BioMedia

Meanwhile, in the 21^st century, the idea of media simulating life becomes even more realistic: real motion and an input–output relation, which we call participatory interactivity, are very much like a living organism which responds and adjusts to actions by living beings or the environment. Beginning with the simulation of motion and progressing to kinetic art and cybernetic theory, the simulation of life and life systems through artificial intelligence and generative technologies have led 21^st century humanity to reckon with machines on an existential level.

This became possible in three steps: virtuality, variability, and viability. Building on each new development, the virtuality of photographic images set the stage for virtual electronic systems to produce, process, and store digital images. The virtuality of media storage in electronic systems enables the variability and versatility of image content, which in turn introduces viability of behavior of the images.

Media systems transgress the simulation of motion and simulate many aspects of living organisms, of life, from intelligence to empathy. It is this phenomenon – media which exhibit life-like actions – that we call biomimetic media or BioMedia.

The exhibition investigates different forms of artificial agents and environments, as well as their behavior and interactions with other entities within contemporary hybrid ecosystems. Some of these agents are purely digital, computer-generated and computer-simulated systems that evolve on a screen, while others include complex adaptive robots that have a physical presence in space and can manifest biomimesis as search mechanisms, swarm intelligence, self-preservation, and so on. Nevertheless, they imitate, demonstrate, and simulate life-like behavior by responding to stimuli in unpredictable ways. The artificial agents shown in this exhibition raise questions about self-sustaining nonorganic life by presenting their ability to interact with each other and with humans and nonhumans alike, as two-dimensional images, three-dimensional objects, and multidimensional quantum models. In this exhibition, we explore these dynamic systems at the intersection of art and science – both in terms of their possible applications in real life and in their quality to fuel our imagination.

»BioMedia« provides insights into possible modes of cohabitation with artificial life forms and investigates the future of our entanglements with technological assemblages. The existence of organic life and artificial agents are not mutually exclusive. Instead, »BioMedia« proposes to imagine our relationship with artificial agents in multiple strands of interdependency. New methodologies and ideologies need to be investigated to answer the question of how we can enhance and sustain life in an alliance of human and more-than-human technological entities against the backdrop of the profound ecological crisis, mass extinction, and human-made climate catastrophe.

Utilizing a biophilic approach which embraces the diversity of life on the planet, this exhibition proposes to include not only carbon-based life, but also inorganic life forms in the network of the natural ecosystem and social relationships, thus questioning taxonomies developed in the natural sciences and the siloing of different branches of sciences and arts. The sympoetic community of the future will welcome artificial beings as part of a system of networks, relationships, and links between different disciplines in order to tackle urgent issues and foster new solutions. Artificial agents might also take on the roles of guides, regulators, cocreators, companions, and caregivers in these communities. At a time when there is an existential threat to our living planet, seeking new concepts and definitions of life has become more than just a philosophical undertaking; it has become a responsibility to life itself.

Artists
::vtol::, Kees Aafjes, Refik Anadol, Artificial Nature (Haru Ji & Graham Wakefield), Giselle Beiguelman, Torsten Belschner, Samuel Bianchini, Frank Bierlein, Michel Bret, Ludger Brümmer, Daniel Canogar, Aristarkh Chernyshev, CITA – Centre for Information Technology and Architecture at the Royal Danish Academy of Fine Arts, Edmond Couchot, Stephanie Dinkins, Melissa Dubbin & Aaron S. Davidson, Anna Dumitriu, Jake Elwes, Justine Emard, Cécile B. Evans, Bernardo Fontes, Edo Fouilloux, Yves Gellie, Alexandra Daisy Ginsberg, Libby Heaney, Stephan Henrich, Katrin Hochschuh & Adam Donovan, Yannick Hofmann, Gökhan S. Hotamisligil, Yasha Jain, Daria Jelonek, Nikolai Konstantinow, Bernd Lintermann, Christian Mio Loclair, Matthew Lutz, Hasan Mashni, Alex May, Bruno Moreschi, Mélodie Mousset, Alessia Nigretti, Gordon Pask, Špela Petrič, Sascha Pohflepp, Nina Rajcic & SensiLab, random international, Anna Ridler, Birk Schmithüsen, Alexander Schubert, Jeffrey Shaw, Maria Smigielska & Pierre Cutellic, Christa Sommerer & Laurent Mignonneau, Karl Sims, Jakob Kudsk Steensen, Martinus Suijkerbuijk, Maija Tammi, Universal Everything, Harm van den Dorpel, Jeroen van der Most, Peter van der Putten, Günter Weseler, Marco Zampella, Moph Zielke, Fabien Zocco.

Research projects
Beyond Matter, École polytechnique fédérale de Lausanne (EPFL), Festo SE & Co. KG, FZI Research Center for Information Technology, IBM Deutschland GmbH, intelligent.museum, KIT – Karlsruhe Institute of Technology