Abstract
Memory in the Life of a Cajun Prairie (2017-current) is an art-science and conservation project intended to re-create a native Louisiana “Cajun” prairie, a vulnerable ecosystem found nowhere else in the world and one of the most endangered habitats in North America. To create Memory, a former soybean field at Atelier de la Nature (Arnaudville, LA) was converted to native prairie plots for carbon sequestering, biodiversity monitoring, and as a living sculpture. All activities are completed communally through citizen science events open to the public. Through this collaborative art, science, and community engagement project, we seek to sculpt the atmosphere, landscape, and society.

Abstract
Anna Frants's work is characterized by her innovative use of technology in artistic expression, particularly through interactive installations that incorporate elements such as robotics, holography, live streaming, and digital media. Her art explores the intersection of technology and human experience, often examining themes of perception, contemplation, and the relationship between traditional cultural concepts and contemporary technological realities. Different mediums evoke specific moods, convey different narratives, and have varied visual effects, which artists can leverage to convey artistic messages effectively. Through experimentation, Frants discovers new techniques, challenges conventions, and creates unique artworks that redefine the possibilities of the chosen mediums.

Abstract
In the exhibition at Schauwerk Sindelfingen Museum in Germany,
Anton Ginzburg presents works that transform digital data into physica
artworks, exploring the intersection of algorithmic processes and
emotional expression. The artist demonstrates how computational analysis
reveals patterns in cultural materials through two series: large-format
murals inspired by East German architectural modularity and sculptural
forms derived from sentiment analysis of film scripts. Through these
works, Ginzburg explores how digital tools mediate our understanding of
human experience and examines the relationship between private emotion
and public display.

Abstract
The author explores the promise of a variety of models and materials for generating new forms for art and architecture. She recounts her ongoing search for viable models for her art. Initially this quest led her to research the utopian architecture of Bruno Taut's Crystal Chain Correspondence and then to experiments by scientists Per Bak and Kan Chen that utilized dominoes. This resulted in her exploration of the nonlinear dynamics of generative systems, which continue to hold yet untapped potential for art.

Abstract
The author examines generative AI as a new type of “memory machine,” exploring its role in constructing and visualizing both persona and collective memories. Through theoretical analysis and artistic practice, he investigates how AI-generated images combine historical documentation with aesthetic idealization, creating representations that are simultaneously familiar and unreliable. The author contextualizes this phenomenon within the history of media technologies and demonstrates its artistic potential through his recent series Ideal City, which uses AI to reimagine urban environments from his childhood. The work reveals how AI's technical limitations can become meaningful metaphors for memory's inherent unreliability.

Abstract
Language Is Leaving Me, An AI Cinematic Opera of the Skin is a
mixed-reality performance installation that focuses on AI, algorithmic
rendering, sound, and biometrics through the lens of epigenetic, or otherwise
inherited, traumatic memories of diasporic cultures. It examines multilingual
and multi-visual presentations of simple text prompts, commonly referred to as
“prompt engineering,” and how, when combined with image-to-image
AI visual comparisons, these comparisons reveal critical biases and structural
flaws in image rendering, sourcing, and interpretation. These fault lines point
toward difficulties for the ability of emerging visual taxonomy to represent
nonquantifiable human experiences across cultures and how nonquantifiable human
emotions are vulnerable when viewed through the lens of machine learning
algorithmic interpretations.

Abstract
This essay serves as a tribute to Phill Niblock (1933–2024), examining his diverse roles as experimental composer, artist, filmmaker, and photographer. It explores Niblock's thoughts on Minimalist intermediality and “enhanced” perception within audio cultures. The essay highlights his rejection of formalized vocabularies and practices and his advocacy of a more complex approach, both self-referential and collaborative. Set against the backdrop of a tribute concert in Yerevan during the 2024 CYFEST International Media Art Festival, this paper offers a subjective reflection on Niblock's legacy. It utilizes insights from his interviews and memories shared by friends and colleagues to question certain ideas of mastery in contemporary music.

Abstract
This article is dedicated to the Armenian-American artist Charlie G. Hachadourian. The author guides the reader to the idea that conceptual sculpture—and the conceptualization of art in general—is, among other factors, shaped by the transformations occurring in the domains of science and technology. By distancing itself from representational practices under the influence of the advancements, art evolves into a discursive practice, a means of communication, which normalizes and embeds in the social reality the same scientific and technological context it has been fueled by, while simultaneously normalizing the fragmentations, migrations, hybridizations, and assimilations that occur within cultural, political, and professional identities. And this, in turn, enables a novel reproduction of human and social life.

Abstract
Jakob Kudsk Steensen has applied video game and simulation technologies to his practice for nearly three decades. Sound and image together define the realms within his dense, three-dimensionally rendered audiovisual configurations. Steensen presents a new roadmap for our world and hopes his installations help viewers become more aware and respectful of our environment. His monumental work touches on the impalpable, which recalls a quote from the poet/painter William Blake (1757–1827): “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”

Abstract
This meditation on how being alive is being vulnerable, and on the senses in which a person, a city, a people can be vulnerable to one another and to their milieus, draws on the medieval history of Venice and its sister cities, as well as recent work in theoretical biology. It touches on the drive toward invulnerability via mechanizing and replacing judgment.