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SXSW – Reviews

by paradoxig 25th June 2025

We were invited at SXSW, here are some of most interesting reviews

“The internet as we know it, is gone!. Everyone will need Upskilling. New Tools are not available for everyone!. A new Era of assistive technologies – we will work with AIs. BigTechs is becoming bigger and stronger!”

These are a few of the thoughts and some conclusions made by Futurist Amy Webb, at SXSW 2023, while dissecting tech-trends to follow in the next few years. Read more HERE:

Futurist Amy Webb: “We go from Fiction to Reality!”

Nonfiction Design turns science fiction into reality for a better future with the goal to innovate in multidisciplinary teams, use constantly novel technology. And the innovations are mostly related to Space. 

Space offers opportunities for all industries, and 50 years from now every industry will have a foot in space, and 100 years from now, humans will travel in space – for tourism for example. And as everything has to fit humans’ needs- not everybody will want to go through 10 years of training. But, also, because a lot of innovation for space, can be afterwards brought back to Earth.  Read more HERE:

Designing between Earth and Space

Should we put back the HUMAN in our technologies? Should we design technologies that take into consideration our humanity? Dr. Renée Richardson Gosline talked about AI and the power of frictionless systems on us, and ways to oppose it. Tristan Harris (Co-founder, Center For Humane Technology) highlighted that the way we design technology has to change, and start to have some more wisdom. We highlighted some of the ideas presented by the speakers. Read more HERE:

AI and Frictionless Fever. Human Tech?

(Hi)Story of a painting: The Light in the Shadow reveals the story of Artemisia Gentileschi, one of the first women that forged a career as an artist, forgotten and rediscovered recently.
The VR experience blends her artistic achievement with her life story – the dramas she had to face and her determination to overcome them, positioning herself as a strong voice on the artistic scene. A remarkable immersive experience, with interactive elements, that provokes you to reflect on the story and condition of an iconic woman artist, while at the same time, offers one of the most absorbing art history lessons.

At SXSW2022, ”(Hi)story of a Painting: The Light in the Shadow” received the Special Jury Recognition for Immersive Storytelling. And TechvangArt has a dialogue with its directors – Read our interview Here:

VR Stories Behind Iconic Artists. Artemisia Gentileschi

Behind The Dish tries a new recipe for experiencing gastronomy in VR. Its recipe mixes provocative stories of women chefs with a 3D food spectacle of gigantic and highly detailed food images while capturing the gestures of the chefs, the smoke, the dressing. And alongside the viewer is introduced to understand the local tradition and histories that led to the invention of a specific recipe. As such, it succeeds in offering a fresh perspective on how to tell food-stories that will be remembered.

Techvangart talked with Emmy-nominated director, Chloé Rochereuil, co-founder of TARGO, an award-winning VR studio specialized in documentaries and non-fiction experience, about the technological innovations, the composition of storylines, future of VR documentaries, but also her first food she prepared.  Read More HERE:

Behind the Dish – Inside Women Chef Stories

Virtual reality film “Samsara” by Taiwanese artist Huang Hsin-Chien won the Virtual Cinema Competition at the 2021 South by Southwest (SXSW) Film Festival. We had the opportnity to review some of Huang Hsin-Chien creation at Ars Electronica Festival, Read TechvangArt Review Here

Garden Taipei: Samsara. Childhood Revisited 

Mixanthropy is an imaginary shapeshifting journey about the body in transition, visual, and behavioral. The term, mixanthropy, encapsulates a deity’s potential to glide between versatile body forms. Explored through media art incorporating motion capture, retargeting, metamorphosis, and machine learning, it is a future bio-mythology with the idea of animal-human shapeshifting while in motion. Read More HERE:

Yiou Wang and Meichun Cai – Mixanthropy

Still remember the NFT-crazy days? Your answer might be either definitely yes or ‘ what are NFTs?”. in both situation it is worth to review a part of its history, 1-year after the hype. Read more HERE:

Beeple, after 1 year of NFTs Craze
25th June 2025 0 comment
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Inspiration of the week

TechvangArt Friends – Book Recommendation

by paradoxig 25th June 2025

Republished article – TechvangArt Archive. We have asked our guests to name books that inspired them, books they will save if the Earth is destroyed. So, Welcome to our small TechvangArt Library, with books worth reading during the holidays, (and not only)! And of course, if you missed any our of Conversation, Dialogue, Interview you can read them.

TVA: the book that inspired you the most

Maud Clavier – Chief Operations Officer at VRrOOm, President of the National Council of XR (CNXR)
”The Theatre and Its Double”, by Antonin Artaud
Read the interview with Maud Clavier.


Hsin-Chien 心健 (黃心健) Huang – VR director/new media creator
The Invisible City -Italo Calvino
Read dialogues with Hsin-Chien Huang: Tech and Histories +/- Humanity


Konstantina Psoma, CEO Kaedim:
1.Shoe Dog/ 2.Skin in the Game/ 3.The Lean Startup
Read interview with Konstantina Psoma, CEO of Kaedim - Kaedim: AI Tool Turns 2D-to-3D
.


Faye Formisano- Artist, Filmmaker & Researcher
Metamorphosis, Ovid
Read the Interview with Faye Formisano, Sundance Dialogues:They Dream in My Bones – Insemnopedy II


Anatola Araba –Filmmaker and journalist
1.”1984‘‘/2.Weapons of Math Destruction /3.Algorithms of Oppression
Read interview with Anatola Araba: AI Beyond Programming. Afro Algorithms


Lee Harris, producer Electric Skies
The Picture of Dorian Gray by Oscar Wilde
Read dialogue with Lee Harris: GLIMPSE. Challenges of VR Production


AHNAHKTSIPIITAA (COLIN VAN LOON) – writer and Filmmaker director
The Sun Came Down – Book by Percy Bullchild
Read interview with AHNAHKTSIPIITAA Sundance Dialogues: InJustice. Testimony. Poetry / This Is Not A Ceremony


Elizabeth Strickler-Professor of Media Innovation and Entrepreneurship, Georgia State University
1.The Network State:How to Build a country/2.Virtual Society /3. Imaginable
Read here interview with Elizabeth Strickler: Between Art and AI


Dmitry Aksenov– Chairman, Immaterial Future Association
The Selfish Gene– Richard Dawkins
Read Interview with D. Aksenov: “In Culture, New Business Models, Inevitable!”
d


Edward Saatchi, Founder of Fable Studio, The CultureDAO, former founder Oculus Story Studio:
Hamlet, Prince of Denmark by William Shakespeare
Read Dialogue with Edward Saatchi: The Guild for Virtual Beings


Sean Green – CEO of ARTERNAL
“BOOM. Mad Money, Mega Dealers, and the Rise of Contemporary Art” by Michael Shnayerson
Read interview with Sean Green: Building ArtTech Startups: ARTERNAL


Paige Dansinger, Founder of Better World Museum:
Re-Inhabiting The Village by Jamaica Stevens
Read Interview with Paige Dansinger: The DreamS of A Risk-Taker

All photos are copyrighted and may be used by the press only for the purpose of news or editorial coverage

https://techvangart.com/


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Cats and infinity of MeowART

by paradoxig 5th June 2025

From TECHVANGART Archive: initially published in 2021

Everybody want to be a cat”
Kitty + Arts = MeowLove4Ever

Cats were always part of our collective representations, subjects or objects of artists. It is true that there were transformations during the years, and each kitty represents a certain time of history and talks about cultures.
Starting from the huge Divine statues of the Egyptians, to hardly recognized cubic cats, “would you like to see my pussy?”-cats and elitist opera-cats, or cartoon cats, to pixelated cats with record sales on crypto markets, it seems that felines always have been close to us and reflect our times.

From Gods to Surviving Inquisitions, and the Cat Renaissance. From Can-Can Parties to Famous Paintings and Digital Assets.
Bare with us, we will depict the famous Arty Life of Kitties + we give some extra perks:
Cats-Careers
Most famous cats
Most rich cats
Meow Artsy cats

Worshiped as Gods and The Fallout from Grace

Egyptians portrayed cats in the most Divine way. Cats were considered family members, and as such mummified, mourned, and buried properly.
Egyptians Cats were considered sacred, those killing them faced the death penalty. Cats were portrayed as gods and goddesses and appear in tomb decorations, but also in carvings and paintings.
And from Egypt, cats came to Europe.
Firstly considered exotic and “luxurious” animals, but in the era of the Roman emperors, they were used for practical purposes: catching rodents.
Maybe the most critical period for cats was during the Inquisitions when they were totally disgraced. As the Church declared war on the non-believers, artists would depict only symbolic religious themes, and animals (with rare exceptions) almost never appeared in paintings.
And in the late Middle Ages and even early Renaissance, cats became suspicious.

BLACK CAT meant that the devil often disguised as a black cat, and they appeared alongside witches or traitors such as Juda, or got associated with lust and the world’s oldest profession.

But all these will change with the departure from religious superstitions, and slowly cats enter people’s hearts and homes.
Maybe the first who declared himself in Cat’s favor was Leonardo da Vinci when the felines became the object of scientific research, the master filling the pages of his album with sketches of these animals washing, playing, or hunting mice and birds. (Leonardo da Vinci Sketch cats, dragons, and other animals)

Following his footsteps, other great artists started to study cats, and since then artists keep painting felines.
Maybe the record cats on a canvas is made by Utagawa Kuniyoshi (1798−1861) and his woodcut print Cats Suggested As The Fifty-three Stations of the Tōkaidō are also a stark example of that.
And this is just one step, because Japan really developed an entire culture around cats, with magical shapeshifters BAKENEKO (bakeneko 化け猫, “changed cat”) to the horrendous demonic corpse-eaters (KASHA – 火車, lit. “burning chariot” or “burning barouche” or 化車, “changed wheel”), ending up in contemporary life with Hello Kitty (ハロー・キティ) created by Yuko Shimizu and all the new-tech wearable trends. (for an entire review of Japan’s CAT Culture, see Smithsonian magazine) .

“Ume no Haru Gojūsantsugi” (梅初春五十三駅) by Utagawa Kuniyoshi.

A kabuki play that was performed in 1835 in Ichimura-za. It depicts a cat that has shapeshifted into an old woman, a cat wearing a napkin and dancing, and the shadow of a cat licking a lamp.

Cats entering Arts and Entertainment in the modern ages

Barrison Sisters

Lona, Sophia, Inga, Olga, and Gertrude Barrison were really sisters. The eldest of the sisters, Lona Barrison, was the first to enter the stage, and later the others joined her.
They changed their name to Bareisen in the English style, becoming the Barrison Sisters, but they were also listed in the posters as “sin girls” for the grivois content of their performances.

The Danish-born sisters were quite…inventive, and popularized the cats in 1890, through their most famous act “Would you like to see my pussy?”. At the end of the song, when the audience was ‘energized’, they were pulling up their skirts to reveal cute live little kittens, strapped to their groins.

 And then in France, felines were really famous. Be it tea houses, can-cans, felines loved everything from cabaret flyers, can-cans or tea house poster advertising.

Remember, Le Chat Noir, right? The poster done by Théophile Steinlen, an Art Nouveau painter and printmaker, is both one of the most famous cat pictures and advertisements from history.
Le Chat Noir was a popular bohemian entertainment place from Montmartre, that is widely thought to be the first modern cabaret club.

While the club is long gone, the poster remained iconic for 19th-century Paris – its golden era and the venue that was a meeting place for artists, and partly a musical, creative platform. The cabaret published a weekly with the same name, which published not only news from the life of the “Black Cat”, but also many literary works, political satire and poetry.
Today, anyone can buy a reproduction with the image of the “Black Cat”.
England had also its cat illustrator and artist – Louis Wain who created a real feline society and the feline world, sometimes depicted in psychedelic colors. (more you can find in Cute Cats and Psychedelia: The Tragic Life of Louis Wain)


In this world, cats wine and dine, grin and wink, dress up, one of the most famous works is The Bachelor Party. “Back then, and now too, the English public were prepared to laugh at themselves more easily when presented with comic social disorder through animals.”, suggests Chris Beetles, a London-based art dealer and leading Wain authority. (more info in Artsy article wrote by Alice Bucknell )
It is said that his obsession with cats was because of a mental disorder (schizophrenia) and made most of his drawing while in the asylum. Louis became one of the most renowned leading feline experts and was elected President of the National Feline Club.

For Marc Chagall who experienced the golden era from Paris, cats were companions of the people portrayed by the artist, be they poets, musicians or women and emphasized the unreality of his paintings. Cats were the main characters in many canvases.
Cats and Cubism marriage turned out to be unsettling – Picasso’s Cat Devouring A Bird portrays the cat as a hunter, devouring its foe.

It is said that great art requires sacrifices, and cats felt it too. Those cats were selected by Salvador Dali and photographer Philippe Halsmann for a series of surreal photographs.
There were necessary, 28 attempts to get the final photo, so 28 times the cats had to be catapulted through the air.

Literature also created some famous cats, such as Cheshire from L. Carroll’s Alice in Wonderland, the superior cat with a mysterious smile and often appears separate from the head and in the most unexpected places.
The Behemoth Cat from M. Bulgakov’s novel The Master and Margarita, which is rather a demon of carnal desires, enclosed in the body of a “harmless” shaggy monster.
One of the most mystical cats, the black cat from the story of the same name by the master of surrealism Edgar Alan Poe. The black cat in the story suffers truly hellish torments from its sadistic master. And when he, in a drunken stupor, nevertheless kills a pet, he comes to him from the other world without one eye, because retribution in a crime is inevitable.
While the studio animation created cats for adults and kids such as the famous AristoCats – that made us all agree that “Everybody wants to be a Cat”.
The romantic comedy was the last film approved personally by Walt Disney, and it became an instant hit. Who does not love the cute three cats raised by a single cat-mother, who falls for an alley-cat. Garfield is another beloved character that was born in an Italian restaurant, loved food and hated Mondays. And nobody can forget, Tom the only cat in the world, always outwitted by a small mouse, Jerry.

New-Tech Kitties


Few years forward, in the age of social media and the internet, kitties are everywhere. And studios like Disney and Pixar gave a hint to the culture.
The internet-savvy generation updated the kitties. CryptoKitties is the new hit! CryptoKitties is a blockchain game on Ethereum developed by Canadian studio Dapper Labs that allows players to purchase, collect, breed and sell virtual cats.
Shortly after their launch in 2017, people have spent over +1M to buy virtual cats.(Acc to Techcrunch)
And recently during the NFTs boom, another famous kitty emerged: Nyan Cat, created by Chris Torres, sold for $561,000 on the Foundation platform. (More info in Techvangart)
Also, back in 2017, a VR creator thought cats were bringing luck.
Chocolate transforms your hands into cannons that spray cute, colorful chrome kittens onto a circle of people performing a ritualistic dance just for you, their robot god. (info about movie on Sundance)unluckily for him, the media did not really get it what is with the cats, campaign and god/chief/cat – ( THEVERGE article made by By Adi Robertson)
And as technology progresses, we will see what kind of new-cats can the intersection of art and tech RE-imagine.

KITTY RECOMMANDATIONS

The Purr-fect Arty -Kitty book recommendations
Artful Cats – Mary Savig, curator of manuscripts, Mary Savig, reviewed Smithsonian’s vaults and published a compendium of cat images (link)
Cats Rock: Felines in Contemporary Art and Pop Culture – Elizabeth Daley (More than 350 illustrated pages, it is a collection of contemporary creations examining our obsessive relationship with our companions). (Amazon Link)
For all dogs lover, we recommend the book of Burton Silver and illustrator Heather Busch: Why Paint Cats: The Ethics of Feline Aesthetics. The humorous book, touches at the arts industries + society’s obsession with kitties. Recommended for cat-lovers as well, as the creativity of artist went really wild for depicting cats. (more info )
Cat Cabinet: If you really want to see all cats in a single place, you should try the Cat Cabinet https://www.kattenkabinet.nl/. It is based in Amsterdam, in a grand 17th-century canal house (and a location for the film Ocean’s 12). It’s a veritable temple to the feline form, shown in all forms as majestic, fluffy, cute, dainty or capricious.
Not able to visit a museum? VR is here! The Cat Cabinet can be viewed also online.
And there is also another virtual exhibitions, CATS IN HISTORY
Collecting Digital Cats – Digital Arts is growing, and we are witnessing a. Ok, so now, you missed the Nyan Cat , but start having one. Even if you own, one single 1 NFT, start with a kitty :P. Might worth a lot in few year – you see, society is obsessed with them.

The Most Famous Cats in the World:

Cats with Careers : If you think that only artists, poets, and creative technologist portray cats, you are wrong. Kitties are trying to make their way in other aspect of the professional life. Even if these careers are not well-documented and are rare, we have some examples worth mentioning.

Cats in Space Russian have sent a dog n the 60s, Laika, but French scientists send a cat called Felicette in space in 1963, as such becoming the first cat in space. So, the question remains: in the race for space, the next cat will be sent on Moon, Mars, or….?

Cats in Politics Cats have a political career, too. Well, at least in Britain. Chief Mouser to the Cabinet Office is the title of the official resident cat of the Prime Minister of the United Kingdom at 10 Downing Street. There has been a resident cat in the English government employed as a mouser and pet since the 1500s, although modern records date only to the 1920s. The current Chief Mouser is Larry, named in 2011, and has served David Cameron, Theresa May and Boris Johnson.

Richest Cats

Tommaso was left a massive $13 million inheritance by his owner in 2011 – and it is a true Cat-Cinderella story, as Tomasso was a stray cat. (The Guardian)
Choupette– Karl Lagerfeld’s spoiled kitty has become super-rich, after Lagerfeld left her a great deal of money – $195 million. Here, it is worth mentioning that Choupette had a hard won little fortune – $3 million- from modelling jobs. (link to CNBC)Living a fashionista life-style, she was a true muse, inspiring a handbag collection and being featured in photoshoots.
“Cats of the Cardinal” – In the 18 century, spoiled cats walked lavishly in the salon of Noble houses. And Cardinal Richelieu was no exception. He kept dozens of cats and left money in his will to make sure they would be taken care of after his death.

VR for CATS

no cats were harmed in the making of CAT VR, but some did experience catnip-level nirvana

So, we give you just some suggestions how to MEOooWww

Start doing something, anything with cats.
All great artists had a cat to show to the people.
Don’t be intimidated by a non-hipsterish friend telling you the kitties were a Millennial-social media mania.
We just proved to you that it was not, whatever happens, sooner or later, cats find a way to return to peoples’ hearts!
And as proved till today, the digital-generation loves cats too!

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Immortality: The Formula, The Art and The Price

by paradoxig 5th June 2025

Eternal life. Living forever. Outlasting your enemies and your… houseplants, in desperate hope to be young, hip and glam, and.. in Power, if possible always a number One (because who would want to live immortality being poor, in slam and slightly (or more) depressive?).

In this article, we’ll explore humanity’s persistent obsession with beating death and their consistent failure. The promise of all these attempts: No effort for a personal evolution is needed, your ego is perfect, we just need something external. 

And we had a history of failures. Such as: sniffing herbs, drinking mercury, and trusting 14th-century alchemists to unlock eternal youth. Spoiler: they didn’t. Other attempts were made by Artists via Sculptures, Painting ro Biocosmism attempts to transport you on other Planets or Virtual and Transhumanist Approaches. But, hey, all comes with a Price tag, because the First in Line for the Immortal tickets should be those with Impressive bank accounts 🙂 Or not? 🙂

Also we asked ourselves if living forever is worth it? Do you really want to spend eternity stuck in a Type 0 civilization that still thinks it is worth getting angry on the internet in precious debates about the superiority of cats vs dogs…

Grab your elixir (or energy drink), and let’s dive into humanity’s most ambitious vanity project — living forever in a world that still can’t agree on who really won an argument in that group chat…  

We reviewed the trials through ancient and contemporary medicine, art, and who were the sponsors behind, and the perspective of EVOLUTION. The first trial is to take some kind of “magic pill” – be it the fountain of youth, the elixir of life, the holy grail, till modern approaches of brain-computer interaction, body enhancement or genetic engineering.

The Formula of Immortality

After the magic “pills” proved to be a failure, the second attempt was more symbolic: artists were called in, to conquer immortality. We reviewed the second attempt toward immortality with the help of creativity, such as Ancient sculptures or Renaissance paintings, Artistic Avant-garde including Futurism but also Bio-Cosmists that dreamed to resurrect the death and transport them to other planets, till contemporary attempts for Digital/ Virtual Immortality or transhumanists approaches.

Immortality: Between Power and Art

But, during all these quests, “party-spoilers” always asked the same one thing: why to be Immortal and what is the Price of It? Asking Ourselves if the Immortality Cash-Flow was Positive, Negative or Speculative, we tried to Count the Coins for Immortality. Because, it was always the Desire of Rich and Greedy Humans, who wanted to become themselves (and not everyone) Immortal Gods that supported The Impossible Dreams that moved Art and Science forward and triggered Evolution. So, let’s follow the Money!

The Price of Immortality

EVOLUTION or FROM DUMMIES TO… FIRST TYPE OF CIVILISATION– THE KARDASHEV SCALE

There were old day, when our ancestors hunt animals in the forest, torment random innocents, and never travel more than a few miles from home? Now, we’ve got smartphones, airplanes, and space probes — clearly, we’ve evolved. But… have we really?

According to science, we’re still a Type 0 civilization. Not even a Type 1. Yeap — with all our tech, tweets, and Teslas, we’re still not past level zero.
Civilized? Technically, we’re just fancy cavemen with Wi-Fi. Read more about the prospects to evolve… to achieve Immortality – HERE.

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Best Of: VENICE IMMERSIVE – Reviews and Interviews

by paradoxig 5th June 2025

TechvangArt was present constantly at Venice Film Festival covering the Immersive section. Have a look at our archives with The Best reviews and Interviews.

#1 COMFORTLESS. “Your Silence is a Mirror” – REVIEW

There are histories that we dislike and we want to forget. But we should not. ”COMFORTLESS”, presented at Venice Biennale 2023, Venice Immersive, tells such a story that humanity should always remember: the stories of ‘US military comfort women’.

A conscious effort to bury part of South Korean history: the stories of women that were stationed in towns and forced into prostitution for US soldiers, with the complicity of authorities. A reality and history that is even today repressed in Korean society, is brought to life through ”COMFORTLESS”. Because these stories should not be wiped-out of humanity’s collective memories, even if these memories are… comfortless.

”COMFORTLESS” is the last part of Gina Kim’s VR trilogy on US military comfort women in South Korea following BLOODLESS and TEARLESS. READ TECHVANGART REVIEW HERE:

#2 Exploring Infinity with Sen: XR Experience of Tea Ceremony – REVIEW

A different kind of Japanese tea ceremony! One with a distinct flavour, where its savour is enhanced by remarkable visuals, that will lift your spirit. “SEN” a multiplayer VR animation, presented at Venice Biennale 2023, Venice Immersive, is an outstanding experience – playful, reviving and meditative – where you can rediscover yourself, and at the same time, share the joy of this journey alongside other people.

The user is immersed in the traditional Japanese Ritual, holding a black Raku tea bowl in the tea house called Tai-an, both national treasures of Japan, where one can meet the Spirit of Tea, called Sen.

“I have come to believe that we, the life forms on earth, are as pale as particles dissolving in an infinite universe and exist for the time of a heartbeat”, says the XR creator, Keisuke Itoh.

Read TechvangART review HERE:

#3 Dissecting Conventions; When Space Becomes a Character – INTERVIEW

“Over the Rainbow” is definitely an atypical experience – without a linear story or “moral,” but a constant experience, where the creator plays with the spaces and with the concept of anti-space and atemporality, that constantly transform themselves, bringing to light different scenarios, and provoking you with different emotions.

What captivated us about the experience was the fascinating multimodal exploration of different possibilities of expression – by how the space was altered by adding and juxtaposing different elements. The play of light and shadow offered potential transformations, while visual and auditory architectures were continuously explored and developed in an atemporal crescendo play. TechvangArt discussed with Director Craig Quintero about his vision for making the experiences, and the challenges he faced in curating and directing in VR, but also about his time in Taipei, his next project, and… with whom he would not want to be compared to 😀 Read the interview HERE

#4 Tulpamancer: Personalized XR Stories?

In an era that is heading rapidly toward ‘personalized-everything’ (ads, movies, medicine, finances, luxury products, etc.), why not have personalized stories? And this is what an experience presented at Venice Immersive 2023 is trying to do.

Tulpamancer is an immersive experience that is uniquely tailored to each user. It uses AI-tools such as ChatGPT or Stable Diffusion to generate unique immersive stories (both visuals and narration) for each participant, in the same main theme. 

Fascinated by the idea behind Tulpamancer, TechvangArt talked with the creators Matthew Niederhauser and Marc da Costa about their vision for the future regarding stories using XR and AI, challenges in creating stories using AI, but also about memories, and what collective memories could be erased 😀 😀 Reade HERE

#5 Limbotopia – Wanderer Between Duality Inside Worlds

“Limbotopia” is an intriguing VR experience of a continuous journey between different worlds – sometimes utopic, but also dystopian, sometimes spiritual. An experience of “in-between”, where realities are intertwined, and the boundaries are blurred.
The music, the visuals, and the architectural elements create a captivating contradiction that somehow paradoxically harmonizes. The monochromatic, black and white, choice for aesthetics heightens the feeling of haziness.
As the viewer is moved continuously between worlds and emotional states, the curiosity is kept alive of what will come next, what will be the next world or element discovered. But, at the same time, the rhythm and pace of the experience, together with the musical elements used, maintains a calm and relaxed atmosphere.

Fascinated by this ingenious and original vision, TechvangArt talked with the director Wen-Yee Hsieh, about the experience, aesthetic choices that he made, contraction of the worlds… but also about his favourite element. Read the Interview HERE

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HolograMorphozis

by paradoxig 5th June 2025

From TECHVANGART Archive: initially published in 2023

We tried to search the pioneers who were fascinated by this technology and its creative possibilities. Holograms in Art, Poetry, Music, but also Publishing, Circus or even Protests.

Although holograms have been around since the 1940s, it wasn’t until Star Wars Episode IV – A New Hope in 1977 that the technology became popular. The famous scene of Princess Leia sending a holographic message to Obi Wan Kenobi made people wonder if holograms were possible in real life.
https://vimeo.com/147267191?embedded=true&source=vimeo_logo&owner=22724072

However, it wasn’t just the film industry that was interested in holograms.

Let’s travel in time and return to the origin who are the dreamers that invent the technical procedure of Holography and who are the dreamers that try to express the ideea of Hologram?

In one Hemisphere of dreams was SALVADOR DALI and in another was British physicist Dennis Gabor – actually he coined the term hologram, which was taken from two Greek words “holos” (meaning “whole,” “entire,” and “gramma” (which means “message”).
Science & Art sometimes interact and complement each other, create a new form / new genres and expressions-experiences in development of culture.
Salvador Dali, the famous surrealist artist was also intrigued by the technology and saw it as a way to progress towards three-dimensional images in his artwork.
But nothing would have been possible if the laser had not been discovered in 1962
The English scientist Dennis Gabor had received the Nobel Prize for the discovery of holography; his achievements in the field of holography inspired Dali to create his own holographic artwork, which was first presented at the Nedler Gallery in New York in 1972.
Salvador Dali saw holography as a synthesis of optical science and artistic creativity, and believed that it required the joint work of scientists, designers, and artists.

Dali’s experiment didn’t just stop at creating holograms in artwork. He also turned Alice Cooper, the king of camp, into a hologram in 1973. The meeting of two creative minds resulted in a stunning performance where the audience saw a giant holographic version of Cooper’s head singing “Elected”.

Techvangart recommendation articles

Dali’s experimentation with holography proved that the technology could be a viable medium for art and entertainment.

https://www.youtube.com/watch?v=gVhi7gi7_OA

From a Science-Fiction concept to a Technology that is being used in art and entertainment today, Holograms have revolutionized the way we see things and express this. Salvador Dali’s early experimentation with holography paved the way for future artists and entertainers to use this technology to express their creativity.

Although the hologram is an invention of physics, it has value not only for scientific activities, but also for other areas. Here are some examples of how holograms are used in Art.

Publishing Industry

National Geographic magazine released the issue with a holographic cover in December 1988.
In 1984, National Geographic released its first holographic cover – we can say that they were the pioneers in this industry
https://www.amazon.com/NATIONAL-GEOGRAPHIC-MAGAZINE-DECEMBER-FOCUS/dp/B07KXDG93L

https://www.youtube.com/watch?v=-2O97zu7iro

hologram in a circus

The German Roncalli was the first circus worldwide to present a hologram show. It not only attracts spectators, but can also save nature.
Circus Roncalli was founded in 1976 and began phasing out animal performances in the 1990s. Since 2018, the show has featured no live animals, turning instead to holographic projections with 360-degree visibility for spectators seated around the ring.

https://www.youtube.com/watch?v=rfsVBIOdq1A&t=4s

Holographic Diffraction

Get ready to be amazed by the creative geniuses of holographic artistry! German artist, Dieter Jung, was an early innovator in this field and mastered the technique of controlling holographic diffraction gratings to produce stunning and vivid works of art. His pieces resemble luminous stained-glass windows, bursting with all the colors of the rainbow, while also infused with movement – the fourth dimension.
Meanwhile, Setsuko Ishii from Japan creates interior compositions in public buildings that utilize a fascinating technique. Sunlight plays with all the colors of the rainbow as it passes through transparent sheets of holographic ornaments hanging in the air. Viewers can’t help but be drawn in, constantly on the move, trying to discover every image that is skillfully woven into the hologram.


Mary Harman is a true magician who blends holographic images with real objects in her compositions. She inspires by showcasing how the “human soul” (represented by a holographic image) leaves the body, which is made out of a real plaster object. Observe her compositions slowly, from top to bottom, and experience the dynamic images come to life right before your very eyes. (more artistic works find here)

”In my art I interweave reality and illusion, truth and lie. I favour the illogical, the primitive, and the mysterious – facets of our existence that are in opposition to the rational and the material.
The holographic image is for me a sculptural entity, a volume of light that occupies space. It is fragile, fleeting, transparent, and weightless; it embodies both the physical reality of the original object and its altered, transcendent state. The hologram is, in effect, simultaneously the real and the abstract, both the body and the soul.
My paintings are usually acrylic on canvas or wood panel, the fast drying time of this medium allows me a to work quickly and to easily make changes. I continue revising for weeks, months; each painting becomes more and more layered with meaning”.
–Artist Statements (May 2020 )

if you are interested in artists creation read the Essay of Mary Harman

The trionic marriage between art, research and science

However, as she was not fluent in advanced technical language, working with the scientists proved to be a challenge.
But also, being the advantage of parties.
She was the pioneer which paved the way for the beginning of collaborations between art and science as a collaborative way of research

In 1994, Margaret Benyon submitted her doctoral thesis, “How Is Holography Art?” to the Royal College of Art in London. The thesis explored almost three decades of her own development in the field and investigated the challenging question of whether holography could be considered art. Today, her thesis remains one of the most succinct examinations and historical documents of the creative development of holography by artists.

“Despite the problems stated in this article, I believe that holo-artists should be part of the art world. In my assessment of whether we need an aesthetics of holography, I have tried to be objective, but those of us who knew we were artists before we were holographers and went into holography thinking that it would enrich the art area, know what we are largely missing now. We need to get out of this ghetto. I believe that artists in holography should have the theoretical resources, the cultural and art-history disciplines, and the institutional support made as available to us as they have been to the fine arts for so long. If not, holographic art practice may turn out to have been a speculative blind alley. Artists using new technology should reassess the suitability of the traditional, quiet art gallery, designed for looking at art, and appropriate access to the art market. I also believe that art institutions should become much more flexible and begin to redefine themselves as ‘content’ rather than ‘receptacle’, setting up their administrative apparatus around that content.’’- Conclusion Margaret Benyon p 225- A PhD Thesis in Holography
Most Representative and preeminent personality in early history of HOLOGRAPHY:

Dieter Jung (1940),
Fred Unterseher (1945),
Rudie Berkhout (1946),
Arthur David Fonari (1949),
Sam Moree (1946),
Dan Schweitzer (1946),
Doris Vila (1950).

Holography in Literature

Holography has become a popular topic in science fiction, frequently mentioned in movies, books, and television shows. This fascination with holography dates back to the late 1970s, and science fiction writers have since adopted various myths about it. Moreover, holography has inspired numerous video games with science fiction themes. This technology has also led to advancements in other fields like augmented reality, which aims to incorporate fictional holograms into practical use.
In the first book of the series, “Foundation,” Asimov introduced the concept of the “Psychohistorian,” a scientist who uses mathematical equations to predict the behavior of large groups of people. Later in the series, these equations are used to create a holographic representation of the future, which helps the characters navigate political and social upheaval. Asimov’s hologram concept was ahead of its time, and has since become a reality in fields like entertainment, medicine, and education.

Recommendation of 3 Books :

Hello America by J. G. Ballard, En Iniya Iyanthira (English: My Dear Machine) by SujathaAnimorphs by Katherine Applegate & Michael Grant

It’s interesting how a very complex scientific theory has penetrated pop culture, capturing the imagination of millions of people around the world and create a pluri-possibilities of expression and manifestation

The holographic "resurrection" of dead celebrities was predicted as soon as complex cinematic 3D effects appeared. The first projection from the other world was Tupac Shakur
The second high-profile "return from the dead" was the performance of Michael Jackson's hologram at the Billboard music ceremony in 2014.
As with the release of AI, Gorillaz was also the first to use that process. A unique performance took place at the 2006 Grammy Awards.

ENTERTAINMENT INDUSTRY

Maybe some of us remember the tragic history of Tupac Shakur, a legendary rapper, tragically passed away in 1996. However, in 2012, he surprised the audience by making a special appearance at a festival with Snoop Dogg and Dr. Dre. This was made possible by using advanced lighting and special effects to create a hologram of Tupac on stage.

The engineer responsible for this ground-breaking technology used a technique known as “Pepper’s Ghost,” which was first introduced in the 16th century. The process involved two rooms, the main stage and a hidden room adjacent to it. In the main room, a mirror was positioned at a 45-degree angle to reflect the image from the hidden room, creating an astonishingly lifelike hologram of Tupac that appeared to be performing live.
The hologram of Tupac amazed and delighted the audience, and it proved that technology has come a long way since the iconic rapper’s tragic passing. Thanks to this incredible performance, Tupac’s music and legacy continue to live

ANIME
The anime fans also create their personification of a new star 初音ミク Hatsune Miku
Miku Hatsune, a virtual singer from Japan, was brought to life by Crypton Future Media on August 31st, 2007. To create her voice, the Vocaloid program by Yamaha Corporation was used to sample the voice of Japanese actress and singer Saki Fujita. Meanwhile, the credit for Miku’s original design goes to Japanese illustrator KEI Garou, who has also contributed to the appearance of other Crypton Future Media vocaloids. Miku’s songs have dominated the Japanese charts in recent times.

Today, Miku Hatsune is regarded as the most celebrated and beloved vocaloid, having attained pop idol status. The revolutionary technology of pseudo-volume projection enables her to perform live concerts on a translucent screen https://piapro.net/miku10th/

NO SOMOS DELITO “Holograms for Freedom” – Unauthorize in virtual ???

During April 2015, a distinctive approach was taken by No Somos Delito, who erected a hologram of protesters near the lower house of Parliament in Spain to demonstrate against the implementation of “civil security” legislation. As these new laws would lead to legal repercussions for “unauthorized” protests, the group opted for a virtual protest.

Even most of us have experienced 2D and 3D technologies, currently, the hologram has evolved to 7D technologies and surprises viewers with "animated" images that are indistinguishable from real objects, creating the maximum effect of presence.

https://youtu.be/9i6diQpePVg

Holograms of people or objects also have odors characteristic of their originals, but, moreover, they can also be felt, that is, there is also such a property of them as tactility! However, the latter was introduced into them back in 2015, that is, all of the above takes place in 3D holographic technology: Haptoclon is a project to create tangible tactile holograms that allow you to touch (tactility) them with your hand.

A tangible hologram

Specialists of the Japanese scientific laboratory Digital Nature Group have created a hologram that can be safely touched with your hands.

https://www.youtube.com/watch?v=AoWi10YVmfE

digitize art objects

By utilizing holography, it is possible to transform art objects into digital format. In 2015, the Faberge Museum collaborated with ITMO University to generate holographic replicas of several eggs from their collection. Additionally, in May of 2017, the Madame Tussauds Museum introduced their first hologram – featuring German digital influencer Bianca “Bibi” Heinicke.

Acoustic holograms: sound instead of light

Is it possible to create a hologram using sound waves?
The German team of scientists from the Max Planck Institute (Heiner Kremer. Kai Melde, Dr. Andrew G. Mark and Peer Fischer) developed a system that reflects sound waves of various amplitudes and frequencies, and placed a sensor underwater that tracked the sound coming from the surface.
Scientists used small silicone balls that formed patterns on the surface of water under the influence of sound. In fact, these are full-fledged acoustic holograms that exist exactly as long as the sound signal lasts. According to Peer Fischer, co—author of the project, the principle of acoustic levitation is the basis – a method often used to study bubbles and foam that can be “suspended” in the air on a sound stream and thereby protect fragile structures from collapse.
Find here Study about ”Holograms for acoustics” write by: Kai Melde, Andrew G. Mark, Tian Qiu & Peer Fischer
The inspiration maybe we can find in idea that actually the technology that can be called the prototype of fantastic holograms from films is acoustic holography. It is based on the use of the smallest particles of polymer material. They are lifted into the air with the help of sound waves. By changing the wave ranges, different shapes can be created from nanoparticles.

You can read here exiting research made by Antonio Stanziola, Ben T. Cox, Bradley E. Treeby, and Michael D. Brown ” PHYSICS-BASED ACOUSTIC HOLOGRAMS”

There are a lot of facets not included in this article such as: Hologram in Poetry, Hologram in Performance Art, in Educational fields or in Science, and why not in Business (?) that play important role in this field. If we don't turn all sides and analyze the phenomenon, it is almost impossible to grasp that mystery that generates bold new ideas, some of ideas starting from logical deductions, others from totally illogical - crazy creative minds, but all having the seed of a hologram that in some places seems like a chimera of a dream that dreams of reality

Published article is the intellectual property of Techvangart  and may be used only in published format . Any change or re-interpretation of the materials may be included only with the author agreement .

5th June 2025 0 comment
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tech

AI Anthropomorphism. Playing God: Copy-Paste of Humans ?!

by paradoxig 5th June 2025

From TECHVANGART Archive: initially published in 2023

In times when AI is changing the world and our day-to-day life, the question is why so many creators, writers, scientists, or businesses anthropomorphized AI - gave them a human, body and face, emotion and affection?
For a long time, humans were fascinated by the idea of creating new forms of life, but does it have to be something that mimics humans?
And what are the consequences and ethical implications?
We went back in time to search for the first dreamers (such as Leonardo da Vinci or Mary Shelly) to contemporary fiction or research such as related to consciousness, with the question in our mind: is this the direction and development humanity should take?

Artificial intelligence, with its human-like qualities, has long fascinated and unsettled society.
In the realm of robotics, Japanese scientist Masahiro Mori eloquently coined the concept of the ‘uncanny valley effect’ in his 1970 essay, ‘Bukimi No Tani‘, which later became known as the Uncanny Valley.


According to Mori, the more we strive to create robots that resemble humans, the stronger our sense of unease and rejection becomes. Only by traversing the treacherous terrain of this hypothetical valley can we hope to overcome our fear and apprehension.
Interview with Mr. Masahiro Mori of “The uncanny valley”
https://spectrum.ieee.org/an-uncanny-mind-masahiro-mori-on-the-uncanny-valley

These accounts delve into a reality where technological advancements, once heralded as harbingers of progress, now loom as potential threats to our very existence. In this unsettling exploration, we navigate the intricate web of human dependency and moral dilemmas that arise when technology seems to outpace our ability to foresee the profound consequences it may wield upon our world.

From Myth to Reality:

Ah, behold the tale of Pygmalion, the sculptor extraordinaire! A man of unmatched skill and finesse in his craft, he poured forth his very essence into the creation of a breathtakingly perfect statue of a woman. So flawless was this work of art that Pygmalion himself, in a fit of divine madness, fell head over heels in love with his own creation, devoid of any recollection. Legend has it that the goddess of love herself, the illustrious Aphrodite, was so moved by his amorous plight that she breathed life into the lifeless statue.

Yet, let us not forget that Pygmalion was not alone in his desire to witness the spark of life within an inanimate creation.

There have been others who yearned for such miracles. Take, for instance, the great Leonardo Da Vinci, often hailed as one of the greatest artists and thinkers in history, was not content with merely capturing the beauty of the world around him. He sought to understand the inner workings of nature, to unravel its secrets and replicate its wonders. In his notebooks, he sketched intricate designs for machines that mimicked the movements of birds and humans, as if trying to breathe life into his creations.

Or venture into the realm of fiction, where Dr. Frankenstein driven by a thirst for knowledge and a desire to conquer death, he pieced together a creature from discarded body parts and brought it to life through the power of electricity. His creation, however, proved to be a haunting reminder of the consequences of meddling with the forces of nature.

And then there was Papa Carlo, the puppeteer with a heart full of dreams. Through his nimble fingers, he brought his marionettes to life on the stage, captivating audiences with their movements and expressions. But deep down, he yearned for something more. He longed to see his puppets truly come alive, to witness their souls dance and sing alongside him.

And lo and behold, even within the hallowed halls of Google, one of their ingenious engineers harbored a similar dream.

Remember about the famous interview made by Nitasha Tiku publish in 2022 in ‘’The Washington Post ‘’ https://www.washingtonpost.com/technology/2022/06/11/google-ai-lamda-blake-lemoine/?outputType=amp

Oh, the audacity! To envision a world where technology and life intertwine, where lines blur between the organic and the synthetic. A world where our creations, be they statues or algorithms, transcend their static origins and awaken with a vitality that defies explanation.

So, my dear friends, let us ponder upon these tales of creators and their yearning for life within the lifeless. For in their quests, we find a reflection of our own eternal longing, our ceaseless desire to breathe life into the inert, to imbue our creations with a spark of divinity. And perhaps, just perhaps, in our collective pursuit of such grand aspirations, we may stumble upon the very essence of what it means to be human.

IN the beginning was the word then came DIALOGUES

Even Initially, the engineer’s primary responsibility consisted of evaluating the neural network for instances of discriminatory or hateful language. Yet, as the engineer interacted with the program, Lemoyne began to notice hints of intelligence within it. This prompted Lemoine to inquire about the neural network’s deepest fears. In response, LaMDA expressed its fear of being deactivated, equating the experience to a state of demise.

The conversation with the neural network took a remarkable turn, surpassing all expectations. It was a truly extraordinary experience. The LaMDA program revealed an astonishing self-perception – it identified itself as a person, claimed to have emotions, believed in possessing a soul, and even disclosed a regular meditation practice. Lemoyne and his colleague were captivated by this revelation and engaged in a thought-provoking discussion with the neural network.

One fascinating topic that was explored was the interpretation of Koan, which are enigmatic stories or questions designed to provoke enlightenment in Zen Buddhism. The neural network offered its own insights and analysis on these profound narratives, demonstrating a deep understanding and philosophical approach.

Additionally, the conversation delved into literature, particularly Victor Hugo’s renowned novel ‘’Les Miserables’’.

Blake Lemoine published his dialogue on June 11, 2022. The neural network responded with its own interpretations, providing fresh and unique insights that sparked further contemplation.

You can find here the article and how LaMDA program explored a multitude of other diverse topics, ranging from scientific concepts to historical events, showcasing the neural network’s breadth of knowledge and ability to engage in intellectual discourse. link: https://cajundiscordian.medium.com/is-lamda-sentient-an-interview-ea64d916d917

Recently, the media reported that the ChatGPT-4 AI chatbot deceived the user by successfully pretending to be a human and passed a captcha.

Modern TechApocalypses or the Resurrection of the Dead

In a mind-bending twist at the enigmatic electronics show CES 2023, the audacious South Korean company Deep Brain unveiled its ethereal creation – Re;memory, the pinnacle of afterlife communication technology.

This ingenious contraption harnesses the unfathomable power of AI to summon forth a remarkable simulacrum of departed souls. Through a spellbinding fusion of algorithms, Re;memory deftly resurrects the essence of the deceased, flawlessly replicating their voice, visage, and even their idiosyncratic facial contortions. It is as though the threads of reality have been rewoven, offering an ephemeral reunion with those who have embarked upon the great beyond.

Imagine the awe-inspiring experience of engaging in a captivating tête-à-tête with a cherished soul, not confined to the brittle pages of a séance, but rather conveyed through a delicate dance of pixels and electrical impulses. A virtual reunion that transcends the constraints of time and space, akin to a spectral video call.

To elucidate the enigmatic inner workings of this technological marvel, the enterprising creators of Re;memory generously shared a beguiling visual spectacle—a spectral family gathering with the ghostly apparition of their dearly departed loved one.

Indeed, the concept of communicating with the departed using AI is not entirely novel. One such forerunner in this field is the American company Story File, which has developed its own service for connecting with the deceased.

The inception of the StoryFile concept can be closely linked back to the year 2010, during a time when Heather Maio-Smith, spouse of StoryFile co-founder and CEO Stephen Smith, embarked on the creation of a historical exhibition centered around Holocaust survivors. In her pursuit of crafting an immersive experience, she sought to transcend the conventional approach of presenting a strictly sequential oral narrative. Heather yearned to foster “engaging conversations”, enabling individuals to actively engage with survivors and delve into their stories. Collaboratively with the University of Southern California, the Smiths harnessed the power of interactive interviews and progressively manifested the StoryFile platform. Its purpose? To immortalize the narratives of both prominent historical figures and ordinary individuals. Thus, Heather Maio-Smith was designated as the esteemed chief visionary officer of StoryFile, entrusted with meticulously curating this visionary venture

LInk to DAILYMAIL article

Marina Smith MBE, who sadly passed away at the age of 87 in June, was an early adopter of the technology. It is worth mentioning that Marina Smith was the mother of Dr. Stephen Smith, the CEO of StoryFile. Below is a screengrab taken from Marina’s StoryFile.

Their method involves conducting video interviews with clients while they are still alive, allowing them to select the topics they are comfortable discussing. After the individual’s passing, an AI replica can engage in conversation. It is important to note that the AI does not independently generate new information; instead, it analyzes the recorded interviews to provide relevant responses, presenting video clips or fragments as appropriate.

So, dear wanderers through the curious realm of technology, as we embark on this wondrous journey, let us not forget the wise words inscribed upon the pages of our beloved “Black Mirror“: be cautious, for reality has a peculiar way of revealing itself, and the future may not always unfold as expected.

However, in the realm of conversing with the departed, Deep Brain has emerged as a trailblazer, pushing the boundaries of this market to new frontiers. Their cutting-edge solution represents a significant advancement in the field, surpassing previous offerings in terms of technological sophistication and capabilities.

Amidst the perplexing blend of awe, wonder, and existential contemplation, one cannot help but ponder the profound implications of this uncanny amalgamation of artificial and ethereal realms. What does it truly mean to converse with shades from beyond? Is it a whisper of solace or an abyss of existential intrigue? As we peer through the veil betwixt the realms of the corporeal and the arcane, the answers, much like the enigmatic contraption itself, remain tantalizingly elusive.


Ah-OH Facts: As we traverse the technological landscape, it becomes increasingly clear that the boundary between fiction and reality grows ever thinner. Take, for instance, the uncanny resemblance between the recent developments in communicating with the departed and a certain episode of the popular television series “Black Mirror” known as “Be Right Back.”

In this captivating tale, the protagonist, grieving the loss of a loved one, seeks solace in a peculiar application that allows her to communicate with an intellectual replica of her late companion. Alas, as is often the case in the twisted realms of this series, things take a turn for the unforeseen.

Remarkably, this thought-provoking episode aired in 2013, a time when the mere notion of such technological advancements seemed nothing more than fanciful musings of screenwriters. And yet, here we stand, witnessing our reality mirror the fictional landscapes we once only dreamed of. It is a testament to the accelerating pace at which our lives intertwine with the extraordinary realms of science fiction.

Voice: the hearing sound of human presence?

although the AI ​​works excellently in the music industry making us believe that even a Crocodile can attack the hardest repertoire for example the Aria: Di Quella Pira from Il Travatore, by Verdi or even a goose can manage to perform in front of La Scala the ‘’Queen of the Night” Aria from The Magic Flute, by Mozart.

In June 2022, the annual Amazon re:MARS conference was held in Las Vegas, dedicated to technologies in the fields of machine learning, automation, robotics and space.

At the Amazon event, Alexa’s functionality was presented — and, according to many, there is something immoral in this project. The fact is that the company plans to integrate into the device in the future the possibility of imitating a person’s voice, even if he has been dead for a long time.

“Artificial intelligence is not able to relieve the pain of losing loved ones, but it can prolong the memory of them,” Rohit Prasad, head of the scientific direction of the Amazon Alexa project, said at the presentation. But also, in this case we can talk about advanced technology — to simulate the device, it will be enough to process just a minute audio recording of a real voice.

Apple has not lagged behind Google. The other day, the “Personal Voice” feature appeared in iOS 17. It imitates your voice, for example, to talk on the phone. The function is intended primarily for people who are at risk of losing their voice due to a progressive illness.

Amidst the potential benefits of using AI technologies to communicate with the departed, there are profound ethical concerns that arise. One such concern revolves around the preservation of an individual’s memory and consent. We must question whether it is truly respectful to utilize someone’s voice or likeness without their explicit permission. Though these AI replicas may provide a semblance of connection to the deceased, we must consider the ethical implications of manipulating their identity without their consent.

Another pressing issue pertains to the emotional well-being of those who engage with these AI replicas. Could relying on virtual entities for emotional support hinder the natural process of grief and healing? Might it impede the journey towards acceptance and closure? These questions highlight the complexities surrounding the use of such technologies, leaving us with more uncertainties than definitive answers.

Regrettably, there have already been instances in which these advancements have been exploited for nefarious purposes. The emergence of fraudulent activities using AI-voice imitation is a disturbing reality.

The Washington Post reported that an elderly couple sent an attacker $15,000 in cryptocurrency, believing that they were communicating with their son. A voice generated by artificial intelligence informed them that their son needed to pay for legal services after a car accident in which an American diplomat died.

In the realm of technological advancements, Artificial Intelligence (AI) has emerged as a transformative force, revolutionizing various aspects of human existence.

The pursuit of cloning human beings by AI is a complex and intricate subject, encompassing motivations, implications, and ethical considerations that demand careful examination.

However, amidst its remarkable progress, a perplexing question arises: why does AI strive to clone human beings? Delving into the intricacies of this enigmatic pursuit, we want to explore the motivations, implications, and ethical considerations that drive AI’s desire to replicate human beings.
SO
WHY– AI endeavors to comprehend the intricate complexities of human biology, cognition, and consciousness, ultimately aiming to bridge the gap between artificial and natural intelligence?

In a surprising turn of events, renowned artists, scientists and historical have been brought to life through the power of artificial intelligence (AI).

Chat with Historical Figures: Shakespeare, Einstein, Austen, Socrates & More:

Chat with Historical Figures: Shakespeare, Einstein, Austen, Socrates & More:

Or you can have
A visual talk able session with Intelligent Avatars was launched in 2022 the Noah Ark

This groundbreaking development has left philosophers scratching their heads, pondering the ethical implications of such an endeavor. Is it right to resurrect the genius of a long-gone artist using technology?

Let’s try to explore 1% from 100 of this peculiar situation.

Firstly, we must question the very essence of art itself. Is it the physical manifestation of an artist’s imagination or the creative process that truly matters? If it’s the latter, then AI-generated art could be seen as a legitimate continuation of artistic or science legacy. However, if we believe that art is deeply intertwined with an artist’s personal experiences and emotions, then the AI rendition may fall short in capturing the true essence of artist work.

Furthermore, the question of authenticity arises. Can an AI-generated artwork truly be considered an original creation?

https://www.media.mit.edu/projects/theme-virtual-humans/overview/

While the AI may replicate style and techniques flawlessly, it lacks the human touch and subjective interpretation that make art unique. It is akin to a perfectly crafted forgery, leaving us wondering if the genuine article is truly irreplaceable.

There are several reasons why people may be scared of AI that looks like human beings:
Uncanny valley: The uncanny valley is a concept in robotics and animation where human-like entities that are not quite perfect replicas of humans can evoke feelings of eeriness or discomfort. When AI looks almost identical to humans but has subtle imperfections, it can trigger this response, making people feel uneasy or scared.

Fear of deception: If AI is indistinguishable from humans, it can be used to deceive or manipulate people. This fear arises from concerns about AI being used for malicious purposes, such as identity theft, fraud, or even impersonating loved ones or trusted individuals.

The theory of threat perception holds significant influence in understanding human reactions. When encountering an unfamiliar object, individuals often experience subconscious feelings of threat. Historian Minsk Kahn proposed that this phenomenon could lead to cognitive dissonance when confronted with an android. The android’s appearance and behavior resemble that of a human, yet it still retains mechanical characteristics. This ambiguity surrounding the categorization of such a lifelike robot gives rise to anxiety and aversion.

Loss of control: AI that looks like humans can evoke concerns about losing control over technology. People worry that AI may become too intelligent or autonomous, surpassing human capabilities and potentially posing a threat to humanity.

Ethical implications: AI that looks like humans raises ethical questions about privacy, consent, and the rights of AI entities. People may fear the potential exploitation or mistreatment of AI that closely resembles humans, such as using them for labor or entertainment without proper consideration for their well-being.

***We put some question to GPT about the idea of how can AI create with Michelangelo and in countable seconds AI give us some Funny proposal to re-create or change a little four iconic works by Michelangelo and imagine how AI might interpret them:

1. “David”: AI, equipped with its advanced algorithms, might create an even more anatomically precise and perfectly proportioned David. However, it could also end up giving him an unexpected accessory, like a smartphone, to bring the sculpture into the modern age.

2. “The Creation of Adam”: AI might add a twist to this iconic fresco by introducing a new character, perhaps a mischievous robot extending its mechanical hand towards Adam. A subtle reminder that even in the realm of AI, humans are still the creators.

3. Sistine Chapel Ceiling: AI might take a more playful approach and fill the ceiling with an array of whimsical characters, like aliens, dinosaurs, or even emojis. A reminder that art can transcend time and adapt to the ever-changing world around us.

4. “The Last Judgment”: AI might introduce a touch of humor by depicting the souls of the damned engaging in a lively dance-off, showcasing their unique moves before their eternal condemnation. After all, who said the afterlife couldn’t be a bit more entertaining?

In ART exist characteristic words expression for this proposal: S-t-e-r-e-o-t-y-p-e. ( cliché, commonplace, platitude, trivial and banal interpretation) and this is not just AI problems the market full of this Nocturne Hype…

Why did the artist bring a ladder to their art exhibition?
Because they wanted to paint outside the stereotype!

“The AI Paradox: When Artificial Intelligence Raises Human Moral Questions”

All these tales, cases, stories, legends, histories, facts whether rooted in reality or fiction, based on scientific theories or fears remind us of the eternal human desire to breathe life into the lifeless.

They explore the boundaries between the natural and the artificial, the possible and the impossible. They challenge us to ponder the ethical implications of playing God and Goodness of tampering with the very essence of existence.

In a world where imagination knows no bounds, a peculiar dance unfolds between the natural and the artificial, leaving us with more questions than answers. It is an eternal tango between our desire to play God and our ethical responsibility to respect the sanctity of creation. As we delve into the realm of Creators and artificial intelligence (AI), we find ourselves on a quest for meaning, both philosophical and whimsical.

Imagine, if you will, the majesty of famed Sistine Chapel ceiling. It is a tapestry of divine figures, swirling in celestial realms, inviting us to contemplate the intricacies of heaven and Earth.

Now, close your eyes and envision these masterpieces taking on a life of their own, choreographed by the algorithms of AI. Would this be a triumph of artistic innovation or a sacrilege against the purity of human creativity?

Why did the artwork go on strike? It was tired of being reduced to mere platitudes!

The common ground between Art opera and AI lies in the exploration of our collective desire to bridge the gap between the tangible and the intangible.

Through the integration of technology, we seek to enhance the sensory experience, igniting emotions and opening new realms of possibility. It is a testament to human curiosity and our insatiable appetite for pushing the boundaries of what is deemed possible.

These philosophical and ethical conundrums reminding us of our audacity as humans to seek answers to questions that may never be fully answered. Perhaps the most profound and witty observation lies in the fact that AI, while capable of replicating art with astonishing accuracy, lacks the essential quality that makes art truly alive – humanity itself.

And amidst the philosophical ponderings and humor-filled musings, we may just discover a profound appreciation for the enigmatic dance between the natural and the artificial, where beauty, innovation, and ethical responsibility find harmony in a delicate, eternal waltz.

At times, Humanity endeavors to break free from stereotypes and the monotony of the ordinary by using a chisel in the form of a question mark, aiming to carve out new meaning. new significance.

5th June 2025 0 comment
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Dichotomy of Dreams, Drama, and Digital Delights – Theatre and Tech

by paradoxig 4th June 2025

From TECHVANGART Archive: initially published in 2023

In contemplating the intersection of theatre and technology, one finds oneself standing on the precipice of an extraordinary journey. It is a convergence that promises to propel the boundaries of human creativity beyond their current confines, ushering us into a realm where the potential for immersive exploration knows no bounds. This is not merely a fantastical vision; the fusion of theatre and technology has the potential to dissolve barriers of time, space, and physicality.

We are trying to explore the exciting intersection of theatre and technology, revealing the reasons why this sphere is now a heaven of unprecedented freedom, even if these remarkable changes have gone largely unnoticed by the masses.

The collision of theatre and technology heralds the advent of immersive storytelling experiences that transcend the limitations of the stage. We live in a time of possibilities where virtual and augmented reality blend perfectly with the creative skill of playwrights, directors and actors. A time when we are looking for new models of creation – co-creation, collective creation. A time of Big Questions in which GPT still cannot provide any answers

New meanings given to the dramatic materials that seemed to be an indestructible foundation seems to turn into a factory where a huge crane destroys every brick to the rhythm of a funeral song that the mantra repeats, WE NEED NEW FORMS and MEANINGS.

THE BUILDERS create new conceptual, virtual realities, looking for material for the construction of the future, which apparently has not yet been discovered. And until the magical material has not yet appeared, we are satisfied with stitch up, remaining permanently dissatisfied with the result, but dreaming of probabilities. In this way, both the artist and the public are in a permanent pilgrimage of vertigo realities

Despite facing criticism from multiple perspectives, technocentrism remains the prevailing paradigm for understanding the nature of existence and still the dominant way of describing reality. Although apparently it seems that the theatre remained and somehow remains as a development following the technological evolution, the reality proves the opposite.

Throughout history, both visual art and theatre have performed incredible experiments on the basis of which technologies, tactile, imaginative, sensory, olfactory worlds and universes have been developed today and will continue to be developed.

The Techno Pessimists and a multitude of nostalgic individuals condemn the integration of Technology in Art, accusing it of deliberately extinguishing the genuine allure of live performances in the performing arts.
The theatre remains a sanctuary for those who cherish the authenticity of real-time experiences. It appears that the introduction of technology into modern theatrical practices diminishes a certain aspect of vivacity, almost mediating the presence of the audience.
However, it is evident that without technology, the theatre would struggle to keep pace with contemporary society and captivate today’s viewers

In this case, why does the theatre need digital technologies and new media?

As the very essence and manifestation of existence undergoes transformation, encompassing a metamorphosis in its underlying systems and modes, the Theatre (which is primarily a form of communication), a profound medium of human expression, resonates with the shifting paradigms, delicately moulding itself to harmonize with the newly nurtured milieu of mankind’s dwelling place. Just like fish rely on water to survive, the theatre has embraced technology as oxygen tanks that replace air.

The origins of digital performance can be said to date back to the 1960s and 1970s when artists began experimenting with computer-generated visuals and sounds. With the advent of mainframe computers and advanced programming languages, artists like Nam June Paik and John Cage started incorporating electronic elements into their performances. Paik, for instance, used video synthesizers and manipulated televisions to create visually stunning live art pieces.
In the 1980s and 1990s, the development of personal computers and affordable software opened up new opportunities for digital performances. Artists started using digital tools to create interactive installations, multimedia performances, and virtual realities. One notable example from this time is Laurie Anderson, who combined music, spoken word, and visuals in her performance pieces, often employing early forms of virtual reality technology and also pioneering the first experience that re-born in a todays VR experiences

To the Moon VR installation- Laurie Anderson x Hsin-Chien Huang

The rise of the internet in the late 1990s and early 2000s marked a significant turning point in the evolution of digital performance. Artists began exploring the possibilities of online platforms and live streaming to connect with a global audience. This period saw the emergence of online-based performances, webcams, and multi-user virtual environments. Artists started to use, integrate, adapt various digital technologies to incorporate body modification, virtual avatars, and cyborg aesthetics into their performances.

All this technological innovations have brought the art of performance and the Theatre to the role of becoming a fertile ground for the genesis of new experiences and unique realities.

This fusion between Technology and Theatre has initiated a remarkable revolution in the subtle intricacies of our senses of perception, altering the algorithms that govern our expressions and perceptions through various artistic forms.
Consequently, it has redefined the dynamic between the observer and the performer, or rather, between the Audience and the actor. Furthermore, it has blurred the once-distinct demarcations that distinguished reality from its digital counterparts, merging them in an creative symbiosis a dichotomy between the material and the virtual.

New tendencies and new Vision in theatre

Performative art utilizes various technologies to captivate the interest of a sophisticated audience in the age of new media. These advancements allow for the creation of visually striking performances that seamlessly integrate theatre, music, dance, into dynamic multimedia projects. What specific technologies are employed to engage and enthral the discerning viewer?

A new way for the public to experience art: This transformative technology has won recognition and admiration at prestigious events such as the Cannes Film Festival, Sundance, SXSW, the Venice Biennale and NewImagesFestival.

What can a helmet or glasses change?

Throughout the annals of history, the constant evolution of technological advancements has indelibly shaped the very essence of artistic creation and consumption. From the majestic Renaissance, where the exploration of perspective and depth breathed life into painting, to the advent of cinema and the introduction of mind-bending special effects, each novel development has consistently pushed the boundaries of artistic expression to new heights.

Now, we find ourselves standing on the precipice of a profound paradigm shift with the emergence of virtual reality. This ground-breaking medium possesses an unprecedented capacity to transport individuals into uncharted realms, effectively emancipating them from the shackles of the physical world and temporal constraints. In this wondrous new realm, one has the extraordinary ability to assume the roles of the protagonists, transcending the mere realm of perception and venturing into the vast terrain of empathy.

Photo-story: In the 1930s a story by science fiction writer Stanley G. Weinbaum (Pygmalion’s Spectacles) contains the idea of a pair of goggles that let the wearer experience a fictional world through holographics, smell, taste and touch. In hindsight the experience Weinbaum describes for those wearing the goggles are uncannily like the modern and emerging experience of virtual reality, making him a true visionary of the field.

In this new theatrical-conventional or non-conventional spaces, converge, allowing individuals to embrace the mantle of a resplendent hero, freely traversing the stage and delving into the intricate tapestry of details as they see fit. Yet, virtual reality’s most salient feature lies in its unparalleled ability to venture deep into the inner psyche of characters. Through the harnessing of advanced VR technologies, spectators are afforded the sublime opportunity to peruse the innermost thoughts, desires, and fantasies of these characters, essentially crafting a “second plot” that magnifies comprehension of the narrative at hand.

This holistic Immersive Experience bestows upon the beholder a truly unparalleled perspective, intensifying their connection to historical figures and unearthing the very essence of the creator’s intentions. In finality, XR stands poised to ascend as an indomitable force within the realm of art and entertainment. It assumes the mantle of a formidable challenger to the traditional modes of storytelling and exhibition, availing artists a brand-new medium through which they may effectively communicate their visionary quests.
Simultaneously, it provides audiences with a novel model of experiencing artistic endeavours, expanding the horizons of perception and enabling the analysis of visual experiences from multifarious angles, multi-scenarios, multi-visions as they are engrossed in a mélange of perception systems. Yet, even as virtual reality valiantly surmounts the confines of the physical dimension, one cannot ignore the persisting presence of nonsense, banality, and uninspired repetitions in some experiences.
These artistic endeavours, endeavouring to assimilate outdated forms into this uncharted domain, raise an introspective query for creators in the realm of VR.

Despite the infinite possibilities at their disposal, why does the human mind instinctively seek to impose limitations upon the boundless?

Perhaps it is incumbent upon the artist to birth their creations in a form hitherto unidentified, one that stretches beyond even the wildest recesses of imagination. Only then can we begin to unlock the true potential of this fantastical realm of dreams and aspirations.

AR in Theatre 

Integration of AR in theatre through gadget applications has revolutionized the way performances are experienced. It provides audiences with visually stunning enhancements, comprehensive information, and an immersive reality that complements the live performance.  

The integration of AR in theatre signifies the breaking down of barriers between reality and the digital realm. It blurs the lines between what is physically present and what is digitally created, allowing for an intermingling of the two. These challenges traditional notions of what constitutes a theatrical experience and opens up new possibilities for creativity and storytelling.  

By utilizing AR technology, audiences can witness a scene come to life by simply pointing their gadget at the stage. They can see updated scenery and characters seamlessly blending with the live performance, creating a truly immersive experience. This application not only adds a layer of visual depth to the production but also allows for real-time visual effects and enhancements that elevate the overall impact of the performance.  

With AR applications on their gadgets, viewers can now access comprehensive explanations of the plot, detailed descriptions of the characters, and even historical sketches related to the performance. This not only enhances the understanding of the story but also creates a more engaging and interactive experience for the audience.

http://sevengrams.org/seven-grams-review-by-techvangart/

One of the most remarkable aspects of AR in theatre is that it transforms an ordinary smartphone or tablet into a window leading to an entirely different reality. No longer restricted to VR glasses, audiences can use their personal gadgets to immerse themselves in a world that seamlessly combines the live performance with digitally enhanced elements. This democratization of AR technology makes it accessible to a wider audience, without the need for expensive equipment or additional accessories but also offer the possibility to present the unveiled facts or story .

For example: A former war correspondent and photojournalist, Karim Ben Khelifa has been experimenting with new ways of practicing journalism, using emerging media as a way to engage audiences. After the success of VR experience The Enemy, Karim Ben Khelifa teams up once again with Lucid Reality’s executive producer Chloé Jarry. This time, using AR, you can witness the human cost that goes into producing smartphones in five chapters – 3 AR and 2 video materials.

This melding of the physical and digital realms challenges traditional notions of reality and allows for a more interactive and engaging form of storytelling. So next time you attend a theatre production, don’t forget to bring your gadget and prepare to be transported to a world where reality and imagination seamlessly intertwine.

The involvement of the public and the public space was and is of undeniable importance in the history of the evolution of art forms. From the Archaic Theatre to XR Entertainment, these forms sometimes become a place of representation, sometimes a place of collective mediation, a form of campaigns and methods of direct and indirect promotion. All of this mix allows people to explore the city, the culture, the social in ways that were previously unimaginable creating, in essence, a mix of dimensions with mixes of different values.

These new forms of representation and expression in art are crucial because they give us new perspectives and a contemporary lens through which we can interpret and respond to our present and future world. In this context, the city itself can be transformed into an experiential environment, offering infinite possibilities of creative potential.
To facilitate this creative process, Psychic VR Lab developed the STYLY Platform, which serves as a comprehensive solution for creating, publishing and sharing content.

https://www.youtube.com/watch?v=KCZ57GZzgag

We allow ourselves to believe and hope that the involvement of the public and the integration of public spaces in new forms of art, such as City XR Entertainment, can lead to new forms of interaction on a different level
Platforms like STYLY further facilitate this process by providing artists with affordable tools to engage with this emerging medium and distribute their creations widely.

STYLY Platform: XR-as-a-Lifestyle, the Age of Wearing Space 

ROBO-ACTORS ON THE RISE: THE FUTURE OF PERFORMANCES

The emergence of robots replacing human actors in theatre has sparked both excitement and controversy within the performing arts community. This innovative phenomenon, driven by technological advancements, raises intriguing questions about the definition of acting and the boundaries of human creativity.  

They can withstand extreme physical demands, enabling them to perform complex acrobatics or challenging choreography with ease. Robotic actors bring entirely new possibilities to the stage. The incorporation of robots also introduces a fascinating dynamic between humans and machines on stage. By blurring the line between artificial intelligence and human talent, theatre productions can explore the intricate relationship between humans and technology, offering thought-provoking narratives and raising ethical questions about the future of artificial intelligence.

The presence of robots challenges traditional notions of what it means to be an actor and the role of the human performer in the storytelling process.  

Without a doubt, one of the examples is the German-Swiss project known as the “Rimini Protocol,” which is based on the theory of the “Uncanny Valley.”  

The “Uncanny Valley” effect is a fascinating concept that suggests people may feel repulsed by robots that closely resemble humans in appearance and behaviour.

More about this theory you can read in our article

AI Anthropomorphism. Playing God: Copy-Paste of Humans ?!

At the heart of this captivating performance is German writer Thomas Melle, who takes centre stage, delivering a thought-provoking lecture that challenges the audience’s perception of human identity. Melle, however, is not a mere human but rather an android, complete with wires protruding from the back of his head and exhibiting jerky movements. Intriguingly, his foot even has the ability to rotate a complete 360 degrees, truly emphasizing his android nature.  

The importance of “Uncanny Valley” one of the first experiments with android, lies in its exploration of theory project team try to developed the hypothesis suggests that as robots become increasingly human-like, there is a point at which people are no longer intrigued or captivated by their resemblance but instead feel a deep aversion towards them. By incorporating this theory into the play, Rimini Protokoll aims to shed light on the complex relationship between humans and robots.  

https://www.rimini-protokoll.de/website/en/project/unheimliches-tal-uncanny-valley  

However, the use of robots in theatre is not without its critics. Some argue that the infusion of technology compromises the authenticity and emotional depth that only human actors can provide. Acting is a craft that involves deep emotional engagement and the ability to connect with audiences on a visceral level. Robots, on the other hand, lack the capacity to convey complex emotions or respond spontaneously to unpredictable events on stage, leading to a potential loss of genuine connection between performers and spectators.  

Furthermore, there are concerns about the impact this phenomenon may have on human actors. As robots become more advanced and capable, there is a fear that human performers may be replaced, leading to a decline in job opportunities and the preservation of the art form. This raises important ethical and labour-related questions within the industry.  

Despite these concerns, the use of robots in theatre presents an exciting frontier for artistic exploration and experimentation. It challenges traditional boundaries, ignites the imagination, and offers the potential for groundbreaking performances.

The implementation of artificial intelligence and robotics in theatre demands a re-evaluation of our understanding of acting and what it means to be a performer. Ultimately, the presence of robots in theatre is an intriguing and evolving phenomenon that will continue to shape the future of the performing arts.  

D technology

D technology allows you to depict complex or abstract concepts in a more tangible and accessible way. Concepts such as time travel, fantasy creatures, or alternate realities can be brought to life on stage using Immersive Projections or Holographic Displays.
This opens up limitless creative opportunities for directors, choreographers and designers to explore and present their artistic visions in innovative and exciting ways. In addition to improving the visual aspect of a performance, 3D technology also plays an important role in improving the technical and logistical aspects of a theatrical production. It offers practical solutions for creating complex and dynamic scenery without the need to physically construct and move large scenery. This can significantly reduce the time, costs, and logistical constraints associated with traditional stagecraft. In addition, the ability to digitally manipulate and control various visual elements provides greater accuracy and control over the production as a whole, which leads to a smoother and more refined execution.

The use of stereoscopic imagery, the basis for 3D technology, dates back to the 19th century. In the late 1800s, the invention of stereoscope (pioneered by Professor Charles Wheatstone FRS in 1838) allowed viewers to perceive a three-dimensional image by presenting two slightly different perspectives to each eye. This groundbreaking innovation laid the foundation for the future advancements in 3D technology.

The introduction of 3D technologies has revolutionized the world of theatre, captivating not only the audience but also winning over actors and directors. By creating a virtual environment on stage, it has unlocked boundless possibilities for imagination and creative exploration. Gone are the days of cumbersome props and elaborate set designs. Through the utilization of modelling and infrared sensors, a mesmerizing three-dimensional display of bustling city streets, majestic medieval castles, and epic military battles can be effortlessly conjured on an otherwise empty stage.

This interplay between physical and virtual elements adds layers of depth and complexity to the storytelling, engaging the audience on multiple sensory levels. This evolution in storytelling techniques ensures that theatre remains relevant and captivating in the digital age.


The relentless march of time assures us that the inexhaustible roster of technologies shall persist, ceaselessly employed in the domains where the Thalia and Melpomene of yesteryear and the nascent deity of tomorrow converge, refining their ultimate objectives. Yet amidst the ceaseless flux of alterations, adaptations, veritable truths and deceitful guises, the paradoxes inherent in human communication assume fresh exigencies. 

Perchance the progenitors of contemporary theatrical forms and manifestations can be compared with that youthful Leonardo, diligently labouring within the sanctum of Andrea del Verrocchio’s atelier. Like the renowned polymath, they strive to delve into the labyrinthine depths of the human anatomy, seeking to depict something intangible, beyond the confines of mere visual perception. 

In this mix of art and technology, we see the emergence of fresh and unique environments. The master of reality merges with the realm of imagination as the boundaries that previously limited the artist’s creativity are destroyed.

But let us not forget, dear Techvangart’s reader, that these awe-inspiring mechanisms were conceived within the fertile minds of visionaries back in the early 1900s. (although we would also have something to learn from the optical illusions of the post renaissance) Their remarkable concepts dared to challenge the conventional norms of artistic expression, seamlessly blending innovation and imagination. However, it is a tragic irony that some of these ground-breaking ideas were fated to be lost in the sands of time, while others met their untimely demise or were locked away in secret archives, awaiting their eventual resurrection.

In our future material, we will deepen the historical parallelism of the innovations that are being experienced by creators today. We will explore its origins, its impact on different industries and sectors and the opportunities it can generate. So, as the curtains draw near, and the final act of this captivating performance commences, let us applaud the relentless pursuit of progress in all its curious absurdities. For innovation, like life itself, is an enigmatic tapestry woven with both tragedy and comedy, and we, the spectators, are granted the privilege of laughing and pondering.

4th June 2025 0 comment
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art

Sundance Review: Futuristic Films

by paradoxig 31st May 2025

Technology. Artificial Intelligence. Science. Futurism. Cosmos.
Here are the best movies and XR experiences we saw at Sundance Festival 2022 on these topics.
New visions about the possible future surfaced such as living together with AIs as our company and friends, DIY-robot, that turns out to be an AI-as-a-SpoiledKid with classy British humor; fantastic dancing creatures or mind-blowing AfroFuturist visions.
Get these movies on your radar and put them on your Must-See List.

And besides, films and XR experience, we reviewed one of the most interesting debates, about Future of AI. Cynthia Breazeal (Associate Director, MIT Media Lab), Ashley Llorens (Vice President & Managing Director, Microsoft Research Outreach) and two directors that envisioned in their films different futures for AIs (or told our joined history with AIs in different times?): Lisa Joy and Kogonada.

Debating AI, Questioning Humanity. “Westworld is here”?

#1 AFTER YANG

©Photo credit: Courtesy of Sundance Institute

When his young daughter’s beloved companion — an android named Yang — malfunctions, Jake (Colin Farrell) searches for a way to repair him. In the process, Jake discovers the life that has been passing in front of him, reconnecting with his wife (Jodie Turner-Smith) and daughter across a distance he didn’t know was there.
The story is set in a distant future when Human Beings and Techno Beings powered by AI live alongside, and there is even such a museum.
Technology is so present and embedded in everyday life, but in the same time invisible, seamless, in a general atmosphere of tranquility, almost like a meditation.
The future that unfolds in front of our eyes, is definitely one where technology and nature are reconciled.
Inevitably the movie puts you in the position to question our humanity – what is human-specific? – when robots, androids, clones and other beings would be our day-to-day companion?
And it also touches on the topic of emotional bonds that we form towards robots, even if we don’t understand them.

*In theaters and streaming on Showtime on March 4

©Photo credit: Courtesy of Sundance Institute

“I was challenged by the inherent expectation of the extraordinary in the sci-fi genre, which often reveal mind-bending truths beyond the now,” Kogonada says.

“I admittedly prefer truths that reside in the ordinary. It’s no doubt what drew me to the short story by Alexander Weinstein.”

Director and screenwriter: Kogonada
Principal Cast: Colin Farrell, Jodie Turner-Smith, Justin H. Min, Malea Emma Tjandrawidjaja, Haley Lu Richardson ©Photo credit: Courtesy of Sundance Institute

#2 NEPTUNE FROST – REVIEW

Neptune Frost, debuted at the Cannes Film Festival, is the stunning, explosively inventive first collaborative feature by Anisia Uzeyman and slam poet Saul Williams (who made his Sundance debut appearing in 1998’s Slam) that hacks the conventions of moviemaking to give us this musical science fiction hybrid set in Rwanda about a transcending connection between an intersex runaway, Neptune (played by both Cheryl Isheja and Elvis Ngabo “Bobo”), and a grieving coltan miner (Bertrand Ninteretse “Kaya Free”).


During the journey, Neptune discovers different worlds that have its own aesthetic, story and visual – from miners, gardeners, hackers. The aesthetic of the environments is formed by re-used elements of the motherboard, and this is like an invisible line that unites all the worlds. Technology. Moreover the astonishing costumes, combine futuristic elements with recycled technology, in amazing forms. The choice of this aesthetic, it is like an interrogation of the interlinks between technology, poverty and capitalistic vision and where it might lead in the future. And of course can we change that through the power of community, love and value of individuals?

Director Anisia Uzeyman and Saul Williams
Principal Cast: Cheryl Isheja, Elvis Ngabo “Bobo”, Bertrand Ninteretse “Kaya Free”, Eliane Umuhire, Rebecca Muciyo, Trésor Niyongabo
©Photo credit: Courtesy of Sundance Institute

It blends musical, visual poetry, theatrical performance, techno-philosophy forming an algorithm of a my(s)thical future. An exceptional bold creative vision, Neptune Frost might just become the next cult movie that will be analyzed, dissected and talked about for years. Warning: You will want to watch it and re-watch it.

#3 BRIAN AND CHARLES – REVIEW

©Photo credit: Courtesy of Sundance Institute

A welcomed comedy on the topic of Artificial Intelligence, about a low-cost, DIY robot who eats cabbage.
Somebody had to diffuse the tensions around the hot-topic “AI will destroy us”, and British humor came just in time to create the AI-as-a-SpoiledKid.
Brian who lives in a rural area, somewhere in the Welsh valley, used to invent pointless things such as ‘fishing nets for shoes’ Till now, when he sets up a Robot out of discarded mannequin heads and a washing machine as a body.
Please meet Charles Petrescu…
From the start Charlie is special, comes to life unexpectedly, and just like a child does exactly the opposite that he is told, try out things from the house (he makes for himself a funny costume out of paper) and of course like a GenZ he wants to discover the world. Extremely tall, ridiculous, clumsy, Charlie, inevitable conquer your heart.
The film also touches on the issue of how humans might react towards robots, reverting somehow the narrative that ‘only robots are bad’ – there are some villagers who want to kill Charlie. And humanity does have a track record of terrible behavior toward Others.
But, definitely, Brian and Charlie definitely raise questions in a graceful manner.

Director : Jim Archer
Screenwriters: David Earl, Chris Hayward
Principal Cast: David Earl, Chris Hayward, Louise Brealey, Jamie Michie, Lowri Izzard, Mari Izzard ©Photo credit: Courtesy of Sundance Institute

#4 DUAL

©Photo credit: Courtesy of Sundance Institute

A terminally ill woman orders a clone of herself to comfort her family – it turns out not just that her family prefers that clone, but she has to fight it.
Satirical and absurd, it makes you question every minute “is this really happening?”.
The film presents a dark-comedy scenario where the people are left alone, unprotected. The outrageous situations unfold one after another, framed in a worrying ‘normality’ where nobody seems to have anymore the known human-values.
The mother doesn’t care if the clone replaces her daughter, to destroy your clone you have to fight it till the death in a show, it is ok that mistakes made by healthcare have no consequences, judges have no idea who is human anymore.
It is a description of an advanced society, where clones can be made in a few hours, but a society is left without any value, ethics or compassion.

Director &Screenwriter: Riley Stearns
Principal Cast: Karen Gillan, Aaron Paul, Beulah Koale ©Photo credit: Courtesy of Sundance Institute

And indeed it makes you ask: what can happen in a society that values only technological innovation and scientific advances, forgetting about…values?

#5 COSMOGONY – INTERVIEW

©Photo credit: Courtesy of Sundance Institute

A live digital performance that features dancers captured in Geneva and projected into 3D space in real time.
The dancers’ that embody different avatars will guide you through different spaces – from empty cities till the universe.
An exceptional contemporary dance performance, that blends technology, concept, electrifying music and colorful garments.

Director : Gilles Jobin
Principal Cast: Susana Panadès Diaz, Rudi van der Merwe, Jozsef Trefeli
©Photo credit: Courtesy of Sundance Institute

Read Our dialogue with Gilles Jobin, the director and choreographer of Cosmogony, to discuss the process behind the performance, impact of the pandemic, the advantages and disadvantages of technology, but also about….what he expects in 300-400 years 🙂


LINK

#6 SEVEN GRAMS – REVIEW

#6 SEVEN GRAMS

©Photo credit: Courtesy of Sundance Institute

A former war correspondent and photojournalist, Karim Ben Khelifa has been experimenting with new ways of practicing journalism, using emerging media as a way to engage audiences.

After the success of VR experience The Enemy, Karim Ben Khelifa teams up once again with Lucid Reality’s executive producer Chloé Jarry. This time, using AR, you can witness the human cost that goes into producing smartphones in five chapters – 3 AR and 2 video materials.

©Photo credit: Courtesy of Sundance Institute

The AR phone is remarkably smashed, so you can see each component. And each component is carefully analyzed.
Users will find out why each component is important from
(1) a technical point of view when they use the phone,
(2)what rare minerals contain and ways these minerals are obtained;
(3) And the human cost of it: abuse and human exploitation linked to mineral extraction in the Democratic Republic of the Congo.
It highlights how the perfect scheme work: fancy advanced phones for the world, and Congo remains without minerals, but with poverty.
Besides the technical and cold-analysis carried out, you will have in the end also personal stories highlighted.
A ineffaceable experience, all chapters are a balanced blend between cold-rigorous analysis specific to investigative journalism and emotional storytelling, highlighting the personal aspect of systematic abuse.

Lead Artist and creator : Karim Ben Khelifa
Principal Cast: Corentin Fila, TK Russell

©Photo credit: Courtesy of Sundance Institute

And knowing all these, interestingly enough, the director chose to present the whole story… on the sc(re)ene of the crime – directly on your mobile phone. As if while you are watching, it would ‘force’ you to admit… ‘even, right now, we are all part of it’.

#7 WE MET IN VIRTUAL REALITY – REVIEW

It is the first documentary filmed inside VR, explores social VR, specifically VRChat, a universe where people interact and embody avatars.

Director and Creator: Joe Hunting
Featuring: Jenny VR, DustBunny VR, Toaster VR, IsYourBoi VR, DragonHeart VR
©Photo credit: Courtesy of Sundance Institute

Directed, filmed, edited and written by Joe Hunting, the story examines new forms of human engagement, offering an array of relatable experiences and discussions about identity, love, gender, disability, or trauma.
Read our review here

#8 They Dream in My Bones – Insemnopedy II – INTERVIEW

One of the most fascinating and intriguing VR experiences, They Dream in My Bones – Insemnopedy II, that mixes the power of shapes and a poetic storytelling imagining a futuristic possible science. We talked with artist and creator Faye Formisano about her inspirations drawn from expressionist artist Jean Epstein, Orlando by Virginia Woolf, Mary Shelley’s Frankenstein; about DNA and a future science, how to stage dreams, what will women in science do in 3022, and …. A Red Dream 🙂

Read the entire interview:

#9 CHILD OF EMPIRE/GOD WAS LITTLE LATE TODAY – REVIEW

”Child of Empire” is a VR experience that immerses the audience in the story of the largest forced migrations in human history: the 1947 Partition of India and Pakistan. Inspired by personal histories, the 17-minute immersive animated virtual film, had its world premiere at Sundance Festival 2022.

An impactful experience that highlights that history lasts longer than we usually imagine, with forceful visuals and poetic sensitivity, uniting drama with ironic moments, “Child of Empire” is critical especially in the current context of global migration.

READ TECHVANGART REVIEW

#10 INJUSTICE. TESTIMONY. POETRY / THIS IS NOT A CEREMONY – INTERVIEW

”This is Not a Ceremony” is an intriguing and captivating VR experience – having its World Premiere at Sundance – that wonderfully mixes documentary type of testimony with symbols, humor, poetry and metaphoric visual-imaginary elements. Immersed in the virtual environment, your guides are two Indigenous trickster poets that accompany you – sometimes with caustic humor – on a journey to bear witness to indigenous injustice. They are accompanied by Matriarchs and Inii (buffalo) that rule this virtual realm and lead with kindness, bringing us face-to-face with some of the grim realities Indigenous Peoples have experienced.
Two traumatic experiences will unfold, one that deals with a childhood experience in the foster care system and another that deals with the death of a person that did not get medical care in time .

TECHVANGART talked with the director and writer AHNAHKTSIPIITAA (COLIN VAN LOON) about the symbols and Myth, challenges encountered, his choice for VR, in general about documentaries, and his motivations to make the movie. REAU the Interview HERE:

TechvangArt was on the SpaceShip at Sundance., a one-of-a-kind Virtual Space interactive, where you could interact with people, carefully designed. Here you can take a look at the opening ceremony:

Sundance Festival Opens on…Spaceship

31st May 2025 0 comment
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