Christa Sommerer Laurent Mignonneau: Interactive Art Research

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Sommerer, Christa 1964-

The symposium takes place in Copenhagen. The decolonization of imagination: the dynamics of voicing, silencing, ventriloquing and speaking on behalf. Mail: aau aau. You can read about our usage of your data and how to block cookies in the AAU cookie policy.

Time Their diverse backgrounds —art and computer graphics for Sommerer and sculpture and biology for Mignonneau- have equipped them with the theoretical and technological skills to expand their knowledge into different fields of interdisciplinary research, creating artworks based on a fusion of the real world with the digital.

An important part of their work focuses on the creation of artificial life forms that evolve and breed within an interactive environment, which depends as much on code, as on the actions of the participants. This code is inspired by the genetic code of real life forms, and as such, it is subject to the rules and necessities of the real world, adopting biological mechanisms such as growth, reproduction, mutation, adaptation and intelligence.

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At the same time, the digital code is the result of programming, a mind construction based on mathematics, which can be extending infinitely, depending on the knowledge and imagination of the artists. In other words, it is the artists who designate the diverse forms the artificial life can take, the possible mutations, the sources of energy it will use, and the way it will breed and eventually die.

In this dialogue between the dictations of the real world and the imagination of the artists, the participants are encouraged to intervene, granted with the power to decide which life forms will remain active and which ones will recede into a state of non-existence.


  • Expressive Processing: Digital Fictions, Computer Games, and Software Studies!
  • Advances in Hydrogen Energy!
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  • Boundary Value Problems of Mathematical Physics and Related Aspects of Function Theory;

Thus evolves a complex dialogue and a strong interdependence between the digital world and the real world, between the artist, the artwork and the audience. The interface of the artwork includes a screen and a small scanner, equipped with a video camera and sensors that capture distance, colour, touch and position. At first, when the users hold the scanner at a certain distance, they see a projection of their image on screen.

If, however, they move the scanner closer, this projection is fused with artificial life creatures, that interact with their image. No differently than in the industrial context, here too, the use of intuitive and user-friendly control tendencies is supremely decisive. Activating the plant triggers an image-generating impulse.

here This calls for neither the preparing of a symbolically conveyed action, nor the designing of ergonomically-formed pieces of equipment to make its control possible. The juxtaposing of the real plant and a computer-generated version of nature latently recalls explosive themes that arose when discussing the use of research results in the fields of natural science and technology.