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An invitation to contemplate existence: the art of Ali Phi

Pau Waelder

Ali Phi (1987) is an Iranian born new media artist and creative technologist currently based in Toronto. In 2013 he founded Nullsight, a collective of artists and programmers based in Toronto that curates and supports events linked to digital arts and music. The artist’s practice addresses architecture and spatial elements, both metaphorically and physically, creating interactive media that explores the relationships between geometry, patterns, light, and poetry.

In his live performances, he blends generative and time-based materials with sound and computational elements, providing unique collective experiences through data visualization. His visual art installations and performances have been showcased at renowned international venues and events, including Ars Electronica in Austria, Mutek in Montreal, and Art Brussels in Belgium.

Phi has recently presented a selection of artworks from the project Agnosia in a dedicated artcast on Niio. In the following interview, he elaborated on the concepts and processes behind these artworks and in his experience as an artist living in-between different worlds.

Experience Ali Phi’s immersive landscapes on your best screen

Open artcast
Ali Phi. AGNOSIA 4, 2022

Can you tell me about the inception of Nullsight? How do you combine curation, performance, and software development in your work?

I founded Nullsight with the goal of promoting like-minded artists and cultivating the market for new media and digital arts. This eventually led to joining a new media arts festival in Iran and directing it in the following years. Following the festival’s success, we continued to curate exhibitions both online and in real in Iran and Germany, as well as supporting other events in the field.

Upon relocating to Canada, Nullsight evolved into an art collective focused on creating and providing resources and toolkits for artists. Many of these products stemmed from the code I developed for my own artistic practice or in collaboration with fellow artists. Our aim was to transform these products into user-friendly tools accessible to a wide range of artists. We are guided by an ethos of open-source sharing, as much of our work is inspired by tutorials and shared code from fellow artists. This led us to establish an online platform for sharing these products.

Our upcoming projects are geared towards integrating the latest technology and are shaped by feedback from fellow artists and users. We are committed to keeping all resources updated and accessible to the public, ensuring even those with limited coding knowledge can employ them in their creative processes.

“I believe in giving back to the community and supporting the next generation of artists.”

The underlying motivation for sharing these resources is rooted in my own experience of self-guided learning. I believe in giving back to the community and supporting the next generation of artists. Making these assets available serves as an educational resource and empowers other passionate creators. Additionally, participating in performances deepens my understanding of concepts and allows me to stay connected with the vibrant community of new media artists, inspiring fresh ideas for future works.

Ali Phi. AGNOSIA 4, 2022

You have been an active member of the digital art community in Tehran. Can you describe how this community is working today, and what opportunities are there for Iranian new media artists?


It has been years since I’ve been away from Iran and the media art scene there, but I have seen that some of my students and fellow artists are continuing their practice in this field. They participate in small exhibitions in Iran, international exhibitions, and hold workshops to spread knowledge. Unfortunately, due to financial issues, sanctions, and governmental problems, the TADAEX festival stopped at its eighth edition back in 2018, and we couldn’t continue organizing it in Iran. However, I’ve noticed that many artists and volunteers from TADAEX have started studying in universities in North America and Europe, and they are still continuing their arts journey with notable achievements.

In terms of the future of new media arts in Iran, I believe the community and the new generation are incredibly curious and creative in this field. With the easy access to information and tutorials nowadays, it’s much easier for them to learn and continue coding. However, one challenge is the accessibility of hardware and devices, again due to sanctions. This has been an issue for the past decade, as finding investors or convincing business owners, galleries, institutes and industries to invest in such festivals and programs has been challenging. Unfortunately, I’ve seen that most of these events have been canceled or put on hold. However, I’m aware that certain organizations are still trying to keep their hackathons, labs, and gatherings going, pushing boundaries by participating in international festivals and online showcases.

“The community and the new generation of Iranian new media artists are incredibly curious and creative in this field.”

As for recommending Iranian artists, it ultimately depends on their passion and how they feel. This was the same for me and my fellow artists. Today, I know it has always been the passion for creating and presenting, which was the main reason for starting the festival in 2011. We didn’t have a platform like that back then, and one of the primary goals of the festival was to create a platform where we could showcase our art, receive feedback, teach others, and educate the community.


Ali Phi. AGNOSIA 2, 2022

You have stated that your work starts with music and then visual elements come into play, inspired by the music. How would you say that this approach has shaped your work?

Starting with sound and music is an essential part of my creative process. Sound, being such an intangible medium, offers a highly imaginative experience. It allows me to draw inspiration from everyday sounds, turning them into motifs that blend various cultural influences, moods, and vibes. This dynamic component, when integrated with visual elements, creates a holistic experience. The visual aspects act as an illusion that complements the overall presentation of the artistic work, particularly when synchronized with the sound. The architecture of the venue is crucial, especially for installations. It sets the stage for the entire experience. Whether it’s a traditional stage or a non-traditional presentation space, the approach remains consistent—surprising the audience with carefully crafted lighting, high contrast visuals, and a blend of different elements.

In my performances, I aim to engage the audience in a self-reflective experience. There’s no predefined narrative; rather, it’s an invitation for the audience to immerse themselves in the currents of the experience, interpreting it based on their unique perspectives and their natural flow.

“In my performances, there’s no predefined narrative. It is an invitation for the audience to immerse themselves in the currents of the experience.”

During the production phase, I begin with conceptualizing ideas and envisioning the sonic and visual environments. Music becomes the canvas on which I shape the overall sonic culture of the work. Then, I introduce visuals, focusing on synchronicity and refining details in the audiovisual material. This iterative process helps create a cohesive and immersive experience. Depending on the performance, I might experiment with the sequence of scenes, responding to the energy and vibe of the audience, ensuring each interaction is distinctive. Given the generative and real-time nature of the work, I design each scene with controllers mapped to specific parameters, essentially performing them like an instrument that orchestrates both mediums seamlessly.



Ali Phi. SHYM, 2016. Real-time Generative Audiovisual Installation. Yassi Foundation, Tehran, Iran

Can you elaborate on the influence of Iranian culture in your work? How important is it to you that the references to Persian traditional arts are identified with your work?

The majority of my work’s concepts draw inspiration from a special era in Persian culture, dating back to the Achaemenid dynasty. It was an era focused on bringing a sense of heaven to earth, rather than solely anticipating a better future after death. This ethos gave rise to the rich arts and crafts of Persian culture, as well as the creation of Persian gardens, which are marked by their distinctive architectural and garden design. Even neighboring countries recognized this cultural heritage. Many of the poets I followed from that era were also scientists, well-versed in fields like astrology and medical sciences, weaving their knowledge seamlessly into their poetry. The educated individuals of that time saw no boundaries between disciplines; rather, they saw a harmonious integration of heart’s desires, intellect, and art. 

I find deep inspiration in these timeless connections between different mediums and how they coalesce in a civilized society. Western culture has often compartmentalized these aspects, but in Middle Eastern culture, they were integral parts of a whole. For instance, the Arabic word for art, “fan,” is synonymous with technique. This convergence of mediums was evident in ancient civilizations, and it greatly inspires my work. Having visited these sites since childhood, I’ve developed a profound connection to their sacred geometry and the masterful artistry of those who designed and meticulously crafted them.

“The educated individuals of the Achaemenid dynasty in Persia saw no boundaries between disciplines; rather, they saw a harmonious integration of heart’s desires, intellect, and art.” 

In my artistic practice, I incorporate Western and cutting-edge technologies, merging them with the enduring inspiration I derive from that era’s concepts. Ritual music, a genre characterized by its complex and sometimes challenging sounds, is a vital component. It’s deeply intertwined with the life cycle of the singers and musicians. In traditional settings, musicians must attain a certain level of mastery to be permitted to play specific instruments. These are ancient and organic facets of confrontational art that continually fuel my creativity.

In my practice, I remain steadfast in adhering to these foundational ideas and approaches. They are like hidden threads woven into my work, not immediately conspicuous but discernible to those familiar with the culture. These elements serve as the underlying spices that infuse depth and meaning into my creations.

Besides these cultural references, it seems telling that visually your work is characterized by what you have described as “cities or environments out of time and space.” What does this timelessness bring to your work?

The concept of creating “cities or environments out of time and space” has always been central to my artistic vision. I perceive each piece as a fragment of a larger whole, evolving and taking shape over time, akin to pieces of a puzzle. I aim for these installations to serve as a contemporary format, rooted in origins and influences from the past, yet projecting a timeless and futuristic utopia. In engaging with these works, viewers encounter not only art and its meanings, but also an invitation to contemplate existence itself.
The essence of my creations lies in providing a digital realm for audiences to immerse themselves in, encouraging them to engage with, observe, and even co-create. This interactive dimension is paramount, as it empowers individuals to embark on a personal journey of introspection and self-discovery. 

When conceiving a piece, I approach it as if I were an audience member myself. I design the space, infuse it with ideas, and often perceive it as an extension of the viewer’s experience. This involves creating a framework, coding, and incorporating various mediums, effectively transforming it into a dynamic entity capable of receiving input, generating responses, and facilitating a creative exchange. Ultimately, this interplay with the work serves as a conduit for individuals to explore and connect with their own inner landscapes.


 

“The essence of my work lies in providing a digital realm for audiences to immerse themselves in, to observe, and even co-create.”

You have said to find beauty in error, would you say that glitch interests you mostly by its aesthetic qualities, or are you interested in the fact that glitch “captures the machine revealing itself,” as Rosa Menkman describes it?

I find a deep fascination in witnessing failures and glitches in various types of working machines or systems. Regardless of a machine’s intended functionality or design purpose, I see beauty in its operation. However, glitches and errors hold a special allure for me. They represent moments where designers and creators didn’t anticipate certain issues, and the resulting visual anomalies are, in my eyes, incredibly captivating.

Glitches, whether they manifest in the physical world or appear in digital spaces, have an inherent aesthetic quality that I find compelling. The unexpected patterns and distortions that emerge, whether in the texture of a physical object or on a screen, are visually intriguing and often breathtaking. This fascination extends to coding and programming as well. Many times, glitches and failures have served as a wellspring of inspiration for me, igniting the creative process.

“Glitches, whether they manifest in the physical world or appear in digital spaces, have an inherent aesthetic quality that I find compelling.” 

In both the physical and digital realms, I derive a sense of wonder from encountering these deviations from the norm. Even in nature, there are instances of glitches or anomalies, like unusual formations on a rock or unexpected patterns in a natural setting. These occurrences seem to defy logic, existing in a way that shouldn’t be possible, yet they persist and assert their presence. For me, there is nothing more beautiful than witnessing or experiencing these unique moments in life.




Both as an artist and interaction designer, you have experienced the growth of the open source movement. What have open source tools brought to your work, and how do you see this trend evolving in the context of the growing domination of AI systems?



As a self-taught new media artist and creative technologist, the open source movement has played a pivotal role in shaping my career, particularly in terms of technique. The wealth of resources provided by the open source community, including tutorials, libraries, videos, and other online materials, has been indispensable. Most of the libraries I rely on, whether in JavaScript, Python, or tools like Touchdesigner, are products of dedicated individuals freely sharing their knowledge. This ethos underpins a significant portion of my creative work, and I’m immensely grateful for the existence of this culture.


“The wealth of resources provided by the open source community has been indispensable. I’m immensely grateful for the existence of this culture.”

Regarding AI, I personally don’t perceive any hindrance or threat to my artistic practice. As long as I have creative ideas and the desire to bring them to life, I’ll continue doing so, with or without the assistance of AI. That said, I am deeply intrigued by working with AI models and algorithms. They represent a new frontier for me, akin to a different type of glitch or anomaly that can aid in expediting the creative process. At times, these AI tools introduce unexpected elements or challenges, akin to the price we pay for their existence and utilization of resources. Yet, much like any technological advancement, I view them as a new material to work with, and I’m enthusiastically open to exploring and experimenting with various devices and beings in the digital realm to bring my creative visions to life.



Ali Phi. ENFE’AL 1, 2023

You have described the use of AI algorithms in Agnosia as “a digital creature that takes over the atmosphere.” It is interesting that you see AI as a “creature,” how would you describe your creative process when working with AI systems?



Working with AI systems in my creative process feels like a dual jam session with another person. Especially in my performances, it’s as if I’m playing and interacting with an instrument or player that I’ve brought to life through code. I navigate through the real-time occurrences and reactions of the patch, which unfold in front of the audience.
Incorporating AI libraries into my work serves as a means to provide an extensive platform, offering a range of sensors, libraries, and AI models that infuse a new layer of dynamics into the overall concept. 

In the case of project Agnosia, I utilized an EEG brainwave interface. The data gathered in real-time was then processed and translated through a trained library, ultimately shaping the deformation of particle systems and point clouds. From my perspective, there’s a seamless continuity between the raw electrical data sourced from my neurons through the headset and the way the AI library processes this data in order to generate meaningful patterns, both sonically and visually. In essence, it all serves as a malleable material for me to explore, extracting reactions, establishing boundaries, and crafting a meaningful interplay that manifests in sound and visuals.


“Working with AI systems in my creative process feels like a dual jam session with another person.”

Enfe’al is based on the audiovisual performance Maqruh, which evokes liminality and is divided into seven phases of the formation of an entity. Can you elaborate on this narrative? What does this notion of evolution bring to the artwork, the performance, and the experience of the viewer?



Enfe’al is one of the scenes within the Maqruh audiovisual performance, which is typically presented in a live performance format. The piece is composed of seven distinct sections, collectively exploring the concept of makruh—a term from Middle Eastern terminology denoting a detestable act that falls in a gray area between forbidden and permitted. These sections together trace the cyclical journey of an entity through phases of passivity, avoidance, constriction, conformity, elevation, expiry, and revival.


While my work draws inspiration from Middle Eastern cultures and motifs, it goes beyond mere representation. There is no explicit storytelling or directional guidance for the audience. Instead, there exists a comprehensive concept that unifies the different segments of the performance. It endeavors to establish connections between these seven phases, creating an immersive and cohesive experience.
For me, this concept mirrors a broader theme in the creation process. It reflects a point of uncertainty, like standing at a crossroads where decisions need to be made, but the outcome remains uncertain. This sense of uncertainty and decision-making is a recurrent theme in my interactions with the code I write and in the process of crafting installations. It revolves around determining the best approach, weighing the possibilities of success or failure, and ultimately making a choice. 

In crafting my work, I follow a consistent pattern of infusing ideas rooted in the culture I’ve grown up in. I delve into intricate details and motifs, transforming them into a canvas for generating code and A/V content. This process allows me to integrate cultural elements with the technical framework, resulting in a unique and immersive experience for the audience.



Ali Phi. AGNOSIA 6, 2022

Agnosia refers to processes of memory and incorporates your reaction to your own recollections, AI algorithms, and glitch. What led you to work so introspectively, with your own memories, and brainwave data?

The concept behind the project Agnosia emerged from my deep-seated interest in architecture, particularly my fascination with the intricacies of spatial geometry. I noticed a recurring pattern in how our brains process spatial information, like the way robots operate at storage warehouses employ similar principles for efficient navigation and routing. It intrigued me how certain locations could evoke distinct sensations and memories, yet the precise triggers remained elusive. I became captivated by the interplay between architecture and the spatial formations that contribute to this phenomenon.

In industries like robotics, this process is utilized for navigation, but what sets humans apart is our capacity to record and experience these feelings. This aspect, however, is often overlooked in industrial applications. I sought to delve into this unexplored territory, aiming to introduce a live feedback loop that could simulate and evoke sensations based on the random associations AI algorithms can generate.

To achieve this, I embarked on a process of recording various natural and man-made locations, feeding them into a software system that could recreate these spaces using EEG data obtained while I immersed myself in these environments. It was akin to the software acting as an extension of my senses, generating new spaces based on the data it received through my eyes. The resulting information was then fed back into the system, applying deformations to create these synthesized spaces.

“Agnosia integrates my introspective exploration of memory recalling processes, brainwave data, and architectural influences, creating a unique, immersive experience.”

While I’ve presented some of the scenes and processed videos as static representations, the core of the project lies in its dynamic nature. The main patch serves as a generative art engine, fueled by pre-recorded EEG data from my performances. This could be presented in real-time, with the EEG device attached to my head, continuously generating new visual spaces based on my gaze and cognitive responses. In essence, Agnosia integrates my introspective exploration of memory recalling processes, brainwave data, and architectural influences, bringing them together through the interplay of an AI “creature” and glitches to create a unique, immersive experience for both myself and the audience.

Serafín Álvarez: wandering into the unknown

Pau Waelder

Serafin Álvarez is an artist and researcher based in Barcelona, who explores themes and concepts associated with liminality, non-human otherness, the journey into the unknown and changes in the perception of reality; and how these are imagined and depicted in contemporary popular culture, with a particular interest in science fiction and fantasy film and video games. Encompassing 3D animation and interactive simulated environments, sculpture and installation, his work has been exhibited internationally.

The work of Serafín Álvarez has been featured in Niio in the artcasts Worlding with the Trouble (curated by Fabbula) and Heterotopias, alongside other international artists. The recent artcast Places of Otherness brings together four of his works, spanning the latest five years of his career. On the occasion of this presentation, we talked with him about the process and concepts behind his work.

Serafín Álvarez, Umbral Autoplay (Video Version), 2018

You have stated that the inspiration for Maze Walkthrough comes from the experience of going from one airport to another while you were producing a previous project. Would you say that both airports and videogame environments are “non-places” meant for endless circulation?

Indeed, airports have often been associated with Marc Augé’s concept of non-place, but I would not put, generally speaking, video game environments in that category, since they are, for many players, places where meaningful relationships are established. In any case, when I did these works I was not so much thinking about the concept of non-place as about liminality. In both cases I looked at certain architectural spaces (corridors and airports) as spaces for transit, circulation, change. Spaces that have not been designed to be inhabited, but to connect other spaces.

“What interests me most about science fiction is the speculation about the unknown and the ways of representing it. That unknown can be an Other, a place, a state of consciousness, a mutation, and so on.”

You are interested in science fiction as an exploration of the Other. In your work, this Other would be the space itself, strange and unpredictable?

One of the things that interests me most about science fiction is the speculation about the unknown and the ways of representing it. That unknown can be an Other (understood as someone different, whether human or of another species), but it can also be a place, a state of consciousness, a mutation, and so on. In my work I have looked at multiple resources that science fiction uses to represent what we don’t know: visual effects, soundtracks, costumes… but you are right that in most of my work there is an important spatial component, an active interest in spaces of otherness.

Serafín Álvarez, A Full Empty. Installation view at CentroCentro, 2018, Photo: Roberto Ruiz

In your works you seek to create an experience, which becomes immersive by allowing the viewer to wander freely through the spaces and free themselves from the impositions of gameplay. How do the sculptural elements you create for exhibitions in physical spaces participate in this immersion?

My work is predominantly digital, but when I exhibit it I’m very interested in its physical dimension. I like sculpture very much and I try to incorporate in my own work that physical relationship between bodies that I enjoy so much when looking at physical objects in the real world. On the other hand, digital work can become a bit schizophrenic, because you can edit and polish details ad infinitum, try one thing, undo it and try another one endlessly. Working with matter is different, it allows me and encourages me to be more intuitive, to let myself go, to establish a less controlling relationship with the materials, and I personally think that brings very positive things to my work.

Serafín Álvarez, A Full Empty, 2018

You have distributed your work as downloadable files that the public can buy for whatever price they want, even for free. What has this kind of distribution meant for you? Do you see other ways of distribution that would be conducive to your work, particularly because of its identification with the language of videogames?

I have two pieces of interactive software on itch.io, an interesting platform for independent video games with a very active community. I usually work with physical exhibitions in mind, but distributing part of my work digitally has allowed me to reach other audiences; it has given me a certain autonomy to show and make my work known without having to depend exclusively on institutions, galleries and curators; and being attentive to digital platforms for art distribution has allowed me to get to know the work of a large number of very interesting artists who are active online although they may not have as much presence in the conventional channels of contemporary art.

Serafín Álvarez, Maze Walkthrough. Installation view at MACBA, 2014, Photo: David Mutiloa

It seems that Maze Walkthrough has been better understood in the field of videogames than in the contemporary art world. Do you think this is due more to the aesthetics or to its “navigability”?

I don’t know if better, but different. When I published Maze Walkthrough it was reviewed in some media outside the field of contemporary art and it was very well received. Many people wrote to me, many people commented and shared both the piece of software and the collection of corridors at scificorridorarchive.com that I made while conceiving the project. Audiences around science fiction and video games have always interested me, and that such audiences valued my work was something that filled me with joy. One of the things I liked most about that reception was to see people enjoying the piece in a different way than the contemporary art audiences I’m used to, which tend to look at the work in a reflexive way, pondering possible interpretations. I’m very interested in hermeneutics, but it was refreshing to also see people enjoying Maze Walkthrough more from experience than intellect.

Serafín Álvarez, Maze Walkthrough, 2014

A Full Empty, the video you presented as part of the artcast curated by Fabbula, shows a world in which nature has run its course after an industrial era that fell into decay. Do you see in this work an interest in dealing with environmental issues through simulation, or do you continue to explore spaces linked to science fiction narratives?

Both. This work is based on two fictional texts: Andrei Tarkovsky’s film Stalker and, especially, the novel Roadside Picnic by the Strugatsky brothers on which Tarkovsky based his film. Both texts are about a forbidden zone to which humans have restricted access and which develops its own ecology, and while making that video I found myself thinking about what the planet would be like once we are no longer here.

“Science fiction and video game audiences have always interested me. I like to see people enjoying the piece in a different way than the contemporary art audiences I’m used to.”

You are interested in freeing the viewer from the tyranny of the camera, but there’s actually an interesting aspect to the camera movement in your work. Normally it’s a forward traveling sequence, following the logic of video game exploration, but in A Full Empty it is, conversely, a backward traveling, which gives it a more cinematic character. Is this a conscious decision in the creation of this piece? Have you thought about working more with camera movements in future works?

Yes, of course it was a very conscious decision. In Roadside Picnic the scientists who study the forbidden zone explore it with great care, because it is full of deadly traps. They have developed hovering vehicles with a “route memorizer” system that, once they have finished an exploration journey into the zone, return them back on their steps in an automated way to reduce the danger, undoing on the way back the exact same route they did on the way out and therefore without falling into the traps already bypassed. The video is influenced by this automated journey of return after having entered a strange place in search of something.

I’m sure I’ll continue working with camera movements, it’s something that fascinates me. Right now I’m involved in developing live simulations that are much less cinematic than the video A Full Empty, but I still think and care a lot about camera movements, no matter how simple they are. Moving the camera is a wonderful expressive resource.

Serafín Álvarez, Now Gone, 2020

In Now Gone you adopt a different aesthetic, which resembles the point clouds created by 3D scanners, to show a mysterious cave inspired by the film Prometheus and the universe of H.R. Giger. What led you to this aesthetic and how would you link this piece to your other works?

The link with other works is a similar interest in the journey, in the passing from one place (or condition, or state…) to another. Also, the arrangement of “intertextual elements”, vestiges that refer to fictional stories as if they were a kind of archaeological objects… although it is true that the aesthetics of Now Gone is different from my previous works. Now Gone was born from an invitation to participate in a publication, Today is a Very Very Very Very Very Very Very Gummy Place by Pablo Serret de Ena and Ruja Press. They sent me a very ambiguous map and asked me to make something from it. My proposal was to build an environment with video game technology. Since the publication was going to be edited in black and white I started to try things using this limitation in a creative manner and, after several experiments, something that worked very well for what I wanted to achieve was to render the images using a 1-bit dither (a graphic technique in which there are only black or white pixels organized in such a way that it produces the illusion of grays, similarly to Ben Day dots in comics). I’m very pleased with the result, in fact I soon returned to a very similar aesthetic in a later work, A Weeping Wound Made by an Extremely Sharp Obsidian Knife, and I’m currently looking at different ways to develop it further in the future.

Serafín Álvarez, A Weeping Wound Made by an Extremely Sharp Obsidian Knife. Installation view at Galeria Estrany de la Mota, 2022, Photo: Roberto Ruiz

Fabbula specializes in curating Virtual Reality projects and immersive experiences. In relation to your work, how do you see the possibilities offered by current VR devices for the dissemination of digital artworks? 

At the moment I haven’t seriously started working with VR. As I mentioned in a previous question, I’m very interested in the relationship between the work, the viewer and the physical space, but generally speaking VR experiences tend to remove that physical space. I’m sure there are interesting ways to incorporate it, but for the moment I haven’t worked in that direction yet.

Digital art brings a new ambiance to the travel industry 

Nico Tone, the artists collective behind the beautiful art installation powered by Niio, explain the story of the artwork curated for Hong Kong International Airport and how it enhances travelers’ experience in the terminal. 

Niio Editorial

View of Nico Tone’s Botanic Dreams next to the Waterfall Gardens at Hong Kong International Airport

Traveling is not just going from one place to another. Every step of the trip is an experience in itself. Granted, maybe packing and getting to the airport is a bit stressful. But once you cross the security checkpoint and find that you have some time to spend before your flight takes off, it is like discovering a new city. Airports are now a long way from the gray, boxy, nondescript buildings that travelers had to cross to get to their planes. They now offer spectacular architectural spaces, a myriad of places to shop, eat, or drink, and also some quiet spots to relax, recharge, and get ready for the next part of the trip.

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Some airports are known for being particularly comfortable, or for the array of services they offer. Tallinn Airport, for instance, is known for its cozy atmosphere that makes one feel at home, and in fact, it was voted by its passengers the Best Airport in Europe in 2019. Munich Airport is the second busiest airport in Germany, catering to its passengers with more than 150 stores and 50 places to eat. However, few can rival the spectacular interior spaces of Hong Kong International Airport at Chek Lap Kok.

Hong Kong International Airport, which opened in 1998, connects to 220 destinations worldwide and handled 71.5 million passengers in 2019. The airport that never sleeps has been awarded more than 80 ‘World’s Best Airport’ awards and is committed to becoming one of the world’s greenest airports. 

At Hong Kong International Airport, large screens offer visitors immersive virtual environments that enhance the feeling of traveling and the excitement of reaching new destinations

Walking through its ample corridors and immense vaulted spaces filled with light is a memorable experience in itself, but there is even more to explore as the airport buildings extend the physical space with multimedia installations. Large screens offer visitors immersive virtual environments that enhance the feeling of traveling and the excitement of reaching new destinations.

The multimedia experience began with the Waterfall Gardens, developed in collaboration with Moment Factory, to create a relaxing and beautifully magical ambiance in the terminal. The installation simulates a waterfall falling into a river with rocks. Visitors are invited to walk along the river and touch the water on the screen, feeling transported to a faraway land for a brief moment.

Next to the Waterfall Gardens, is the airport’s latest innovative installation powered by Niio. A giant screen hosts the artworks Botanic Dreams, Awakening Garden and Ikebana Dreams #1 by Nico Tone, a multidisciplinary group formed by creatives from different nationalities, who work together on art and technology projects. 

Nico Tone, Awakening Garden, 2019

Nico Tone’s senior artist and co-founder Tal Keren explains the process behind conceiving an artwork for this spectacular setting. The artists’ group’s initial challenge has been to create something that draws the attention of passersby in an environment saturated with visual messages. “We are confronted daily with many images and videos,” states Keren, “and nothing really infiltrates us or touches us anymore. I believe that if you take the time and look at one artwork you will start feeling and sensing its power. This is what we try to achieve.” 

Nico Tone, Ikebana Dreams #1, 2019

Nature is chosen as a subject by the artists to convey a positive message that reaches out across cultures and identities

The artists’ collective creates an engaging visual space that allows for a more relaxed contemplation, observing every detail in the scene and noticing subtle changes that happen every now and then. Contrary to the quick impact sought by advertising content, which catches the eye and delivers its message in a fraction of a second, these works invite the viewer to take their time. The compositions created by the artists are, accordingly, depictions of nature and peaceful landscapes that contain within them numerous small events, happening at different times, so that the image appears to be full of a life of its own.

Nature is chosen as a subject by the artists to convey a positive message that reaches out across cultures and identities: “We don’t want our viewers to relate an artwork to one culture or to one language,” stresses Keren, “but instead wish for every viewer to have their own take and perception of the artwork.”

Nico Tone, Botanic Dreams 1, 2020

Working on the large screen of this installation has been an interesting challenge for Nico Tone. As Tal mentions: “On very large screens, every detail is seen and scrutinized. Everything needs to be meticulous and have meaning. We have to simultaneously consider both the viewer looking at the colossal screen from very close and one looking from far away. We aspire to convey the message or story of the artwork for both these types of viewers.” She concludes by confessing that “it is both scary and extremely satisfying to present our works on these huge screens.”   

Yoshi Sodeoka: human audio visualizer

Roxanne Vardi and Pau Waelder

A multifaceted artist, Yoshi Sodeoka creates a wide range of audiovisual artistic works that include video art, animated gifs, music videos, and editorial illustrations. Influenced from an early stage in his career in noise music and glitch art, as well as avant garde movements such as Op Art, his work is characterized by breaking down the structure of the musical score and visual integrity of the image to find new forms of artistic expression.

A multifaceted artist, Yoshi Sodeoka creates a wide range of audiovisual artistic works that include video art, animated gifs, music videos, and editorial illustrations. Influenced from an early stage in his career in noise music and glitch art, as well as avant garde movements such as Op Art, his work is characterized by breaking down the structure of the musical score and visual integrity of the image to find new forms of artistic expression. His projects, developed individually or in close collaboration with other artists, materialize in fields as diverse as music (Psychic TV, Tame Impala, Oneohtrix Point Never, Beck, The Presets, Max Cooper), illustration (New York Times, Wired, The Atlantic, M.I.T Technology Review) fashion (Adidas, Nike), and advertising (Apple, Samsung). His work has been exhibited internationally, including at Centre Pompidou, Tate Britain, the Museum of Modern Art, the Cleveland Museum of Art, Deitch Projects, La Gaîté Lyrique, the Museum of Moving Image, the Baltimore Museum of Art, and Laforet Museum Harajuku.

In the following conversation, Sodeoka discusses his work and influences, focusing on the two artworks from the series Synthetic Liquid recently commissioned by Niio.

Could you elaborate on how your background in music influences your artistic practice when creating new media artworks?

At the beginning of my abstract video art projects, music and sounds usually come first. I guess in a way, I’m trying to be a human audio visualizer. I usually start by picking up some interesting sounds that I want to work with. That could either come from a friend or from myself. It really depends on how I feel. I’ve been a long time user of Logic (a MIDI sequencer software) so I usually cook up something quick in that. I’ve always played electric guitar since a young age, and I still have a collection of synthesizers and instruments. I’ve been a big fan of experimental noise and ambient music. I am lucky to have some really talented music friends that provide me with the exact sounds I’m looking for if I’m not in the mood to do my own. Anyhow, then I would try to come up with the idea of what sort of visuals go well with that sound. Experimental/Noise music is just a perfect fit with the videos I make.

Yoshi Sodeoka, Synthetic Liquid 7, 2022.

Why are you interested in glitch and noise?

I feel that everything is broken anyway, nothing is complete. In computer glitches, something interesting happens, in terms of color and composition. I am mainly interested in these colors and shapes. For me it comes from an aesthetic reason, I am not a conceptual glitch artist. I use it for everything.

However, these particular artworks I created for the commission look more organized, with more neutral colors. It relates to how I feel about the project or what influences me at a particular time, but I really can’t tell why.

“If you depend on the programs and machines you are using, then your creative process becomes shaped by the vision of the person who made that software or those machines.”

The neo-psychedelic style of both commissioned works from your Synthetic Liquid series with its kaleidoscope of colors resembles the aesthetic used by Futurist artists in the early twentieth century, and you have also mentioned your interest in Op Art. Would you say your work relates to these avant garde movements?

Yes, to some certain extent. I like Futurism, particularly in its more abstract manifestations. And in this particular work that I’m presenting in Niio, I should say I’ve been more influenced by Op art. I like the work of Bridget Riley and Victor Vasarely, among others. I just like the idea of making video versions of Op art. I enjoy seeing those visual triggers: Op Art makes you question what you are seeing. The arrangement of colors and shapes make your brain think. I like the idea of trying to make animated Op Art, because when you see it your mind goes someplace else, and this is fascinating to me. When you look at a landscape, for instance, you feel calm, whereas with Op Art there is a different feeling.

Yoshi Sodeoka, Synthetic Liquid 8, 2022.

Can you tell us about your artistic process and about the different digital softwares that you use in the creation of your video works and the process of moving from analog practices to digital practices? 

Sound and visuals are strongly connected. My interest in experimental noise is that it does not have a structure, which goes well with abstract videos. I have been playing music since I was 12 years old, and at the same time I studied painting. Doing both at the same time from a very young age, when I discovered video art there was no question that I wanted to do that. 

I’ve used a lot of analog setups in the past. But I use less of it now. I still like a pure analog setup, but I’m just in a different phase. I like to keep it simple with fewer gears in my studio at the moment. I incorporate the ideas that I have learned from working on analog videos into the digital video-making process. One of the things that are fascinating about what I can do with analog video is video feedback. I try to simulate that in the digital setting. The exact process might be different. But the concept is the same either in analog or digital. 

 “I imagine that the future of computing will be more organic and fluid.” 

I still have a video analog setup in my studio. For me it started to get kind of boring, and to break out of it one of the solutions was to buy more gears. I feel that the parameter is very limited because if you buy gear, then your creative process becomes shaped by the vision of the person who made that gear. I don’t like that, so I use my own video feedback technique with After Effects, which not many people do, and therefore it feels like it is my own tool and my own technique.

I also randomize a lot of elements in my audio production, working with a set of parameters. I set a tone, add notes from here to here, and allow a bit of randomness. But that’s as far as I go. I don’t use a coding environment such as PureDate to make audio compositions, but I use audio production software and randomize it, which is similar in a way. 

“I like the idea of creating Op Art, because it makes you question what you are seeing”

When experiencing your works, one cannot help but think of the beginning of the creation of everything with the representation of fluids and water.

Ha, I’m not sure. When people think of computers and technologies, they don’t really think of liquids and water. Machines are always dry and hard things. But I imagine that the future of computing will be more organic and fluid. People are using liquid elements in computing and I am fascinated by it. My videos feel very organic, particularly because they have an analog component, so it is not only about zeros and ones. I want to make everything organic as much as possible. It’s not easy, but I take it as my challenge to make things look more organic.

You have recently also been active in the NFT space, could you please share your experience with us on these projects and how you imagine NFTs becoming part of the more traditional art industry as a whole?

It’s been such a crazy ride with NFTs! I’ve sold plenty of work as I’ve never had before. And I’ve made a lot of new friends, and I discovered a lot of great artists I’ve heard of before. Overall it’s been a good experience for me. But I’m not a big fanatic of it either. I’m staying pretty low-key about it. Things come and go and I have no idea where this is going, honestly. I just focus on making good art, which has always been my thing.

Andreas Nicolas Fischer’s Ambient Art

Roxanne Vardi

Andreas Nicolas Fischer is a multidisciplinary artist from Berlin. Fischer started his artistic career as a traditional artist working mainly with painting and drawing, but became interested in generative art upon his visit to artist Casey Reas’ Process/Drawing exhibition in 2005 at DAM Gallery in Berlin. 

At the time he discovered Reas’ work, Fischer was interning at ART+COM, founded by Joachim Sauter, who also later became a professor at the Berlin University of the Arts. Fischer learnt Processing from the very first people who worked on the creative coding environment conceived and developed by Casey Reas and Ben Fry in 2001. While he did not have a background in computing, Fischer was motivated to teach himself code and started creating animations with Processing. He also worked briefly with fabrication and sculpture to adapt to the demands of the market at a time when the interest in digital art was not yet mainstream. However, he considers himself a purist and likes to create systems that operate autonomously, something that he can achieve by working with generative algorithms. 

In the following interview, that took place on the occasion of the artist’s solo artcast The Art of Hypnosis on Niio, Andreas Nicolas Fischer unfolds the motivations and techniques behind his work.

How would you describe your art practice today?

My practice is mostly generative pure abstraction. I do some narrative 3D animation philosophizing about the end of the world, but my main focus is generative systems and aesthetics and abstractions; developing these systems over time and translating them into different means. My personal preference is to create art that is self-contained, and doesn’t take data from the outside. I used to work as an art director to make a living, making 3D animation as this was a bigger market, but I didn’t want to be part of that career where artists need to receive grants. I always wanted to have a hard skill, with a foot in the industry, but I like my work to be more dynamic where I learn something and then apply it. This is what I did for ten years, but then I started to receive commissions, until at some point my art practice and commercial practice merged. Today I don’t work for agencies and I don’t work as a freelance artist. I do my own work. My main focus is generative systems and aesthetics and abstractions, developing these systems over time and translating them into different means.

My main focus is generative systems and aesthetics and abstractions, developing these systems over time and translating them into different means

Andreas Nicolas Fischer, Nethervoid 07 L 2180, 2022

You have described some of your latest works as ‘Ambient Art’. Could you please elaborate on this concept?

I have been doing more real-time work in the past few years, I like to call it ambient art, it’s not narrative and it’s not super intrusive. You don’t need to pay attention to the work all day, but it’s a small intricate development with its own pace. I really like when you get drawn into the work. In this way I like to see my work as hypnosis, I hypnotize people through the work in a sense. I do this for myself, because I like the process of viewing my own work, but I have also observed that in my audience, some people tell me that they get lost in the work. And that’s what I like, changing people’s state, changing their psychological state. We all have a perceptual system, but you can influence that. I like changing someone’s state of mind with my art overtime. It’s an introspective process, there are no demands, it’s more subtle. In a sense I am not saying anything. I make my work for myself but also for other people.

Many of your latest series such as Nethervoid and Infinite Void also contain a sound element that feels crucial to the works. Is this another way for you to influence your audience’s perceptual system?

There are sound frequencies that you can use to influence one’s perceptual state, which I started looking into. I create some of the sounds with other artists, while others I find and modify myself using generative code. Composers hear so much more than we do, that’s the beauty, to be able to collaborate with sound designers because it enriches the artwork and we learn from each other.

On one of my works, I worked with a friend of mine, David Kamp, a composer and sound designer. I had sent him a rough cut for this work and I literally almost cried when I got it back from him. There are not many things that move me, but when I got that [sound design] back it was very powerful, it was so subtle. It was like listening to 70’s progressive rock on a good sound system, there is just so much there. 

Andreas Nicolas Fischer, Feeder-01-2160p, 2022

I like changing someone’s state of mind with my art overtime. It’s an introspective process, there are no demands, it’s more subtle.

Can you tell us more about your involvement with creating video sound installations which make the work immersive and create a dialogue with an environment such as The Origin of Quantum Dot, established in collaboration with Samsung?

That was a unique and special project. I co art directed it and created the content for those screens, but the sculpture was made by Christopher M. Bauder and Schnelle Bunte Bilder, a studio of visual art in Berlin. But this is not something that you can do every day.

In 2021 we were commissioned to create an installation in Washington DC.  It was such a powerful experience as the end result resembled an animated James Turrell, playing with light, where the sensation of the room completely changed according to the light.

What is it that draws you into creating digital art or software-born art created with code?

What I like a lot about the process is creating something from nothing, just from text and code. Of course the whole programming environment and the libraries were created by someone so it’s not nothing-nothing, but what I like is that you have something that is a pure instruction and you can create something new from it that has so much depth and richness . This  is so powerful. I love 3D animation and coloring and shading, but 3D animation is an insane amount of work. What I like about software is the leverage that you have, making systems autonomously while you are running the code, it’s also a flexible medium. With AI and generative systems you have a lot of leverage and you can control these machines to do something, I appreciate that on a conceptual level.

You start with pure instruction and you can create something new from it that has so much depth and richness. This is so powerful!

When you use found data in your generative artworks, how important is it for you that people know the origin of the source material? 

It depends, in the past I would use found images to create some of my works, but now I generate my own procedural compositions. I like both but I am not interested in where it came from, and visually it’s far enough removed from the original image that I don’t feel guilty about it. The machines give you power to create some things that you cannot create by hand.

Andreas Nicolas Fischer, Infinite Void 13A L 2098, 2022

You have also experimented with AI. What is your take on working with generative adversarial networks?

I had a brief and romantic relationship with AI. People talk about the end times of machines and the domination of AI. There are reasons to be concerned about that. I received a few DALL·E invites which I intentionally gave out to people who are not versed visually, but what I found is that if you don’t have good taste or that trained eye, what you produce with the AI is not going to be that interesting. This is what I concluded from my sample experiment. These tools on the one hand are very helpful for certain things, but also very biased because as soon as you get specific about things, what it hasn’t seen, then it gets harder. In the beginning when I got it I was completely sucked in, I sat there for a couple of days and hit the ‘dopamine button’. 

As an artist everything you do is a dopamine loop, that warm fuzzy feeling is something I am trying to reproduce. But the thing is once you have an image prompting machine to create things that are visually pleasing, things one can do without a huge effort, your receptors shut down, and the satisfaction is that you don’t feel good or accomplished with yourself. It’s like TikTok, after half an hour of scrolling if I would ask you what you remember about it, it wouldn’t be very much. I see AI going where you can turn yourself and other people into dopamine junkies, it’s visual stimulation on steroids. The thing with all of technology is that it’s only going to get stronger, sowe need to find a way to deal with it.’. Today I mostly use AI tools to up-res all of my older videos by adding more detail to them. To me, this is the beauty about it, to increase the fidelity of the content.

I see AI going where you can turn yourself and other people into dopamine junkies, it’s visual stimulation on steroids.

Can you dive deeper into your use of the term ‘void’ in describing or naming your works?

Using the term void is intentional, coming back to wanting to hypnotize or affect people’s mental state through the works. The void is more of a meditative void, a mental void. Of course it’s visually very full, but for me meditation is hard, I don’t have a solid practice but sometimes my work can help me with it by producing that mental void.

Virtual Exhibitions You Can Enjoy at Home

Social isolation is a challenge, beyond the effort for survival necessities like food and medicine.  When we’re stuck in our homes, it swells the need to fill an extraordinary amount of unstructured time.  Luckily, there’s a way to use this time to enrich yourself culturally in the comfort/ confinement of your own home.  Many of the most prestigious museums, galleries, and art fairs around the world are open to the public- at home! Iconic institutions such as the Musée D’Orsay in Paris, the Van Gogh Museum in Amsterdam, the Guggenheim in New York City and many more, are now open for everyone in the form of virtual tours.  Now we can all enjoy a long virtual walk through museums, from the comfort of home.

Musée D’Orsay

Musée d’Orsay is the French national museum of fine and applied arts, located in Paris. The museum features works of French artists from the 19th century. Its collection includes painting, sculpture, photography, and decorative arts from artists such as Gustave Courbet’, Édouard Manet, and Pierre-Auguste Renoir. Take a virtual tour.

Guggenheim Museum

Solomon R. Guggenheim Foundation, located in New York, is committed to innovation, collects, preserves, and interprets modern and contemporary art, and explores ideas across cultures through dynamic curatorial and educational initiatives and collaborations. With its constellation of architecturally and culturally distinct museums, exhibitions, publications, and digital platforms, the foundation engages both local and global audiences. Take a virtual tour.

National Museum of Modern and Contemporary Art, Korea

The National Museum of Modern and Contemporary Art (MMCA) established itself as a representative institution of Korean modern art. The museum’s four branches, including Gwacheon, Deoksugung, Seoul, and Cheongju. MMCA Gwacheon is devoted to various genres of visual arts such as architecture, design, and crafts. MMCA Deoksugung showcases modern art from Korea and overseas. MMCA Seoul focuses on introducing global contemporary art. MMCA Cheongju fulfills the museum’s primary duty to collect, preserve, study, exhibit, and educate. Take a virtual tour.

The Van Gogh Museum

The Van Gogh Museum, located in Amsterdam is a Dutch art museum dedicated to the works of Vincent van Gogh and his contemporaries. The permanent collection includes over 200 paintings by Vincent van Gogh, 500 drawings and more than 750 letters. The museum also presents exhibitions on various subjects from 19th-century art history. Take a virtual tour.

Vincent van Gogh,Het Gele Huis (1888)

Uffizi Gallery

Uffizi Gallery, located in Florence, is famous for its outstanding collections of ancient sculptures and paintings (from the Middle Ages to the Modern period). The collections of paintings from the 14th-century and Renaissance period include Giotto, Simone Martini, Piero della Francesca, Beato Angelico, Filippo Lippi, Botticelli, Mantegna, Correggio, Leonardo, Raffaello, Michelangelo and Caravaggio, in addition to many precious works by European painters. Take a virtual tour.

Sala Caravaggio e Artemisia

New Museum

Founded in 1977, the New Museum is a leading destination for new art and new ideas. It is Manhattan’s only dedicated contemporary art museum and is respected internationally for the adventurousness and global scope of its curatorial program. Since 2013, the museum has been running “First Look: New Art Online,” a monthly exhibition series through which new digital artwork is commissioned from exciting artists and presented on the museum’s website. Take a look at the artworks.

Rachel Rossin, Man Mask,2016(still). Stereoscopic 360 Video. Courtesy the artist

Art Basel: 235 Galleries Showing in Online Viewing Rooms 

Art Basel Online Viewing Rooms are on view from March 20, 2020. Participating galleries have all risen to the challenge and have chosen a curatorial concept for their virtual rooms, with the added benefits of being unconstrained by the dimensions of a traditional white cube. From blue-chip paintings to outdoor sculptures, visitors can enjoy all. Visit the viewing rooms.

Alserkal Art Week

Alserkal Avenue is a renowned cultural district of contemporary art galleries, non-profit organisations, and homegrown businesses in the Al Quoz industrial area of Dubai. Spread across 500,000 square feet, Alserkal Avenue is a vibrant community of visual and performing arts organisations, designers, and artisanal spaces that have become an essential platform for the development of the creative industries in the United Arab Emirates. On view 23 – 28 March. Visit the Art Week.

Screen IT

Screen IT focuses on the impact of the “screen culture” on contemporary art. Visitors can discover artworks in many different genres, such as TV, video, internet or VR, and in many different topics, such as bitcoins, AI or fake news. Take a virtual tour.

Jennifer in Paradise by Constant Dullaart

The Kremer Museum

Founded in 2017 by Sotheby’s and Studio Libeskind, the Kremer Museum is a museum that exists solely in the realm of virtual reality. The museum’s collection includes pieces by Jan van Bijlert, Ferdinand Bol and other Dutch and Flemish masters of the craft. Access to this unique museum can be purchased on VR platforms like Steam for only $9.99. Visit the museum.