Lino Strangis

Multimedia performance with Virtual Reality installation (interactive audio-video in real time)

Like all the works of the Reformed AI project, also in this VR experience, it is an interactive audio-video installation conceived (as well as for the use of the public) also as a device to be "tested" live in intermedia performative actions in which a generative interaction (of visions and sounds) is established between human movements, words and gestures and the scenic environment.
In this case the scene is entirely immersed in the video projection of what a dancer sees in her virtual reality experience within which, through a motion tracking of the hands, she contributes, with her dance, to design the environment already defined by the movement of the artificial intelligences in carrying out their random live interactive Light action painting program (and also generating random sound sequences with its movements). 
Inspired by what happened in the mandalas painted on the sand (which the wind swept away in a short time with values of eternity) here the sands become luminous points, which define a continuously reformed space-time and the sign left by the gesture disappears within a few seconds and it is not possible to repeat the same gesture identically, which perhaps remains imprinted only in the unconscious layers of the mind of the performers and users of this experience, who will have the possibility of being performers themselves.

Multimedia performance with Virtual Reality installation (interactive audio-video in real time)

This work is part of the so-called cycle of reformed artificial intelligences, within which the artist performing a complex gesture of re-appropriation of some of the most common and used artificial intelligences (from robots mowing grass to air and ground drones for control of the territory): by adding numerous types of visual and sound effects to the normal behavior of these robots (but sometimes also making their intelligence haywire by reprogramming some traits and placing it in extreme conditions) he intends to change the very meaning of their being by transforming them from control instruments to special actors of audiovisual environments characterized by suggestive dances of lights and visual effects tending to what he defines as “significant abstraction”.
                                                                                                                                                                    
Veronica D'Auria

In this 3D virtual reality you are literally immersed in a dark environment that is lighting up and discovering the shape of its space when two modified robot drones pass (a ground drone and an air drone) to which special effects have been added special particle light effects, which linked to their movements draw colorful and lightning-fast evolutions that continually paint and re-paint the environment. The performer can participate in the phenomenon taking place by generating beams of bright and colored points in the movement of her hands, with which she can also participate in the sound by touching an object specially placed in the center of the architecture. An ecosystem of colors and sounds generated autonomously by the reformed artificial intelligences with which to physically interact, generating in turn other colors and sounds. The continuous appearing and disappearing of graphic evolutions is inspired by the paintings on the sand (which also inspired Pollock) destined to disappear in a short time, but here it is all the dimensions of the space (and not just two) that are painted and also the process of appearance and disappearance is enormously speeded up and regenerated indefinitely. 

Comments
A three-dimensional action painting of lights and sounds performed by (reformed) artificial intelligences in concert with the performer and the user: with this work I tried to change the effects and therefore also the sense of certain behaviors of artificial intelligences and of the relationships that human intelligences can entertain with them.
   
It is also a precise choice in the way of using virtual reality technologies which intends to build unique and unrepeatable experiences in the so-called real world instead of trying to imitate it, having an "additive" rather than "subtractive" relationship with it.                                                                                                                                                                          
Lino Strangis

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Lino Strangis live performance "Reformed A.I. VR" at Auditorium Fondazione Molise Cultura, Campobasso in the context of the About The Future Festival, September 30, 2021:
https://www.youtube.com/watch?v=LWmOHomiuug&t=383s 

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The work, which is accessible to the public at the end of the performance through an Oculus Rift viewer, of which Strangis is one of the first artists in the world to notice the possible uses at various levels in the context of contemporary art (a fact demonstrated by his participation with a of his first works for Oculus produced at the Fondazione Mondo Digitale in Rome, at the 2016 edition of Ars Electronica in Linz, Austria, considered one of the most important festivals in the world for the technological arts), includes:
"a ritual performance / opening ceremony of the dimensional door at the altar of the door of vision, in which a special dance of the gaze is staged that relates to the sound environment improvised live" (L. Strangis) in concert with that generated by artificial intelligences.
The performance takes place within the installation which includes the real-time projection of the "dance of the gaze" of a performer (Veronica D'Auria) who, exploring the ad hoc virtual reality among numerous visual phenomena, interacts with the improvised sounds from the synthesizers (and not only) of Lino Strangis and from the sound streams generated in real time by the robots.
The performer will then welcome and guide visitors on the threshold of entry to the ritual place (which the artist has produced with the Unreal Engine 4 software) that users will be able to get to know at 360 degrees through Oculus Rift viewer.

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Reflections of the author
Basically, the experience proposed by virtual reality viewers is generally of an individual type and even when it comes to shared experiences these are usually through the internet and therefore we can argue that the VR experience in any case presupposes a mechanism of individual alienation from the dimension of physical reality in which one lives with the body and which is shared with the people close to whom one is physically. In my recent performances I wanted to overcome the currently most popular ways to make live video by proposing a completely different approach to the vjing mechanism which consists of alternating and editing a series of clips live. What can be seen projected onto the backdrop (which is literally a large part of the scene) is the direct experience of a performer within my ad hoc scenarios. This not only gives life to a process in which there is nothing pre-recorded and in which everything happens in an always different way based on how we behave in real time, but also breaks the aforementioned alienation process by placing the experience of the performer in a particular relational dimension in which in "seeing beyond" one is no longer alone with respect to one's environment but instead a process of sharing visions is underway which gives one's experience a collective value. The performer (who in this case is also the curator, as in the "tradition" of my now ancient projects such as 'Self made curator' in which the curator "gets his hands dirty" in first person for the artist and his work) he is literally catapulted into another dimension, into an imaginary world that becomes physically existing and takes shape in his gaze, shared with the public (who assists and participates in his experience projected on the screen). The scene is strongly characterized by this dance of the gaze which is literally "knowledge of space".

Technical sheet

Reformed A.I. VR 

The work is proposed in the form of an installation to be built around the VR station so the first important requirement is that there is the availability of a space of at least 3 square meters of surface for the free movement of the performer and the public as well as to arrange a projection background or a monitor connected to the computer (and therefore to the viewer).

Equipment
1 virtual reality headset that works with a pc and equipped with a hand controller (like HTC Vive, HTC Cosmos, Oculus rift or rather rift S)
1 pc with graphics card type nvidia 1070 (minimum) or equivalent and in any case of medium-high performance
1 video projector (at least 3000 Lumen) or monitor (at least 100 ")
1 stereo speaker sound system (preferably 12 "and at least 180 watts of power)
1 set of synthesizers (supplied to the artist)
1 set of lights (partly supplied to the artist)
cables

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presented by C.A.R.M.A.-Centro d'Arti e Ricerche Multimediali Applicate

http://asscarma.wixsite.com/carma