human – Radical Atoms https://ars.electronica.art/radicalatoms/en Ars Electronica Festival 2016 Tue, 28 Jun 2022 13:26:43 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.6 Solo Date https://ars.electronica.art/radicalatoms/en/solo-date/ Wed, 03 Aug 2016 09:02:02 +0000 https://ars.electronica.art/radicalatoms/?p=2442 At the earliest stage of its creation, Solo Date asks: how do you live without someone you love? This solo performance is set in the near future and explores the interaction between human beings and artificial intelligence. Unlike most cross-sector collaboration, where technology is merely applied for aesthetic purposes, Solo Date makes technology an active character and an integral component of this work.

Throughout history, people have turned to science when religion fails to offer answers, and vice-versa. Solo Date raises philosophical questions about human emotion, existence and solitude. As we move towards the era of AI, Solo Date raises important issues that redefine the relationship between human and machine. Like a guinea pig under observation, the performer is enclosed in a modern, transparent, LED-lit cube centered on a proscenium stage, which is enveloped in black scrims. The audience will be taken on a journey in search of a past romance through ancient eastern ritual and artificial intelligence.

 

Credits

Director / text / performer: Pao-Chang Tsai; Music/sound director: Blaire Ko; Visual designer: Ethan Wang; Set designer: Yu-Han Huang; Light designer: Li-Ting Wei; Master electrician: Yi-Chin Chang; Costume designer: Yi-Zong Zhang; Stage manager: Chia-Nung Li; Producer: Po-Shen Lu; Production manager: Shu-Wen Yang; Executive producer: Chia-Chien Lin; Crew: Chih-I Chang, Tsung-Chi Chiang, Tzu-Hsien Wu

Solo Date is supported by Ministry of Culture Taiwan, Quanta Arts Foundation and QA Ring.

]]> Terminal Sulcus https://ars.electronica.art/radicalatoms/en/terminal-sulcus/ Mon, 01 Aug 2016 12:19:23 +0000 https://ars.electronica.art/radicalatoms/?p=2189 Beatrice Haines
In this installation, over 700 casts of human tongues line the inside of a fridge, illustrating our dependence on domestic technology.]]> Beatrice Haines

As a child I was horrified to discover that the succulent filling I enjoyed in my sandwiches was bovine tongue and not the ham I suspected. Eating meat seemed strange enough, but the sensation of tasting another animal’s tongue with your own felt bizarre. Years later this experience inspired Terminal Sulcus.

Over 700 casts of human tongues line the inside of a fridge, illustrating our dependence on domestic technology. Useful household appliances are often overlooked as a source of emotional value, despite our constant use of them. It is photographs or ornaments that we project importance onto, despite the electrical appliances’ ability to keep food fresh and free from bacteria. These objects are our guardian angels, yet usually end up at the local municipal tip.

My work centers on the human trace with a particular focus on forensics. Terminal Sulcus explores traces left behind as DNA in saliva. Its pink fleshiness is erotic and visceral, subverting the domestic environment.

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