The New Frontier Gallery included artworks by R. Luke DuBois, Shu Lea Cheang, Lynn Hershman Leeson, Jennifer Steinkamp, Eddo Stern, Cory Arcangel, Paper Rad, John Underkoffler, Oblong Industries, Cory McAbee, Jonathan Harris, Sep Kamvar, Sam Green, Dave Cerf, Joseph Gordon-Levitt, Matthew Moore, Chris Milk, Aaron Koblin, Lance Weiler, Miwa Matreyek, Nonny de la Peña, Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, Kamal Sinclair, National Film Board of Canada, Klip Collective, Lynette Wallworth, Yung Jake, CCP Games, James George, Jonathan Minard, Doug Aitken, David Adjaye, Jacolby Satterwhite, Vincent Morisset, Rose Troche, Morris May, Chris Milk, Navid Khonsari, Vassiliki Khonsari, Andrew Thomas Huang, Björk Guðmundsdóttir, Alex McDowell, Bradley Newman, Kahlil Joseph, and Kendrick Lamar.

This research explores the descriptive and metaphorical relationships between weaving and wave/particle duality through a series of woven artworks. First, it provides an explanation of the weaving process and its historic use as a metaphor for the cosmos. The pieces discussed are visual metaphors wherein the structure of the fabric becomes the content. This connection is perhaps part of a contemporary cosmological construct, replacing the sacred with science and utilizing weaving as a constant in the continuum.

danceroom Spectroscopy is an interactive audiovisual art installation and performance system driven by rigorous algorithms commonly used to simulate and analyze nanoscale atomic dynamics. danceroom Spectroscopy interprets humans as “energy landscapes,” resulting in an interactive system in which human energy fields are embedded within a simulation of thousands of atoms. Users are able to sculpt the atomic dynamics using their movements and experience their interactions visually and sonically in real time. danceroom Spectroscopy has so far been deployed as both an interactive sci-art installation and as the platform for a dance performance called Hidden Fields.

This article discusses how an understanding of prosthetic imagining has influenced the making of sound machines for the Amplified Elephants—a group of sound artists living with intellectual disabilities. This research is contextualized through the discussion of relevant precedent artists: performance artist Stelarc and sound artist Ernie Althoff. The article presents the point that sound art (including music) is a predominantly prosthetic art form; sound-making devices (including traditional musical instruments) can be conceived of as prosthetic audio devices. Investigating notions of prosthesis can inform us further on the human condition.

Hollis Frampton’s much-discussed film Zorns Lemma is a complex and fascinating film that has a labyrinthine structure, alluding to a mathematical reading of the film as a visual metaphor for Max Zorn’s famous axiom Zorn’s Lemma. In the extensive literature about Zorns Lemma, there have been many different interpretations offered; however, none of these readings has provided a satisfactory mathematical interpretation of the film. After first providing an overview of Zermelo’s Axiom of Choice and some of its equivalent statements, this article provides a mathematical interpretation of Zorns Lemma that shows the film as a cinematic/poetic demonstration of the Axiom of Choice, a statement that is mathematically equivalent to Zorn’s Lemma. In addition, this paper explores some of the consequences of such an interpretation, including one that connects the film to the ideas Frampton was exploring in Magellan.

This paper investigates the tactile possibilities of human interaction with synthetic biomorphic surfaces through an interdisciplinary collaboration between arts, materials science, mechanical, and electronics engineering. The authors created a breathing wall (BRALL) composed of nine silicone-based tiles that feel like flesh, breathe, emit sound, and respond to touch by pneumatic activation that is enabled by soft robotics technology. The authors believe combining a flesh-like material with soft motion and tactile responsiveness brings us a step closer to replicating/imitating organic life. The authors also question the potential of interacting with synthetic structures and what the social and cognitive implications of such exchanges could be.

Sound Pointage is type of artwork that demonstrates a new method of creating digital sound. It compiles minimal elements of digital information to build sound. In this approach, artists can control all aspects of sound rather than simply allocating abstract musical concepts such as notes. Sound Pointage was implemented with a high-performance computer mouse and was open to the public for two weeks. Visitors freely interacted with the work, and their actions were accumulated as a seamless waveform, eventually being converted into a hi-fi sound.

TYPE+CODE II explores the aesthetic of an experimental code-driven typography created with the Processing programming language. It crosses boundaries between calligraphy, graphic art, typography and computer art. TYPE+CODE II reinterprets typography by combining aspects of traditional hand-drawn calligraphy with contemporary elements based on mathematical expressions and algorithms.

The author’s work and research are guided by the study of the relationship between our body and space, primarily the space of the natural landscape devoid of the built environment. Salton Sea Revisited explores two aesthetic discoveries associated with realtime lapse. First, the emergence of data not perceivable in a moment-by-moment-based experience of time; second, insignificant moments become significant events through the simultaneous experience of time, heightening one’s experience of the landscape and one’s existence in that particular moment in time and space.

This paper explores the use of Spirographs to display data from Twitter feeds. The authors first identified particularly interesting Spirograph patterns and gave them flower names reminiscent of their visual features. They then further investigated one particular scenario using customized Spirograph patterns: the visualization of Twitter data during an academic conference. The resulting visualization is appealing and efficiently shows the distribution of tweet data over time, including trends over both shorter and longer time spans. These early results show that Spirographs have an effective attractiveness and structural features that make them a perfect candidate for the ambient display of temporal data.