by inviting 500 participants to chat for 5 days with their own Empathic Intelligence to help us create new human-machine conversational possibilities for the future. The results were later presented at our exhibition at the DRIVE Volkswagen Group Forum in November 2017.
The app experiment is a method that confronts people with a hypothetical future scenario in which they talk to an Empathic Intelligence. These text conversations aim to inspire people’s imagination about the form and function of future intelligent systems.
Role: Project manager, researcher and content creator
Empathic Futures Exhibition
Exploring the Future of Human-Machine Relationships
Empathy and communication are important building blocks for trust between humans. Increasingly, machines are starting to speak our language – what does this feel like? How will we communicate with the intelligent machines of the future? And how can we build trust between humans and machines?
The Empathic Futures exhibition wants to inspire the public to explore these challenging questions and to imagine a future in which empathic communication between humans and machines is possible.
The idea behind this artwork is to be able to generate an image that visualises the collaborative process of Ólafur and the two self-playing pianos by constructing a tool that represents the possible 88 notes in a square grid using the MIDI input.
As the music plays, the grid starts forming a distinct image influenced by the length, channel, velocity and pitch of every note. Meanwhile, the tool allows to easily change the shape, duration of movement, size and opacity of the elements which are constructing the image on the grid.
The final images are developed using the Cyanotype process, which allows us to treat one specific graphic under many influences, e.g. the exposure to light, the method and intensity of applied chemicals, the position of the negative on the paper etc. to see the same image being transformed into many versions and add another level of personality to them.
Role: Project manager, conceptor and printmaker
Watch the Watchers
The map exposes the network of fibre optic internet cables that lie deep below the sea giving an unfettered glimpse of the government's counterterrorism tactics and the murky justifications behind them. The network of 66 audios stolen from public and private spaces represents the vicious and outrageous cycle that the NSA presents as "national security.” Taut, stark and controversial, the audios illuminate the fragile relationships between individual and surveillance state in modern world, and asks who is watching the watchers.
Exhibited: Royal College of Art, 2018
Humanoid Insect Robots
These insect-like machines are the offshoot of robot manufacturing. They are built for testing small tasks, to go into small narrow places, and once tested, are discarded as they allow the production of bigger projects. So they find their way out of the factory, into the real world, where they discreetly clean the urban space. Considering their size, these insects work in swarms.
However, these insects are drifters: as time passes, they start detecting familiar faces based on face recognition, and try to find people that they follow in order to try finding a home. These robots are the lowest class of robots, unwelcome, they’re the outcasts. So their purpose is to disappear and stay in the shadow, find a home, discreetly work, and collaborate to prove they are useful and eventually be accepted by their master. They are the opposite of humanoids, and are also a way of representing our enduring sense of what is it to be human, to have power over others and keeping our status in the society
Exhibited: Science Museum and Imperial College London, 2017
An installation to explain quantum physics to people.
A month of reflection, research and experimentation culminated in a five-day exhibition, ‘The Cat is Alive!’, its memorable title alluding to the famous thought experiment of Schrödinger’s Cat.
Composed of a series of spherical bulbs and switches, this exhibit provided a hands-on, analogue articulation of the principal of entanglement: the notion that particles, even those separated by huge distances, can change one another, described in Einstein’s evocative phrase as ‘spooky action at a distance’.
Exhibited: Euston Station Crypt Gallery, 2017 Role: Art Director and fabricator
Notice is a family of three online electronic devices that provide an onstreet communication platform for planning applications and other city notices, replacing the text–heavy sheets of paper that currently reside on lamp posts throughout cities. It is linked to a mobile app and a website which allow the public to quickly and easily respond to planning applications a process that was once far more complex. This modern and simplified method of communication will increase public engagement in city development. More at www.notice.city
Exhibited: Clearleft, Brighton, 2016 Role: Conceptor an fabricator
Sonic salad was a part of the sound object exhibit by the students of Information experience design. We prepared and ate a sonic meal, an orchestra of sonified food conducted to create a tasty symphony. Combining chopping boards, cheese graters, pepper grinders and contact microphones, plus all the food, it resulted in some delicious salad and drink and a sniffed experience.
Exhibited: Sound Object Exhibition, London
RCA SoundObject - The result of a collaboration between students from the Information Experience Design and Design Products prog
I imagine a future with a sustainable food-culture where we prepare food with fewer ingredients.
We are now in 2073. We crave for exotic tastes & variety in food, although our chef has very few ingredients to work with. However, advances in science help fulfil those desires because we can chemically & biologically enhance the taste of prepared food.
An experience where your milk and mango puree looked like an egg and white chocolate and raspberry meant spaghetti all bolognese, and where orange juice was actually coconut water, and wine- orange juice, the food in 2073 gives you variety in experiences with limited ingredients.
Exhibited: Royal College of Art, 2016
What does it actually mean to have varieties. Do we need varieties in food. simple food explanations by kids answers some of these questions.