The author draws on her research experience in quantum computing to discuss the conception and form of an interactive installation, CLOUD. CLOUD explores complexity in the postdigital by referencing the principles of quantum superposition, quantum entanglement and quantum measurement.

This article, or artist’s inquiry, was written in concert with the exhibition Instinct Extinct: The Great Pacific Flyway . Beginning with introductions to bird migration, the concept of global flyways and the history of conservation, the text considers the poetics of art-making relative to academic research. Areas of artistic exploration include a map depicting California’s changing waterscape, video portraits of people of the flyway and assemblages of invented and found avian artifacts. The article concludes with a review of current environmental conditions affecting migratory birds and some reflective passages.

The author’s multimedia art is inspired by memory and cognitive processes. This paper discusses certain human brain functions, including a reflection on the evolution from individual human memory to collective computer memory and the role of the artist in this vital change.

Emotion-sensitive artworks provide a challenging yet rewarding locus of activity. After a comparative review of the situation in art and music with respect to emotion research, three innovative, interactive and emotion-sensitive artworks are described. The Emotion Light (2009) is an interactive biofeedback sculpture in the shape of a light-emitting uterus that responds by changing color depending on the arousal level of the person holding it. In a State (2014) and BioCombat (2015) are generative, interactive live performance systems that detect emotion from audio or live biosignals, respectively, and create abstract animations and electroacoustic music in response.

In 1969, the vision of a handful of professors at California Institute of Technology resulted in an initiative to bring artists and scientists together to “see what happens.” The experiment embodied insurgent notions of that era—ideas that would once again become manifest a generation later in the young 21st century’s art-science fusion. Out of this venture came hints of new visual vocabularies and ways of making, as well as an awareness of fault lines between the two cultures. To one young student who found his way into it, the Caltech experience became a transforming moment.

ABSTRACT Jim Pallas, an artist who pioneered the use of technology in art, collaborated with computer sage Rene Vega and programmer Randy Mims in 1979 to create Century of Light , one of the earliest interactive public sculptures. In this article, Pallas describes an earlier struggle to incorporate technology into sculpture, the selection process that led to this, his first public commission and the collaborative process. Sited within a pedestrian mall in downtown Detroit, the sculpture sensed viewers’ movements, sounds and light. Unfortunately, the sculpture was located in an ill-conceived plaza. Although the city administration mismanaged the site and allowed the sculpture to be destroyed 25 years later, the electronics and program were rescued and remain intact.

ABSTRACT The author discusses Scorescapes , an artistic research project that investigates how sound mediates our relationship to the environment and how contemporary multidisciplinary art practices can articulate this. Scorescapes joins the author’s own artistic practice with a theoretical analysis that highlights how relationships to the environment drawn through sound are profoundly bound up with technology. Key concepts include: making the inaudible audible; underwater sound and cetacean communication; field recordings and the contextual basis of sound; typologies of listening; the score as relationship; and techno-intuition.