Abstract
This paper reinterprets the robotic installation Sisyphus not as
a parable of futile labor but as a generative choreography of conflict. In the
work, six autonomous “Constructors” rebuild arches continuously
destroyed by an industrial “Destructor.” Drawing on
Deleuze’s philosophy of difference and repetition, the authors argue that
this endless loop functions as an “abstract machine” that selects
for creative novelty. The article introduces “dialectical
robotics” to characterize this multiagent antagonism, demonstrating how
the system models resilience in decentralized networks. By analyzing the
installation’s percepts of persistence and affects of struggle, the paper
shows how sustained opposition catalyzes adaptation, recoding repetition as a
source of difference in art, technology, and sociopolitical dynamics.

Abstract
Over the past century and into the present, drones have been employed consistently for reconnaissance missions and combat attacks, actions that fuel political narratives and drive the media landscape. These acts of aggression, in themselves, are a means of communication. In a similar fashion, artificial intelligence is able to manipulate information when creating and reproducing texts, images, videos, and social media profiles in automated ways, as well as mapping and moving through spaces in tangible or intangible ways. In this article, the authors examine how AI articulates narratives through the ludic nature of computing and robotics.

Abstract
The Repertories of (in)discreetness project had its starting
point in the archive of Radio Free Europe at Open Society Archives in Budapest,
Hungary. The project aimed to question the act and mechanisms of archiving
“the Other,” with a focus on the European “East.”
The paper discusses how information was collected, how Eastern Europe has gained
an epistemic body, and how the historiographic dilemmas were translated through
artistic means. By combining old and new media and by using sound, video, and
situations as forms of deconstruction and embodiment that render visible the
invisible, the exhibition project engaged the visitors in the production of
knowledge and the use of informational warfare during the Cold War, as food for
thought in connection to the present-day mediatic practices.

Abstract
This article discusses an interdisciplinary artist-researcher collaboration exploring biological and sociocultural afterlives of famine. The project was inspired by research on the Dutch Hunger Winter (1944–1945), which indicated transgenerational transmission of biological effects through epigenetics (i.e., that the effects of famine might be “heritable”). These findings are highly relevant in the context of contemporary wars where starvation is being used as a weapon of war. The article discusses how, through research and artistic practice, the authors explored the resonance between biological transmission and “postmemory” extrapolating from the Dutch case to explore the familial afterlife of traumatic wartime experience.

Abstract
The DDS Synthetic Memories project has developed techniques using Gen-AI technologies to recreate past visual experiences that may have faded, changed, or been forgotten. The Immersive Synthetic Memories project extends these efforts to immerse subjects in virtual recreations of their memories. The installation invites participants into an intimate setting to recall memories instantly rendered with generative AI and spatialized for VR headsets. The project is a collaboration with Barcelona-based Domestic Data Streamers (DDS), the University of Southern California’s Mobile & Environmental Media Lab, and Scott Fisher’s course Spatial Imaging for XR. This paper explores the artistic and technical processes, the AI pipeline converting 2D visuals into 3D 180° immersive spaces, development challenges, and potential applications in mental health and memory studies.

Abstract
This paper investigates the potential of real-time 3D environments, focusing on versatile toolkits for camera-based scene mediation in Unity 3D and virtual cinematography. Practice-led research posits that game engines serve as flexible cross-platform systems for designing diverse cinematic content from a single virtual 3D environment. Programmable virtual cameras offer hypermediated imagery surpassing physical camera imitations. The study examines three interconnected artworks exploring a volcanic environment in Unity 3D, demonstrating the transformative potential of procedural and real-time cinematographic techniques. The project transcends media-specific boundaries, highlighting the evolving nature of digital culture and film in real-time 3D. It showcases the meta-medium’s potential as a platform for digital storytelling.

Abstract
The artistic installation Cenesthetic Defragmentation, showcased at the GAIA Gallery in Brazil, explores the intricate interplay between sound, visuals, movement, and self-awareness with extended digital musical interfaces. The installation provides an interactive platform where participants engage with real-time audiovisual feedback generated by their movements, fostering a heightened sense of self-awareness and a deeper connection with their internal world. Central to the installation is the concept of coenaesthesia, the integration of sensory experiences. Rooted in embodied cognition, the installation emphasizes the connection between mind, body, and environment, demonstrating how physical interactions shape cognitive processes. Cenesthetic Defragmentation creates an inclusive space and multifaceted exploration of human perception, inviting participants to engage in self-discovery through advanced interactive technologies.

Abstract
Building on the growing use of films as neuroscientific stimuli, this study explores a filmmaker's insight into the results. Using the Cinegraph, a novel visualization method displaying the intersubject correlation of left vs. right amygdala alongside the stimuli film, this research tests the feasibility of applying dramaturgy analysis to neuroscientific data. The results reveal significant ISC lateralization of the right vs. left amygdala during the film; dramaturgical analysis suggests the risk of social rejection (ROSR) as a central dramatic theme underlying the right amygdala’s engagement. To the author's knowledge, this is the first study investigating lateralization of the amygdala using film dramaturgy.

Abstract
Predictive coding, as proposed by the Bayesian brain hypothesis, and surrealism present an intriguing overlap. The Bayesian brain hypothesis views the brain as a probabilistic inference system that updates its beliefs based on sensory inputs, while surrealism explores the unconscious mind by challenging conventional thought and societal norms. This paper first demonstrates how the Bayesian brain hypothesis serves as a neo-surrealistic framework for understanding brain function. It then explores how the Bayesian brain hypothesis and surrealist techniques can be integrated to generate valuable insights about the human unconscious for art therapy. This convergence broadens scientific understanding by opening new avenues for research and practical applications at the intersection of neuroscience and art therapy, ultimately enhancing therapeutic outcomes for individuals seeking psychological support.

Abstract
This essay explores the development of collective visual fieldnotes as an experimental ethnographic method that invites public participants to become research interlocutors within field site activities—as part of a broader effort to innovate ethnographic practice through the lens of art, science, and technology studies (ASTS). In developing this practice, the authors’ research team attends to the ways that ASTS reimagines how research encounters unfold and how knowledge is made. In a multiyear sensory ethnography focused on solid organ transplantation, members of the public were invited to visually reflect on their experiences during project events, “gifting” their visual notes to be included as part of the authors’ larger set of fieldnotes. These visual contributions were iteratively analyzed and later transformed into a transient sculpture modeled on the form of metal stabiles, enabling a new mode of reflection on transplantation’s affective terrain. From this process, four domains of key insights were drawn out: (1) rogue affects, (2) aesthetic surprises, (3) dialogical modes, and (4) cultural scripts. We conclude by reflecting on the role of ASTS sensibilities for understanding data analysis as a material, situated practice and on the qualities of emergent knowledge created through these processes.