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<a href="http://portablepalace.com">Dmitry Gelfand</a> (b.1974, St. Petersburg, Russia) and <a href="http://portablepalace.com">Evelina Domnitch</a> (b. 1972, Minsk, Belarus) create installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness.
Having dismissed the use of recording and fixative media, Domnitch and Gelfand&#8217;s installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer&#8217;s sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.
To trace the liquid crystal’s light-propelled flow, hollow glass microspheres are suspended in the solution. These tiny lenses also serve to expand the liquid crystal’s sensitivity to brightness and color. During the laser beam’s self-shaping journey, it creates a projection that magnifies microscopic landscapes in the liquid’s depths.
<a href="https://www.unamur.be/en/research/narc/fellows/yoann-olivier">Yoann Olivier</a> obtained a Ph.D. from the University of Mons in 2008. From 2009 to 2013, he held a postdoctoral fellowship from Belgian National Fund for Scientific Research (FNRS) and went on postdoctoral stays with Prof. Claudio Zannoni at the University of Bologna and Prof. Henning Sirringhaus at the University of Cambridge.
From 2013 to 2019, he was a research associate at the University of Mons and recently joined in July 2019 the Chemistry and Physics departments of the University of Namur as a lecturer.
His research interests deal with the understanding of electronic processes in organic conjugated (small molecule and polymers) and 2D materials, using a multiscale approach combining quantum-chemical methods, Monte Carlo approach and molecular dynamics simulations. Recently, he developed an interest in a new class of materials for organic light-emitting diodes exhibiting thermally activated delayed fluorescence, focusing on their electronic structure and their energy transport properties.
Moderator : <a href="https://bureaudoove.com/">Edith Doove</a>
Organisation : <a href="http://www.ademlabo.eu/">Alexandra Dementieva</a>
Supported by 
FÉDÉRATION WALLONIE-BRUXELLES 
CULTURE.BE 
CYLAND 
ADEM

Laser Talks Brussels

In an innovative project titled &#8220;Lemniscate Cascade&#8221;, artists and scientists join forces to unravel the secrets of light-sensitive liquid crystals. This enigmatic material is more than just the stuff of digital displays, but holds the key to the fundamental dialogue between light and soft matter that sparked life on Earth. The artists behind &#8220;Lemniscate Cascade&#8221; employ laser beams to traverse light-sensitive liquid crystals, setting off a mesmerizing chain of transformations along the beam&#8217;s path.
It&#8217;s fascinating how the very materials featured in &#8216;Lemniscate Cascade&#8217; could draw parallels to elucidate the materials and intricate physical processes at the core of this scientific research. The dual-phase nature of liquid crystals and their intriguing response to light might find intriguing correlations with the dual-state duality of singlets and triplets in the realm of OLEDs.
Yoann Olivier researches the future of Organic Light-Emitting Diodes (OLEDs). OLEDs are at the forefront of lighting and display technologies, but there&#8217;s always room for improvement. This project delves into the world of TADF (Thermally Activated Delayed Fluorescence) to boost OLEDs&#8217; efficiency to an astounding 100%. It&#8217;s a quest to understand the intricacies of singlet and triplet states, influenced by magnetic field effects (MFEs) such as spin-orbit coupling, hyperfine interaction, and the delta g mechanism. Olivier&#8217;s multi-scale approach tackles these challenges, offering new perspectives for material design.

Illuminating Liquid Crystals : A Fusion of Art and Scientific Exploration

Theatre - Friends room

Although he wasn&#8217;t meant to design and even less to the web, Henry nevertheless spent the last decade spreading a culture of digital design based on storytelling, craft and a pretty obvious love for cinema-inspired design approaches. Now CEO and Creative Director of Dogstudio, Henry and his team lead collaborations with forward-thinking brands and organisations including Microsoft, The New York Times, Rappi, Tomorrowland, ZOOX ( Amazon), The Museum of Science and Industry of Chicago, Time inc, and many others.

Henry Daubrez from Dogstudio

Two years of adventures with generative AI, some successes, some failures, but a lot of learning : an honest diary.

Coming of A(I)ge

Delta

Henry Daubrez

Chris Salter is Professor for Immersive Arts and Director of the Immersive Arts Space at the Zurich University of the Arts (ZHdK). He is also Professor Emeritus, Design and Computation Arts at Concordia University in Montreal and former Co-Director of the Hexagram network for research-creation in arts, cultures and technology and Co-Founder of the Milieux Institute at Concordia. He studied philosophy and economics and completed his PhD in theatre studies with research in computer music Stanford University.
His artistic work has been seen all over the world at such venues as the Venice Architecture Biennale, Barbican Centre, Berliner Festspiele, Wiener Festwochen, ZKM, Kunstfest Weimar, Musée d’art Contemporain, Muffathalle, MUTEK, EXIT Festival and Place des Arts-Montreal, among many others. He is the author of Entangled: Technology and the Transformation of Performance ( 2010), Alien Agency: Experimental Encounters with Art in the Making (2015) and Sensing Machines (2022), all from MIT Press.

Chris Salter

In 1968, the Polish born curator Jascia Reichardt opened a landmark exhibition at the ICA in London entitled Cybernetic Serendipty in which all manner of sensor-augmented devices, objects and sculptures stood ready to usher art into a new technological age. Remarkably, while ever more complex sensors, algorithms and devices have steadily increased in the 54 years since Reichardt’s show, essentially the same goal has remained : using artificial sensing as an integral part of an artwork in order for the work to “make sense” about its “world” and respond to it. Yet, our human senses are needed to drive and feed ever-new immersive experiences by being increasingly “coupled” or linked to a simulated world, generated through machines.
This talk will careen through TeamLab’s immersive environments installed in the landfill islands of Tokyo, through the visions of artists in the 1960s to create new kinds of “reactive environments” and our now just emerging “metaverse” age of Extended Reality in order to give a critical historical and socio-technical picture of our present and future visions of art in the age of immersion.