participant Peter Tennyson:

 

"Would highly recommend this fascinating exhibition of the work of the very thought-provoking artist Uliana Apatina.

Uliana mixes virtual reality, and film and to explore our relationship to space and architectural constructs.

Her latest piece, a work that combines a physical wall of moving cylinders with a virtual reality headset where you literally build a 'virtual room' while wired up to sensors where 'emotion detectors' control how you shape the construct, literally has to be experienced to be appreciated!"

 

 

participant Gergana Mesalska: "I'm robbed off my anxieties. You can't ask for more. It is a very therapeutic machine. It makes the world happier place to love in."

 

"Human anxiety translates into VR environment to be used by AI to build a space that brain activity is captured to remain. One might find the experience as a process of wiping up/draining/depleting negative brain build ups. Thank you #UlianaApatina #ambika #londonfestivalofarchitecture."

 

I am a trans-disciplinary artist working at the intersection of art, science, technology, architecture, and journalism. My artistic practice explores a cross-reality zone between virtual, physical, and mental spaces.

 

Projects I create are based within and inspired by various communities. This mode of operation reflects in the site-specific nature of my immersive interactive disorienting installations.

 

 

The latest example of my immersion into a scientific community is Anti-Gravity Reality: Inside the Black Cube or Brain AI – a cross-disciplinary encounter between Virtual Reality, Artificial Intelligence, Neuroscience, and Robotics. This project pioneers new technology enabling data from the emotional response to construct spaces in both digital and physical domains. It also revolutionizes haptic feedback in VR by providing it through unexpected force and resistance of physical space itself, rather than through gloves, body-suits, or exoskeletons. Audiences are turned performers in a performative space that they themselves create taking on the role of the artist and architect.

 

I'm interested in translation of physical transitional space into digital and vice versa. I peruse this idea through a dialogue between inside and outside environments in and out of gallery/museum situations and alternative/provocative locations. Sacred Danger for the Kim Fielding award for experimental arts vividly explores this issue, while Anti-Gravity Reality continues this research through the use of emerging technology. Here, spaces constructed by emotions of multiple participants are becoming outside installation/pavilion that then would be filmed into 360VR and exhibited in a gallery again.

Uli Ap, Artificial Intelligence of Virtual Reality, video documentation by Genesio De Rosa

At the time of AI, we are all concerned about them – some are worried, some are scared, some keep themselves optimistic and look forward to it, some are bored with them, some are not interested, some can't hear about them any more, some prefer not to say. The one thing that unites us all – we all know they are coming. We feel them. We hear them. But we do, actually, not know who they really are.

 

They might be like us. They might be different. They might take a certain shape or form. Or they might not. What is clear that they borrow our brains to construct their own realities.

 

This site-specific intervention to an extraordinary underground concrete hangar of Ambika P3 is a prototype of Anti-Gravity Reality: Inside the Black Cube or Brain AI, a project that reinvents human relationships with a machine and takes a philosophy of labour as a port of departure – to construct art without artists and architecture without architects. By donating their emotions to a machine, audiences become performers experiencing situations of their own making and creating structures to become a part of an outside installation.

 

Dancing on the mezzanine in a cross-reality zone of virtual, physical, and mental spaces – Anti-Gravity Reality: Inside the Black Cube or Brain AI looks freely towards vast open spaces of an unfolding concrete chamber mimicking its appearance through inclusion of windows in its structure. While windows observe the slow movement of the tubes and turned into a performer participant who is, immersed in VR, unaware of this surveillance mechanism.

 

It is a unique Virtual Reality experience – one of its kind you have never experienced before.

 

Animating a brutalist structure of Ambika P3, the machine establishes a dialogue between built and artificial environment, performance of a human and performance of a machine in an interactive conversations transversing borders of the disciplines and mediums.

 

ARTIFICIAL INTELLIGENCE OF

VIRTUAL REALITY 

Uli Ap's Exhibition at Ambika P3 Gallery University of Westminster London

expression of happiness

Reynir Hutber hunting after the machine

Neal White                                                                            with their constructed spaces                                                                    Michael Mazière

physical appearnce of the Brain AI

what your brain is constructing in both physical and virtual realms is recorded by the system as 3D space

dynamism of the Brain AI

Virtical Immersion is a permanent artwork at the crypt of St Marks Church Kennington [one of the nine site-specific installations at TSWRI.

Immersion of visitors into a digital space to ensure their presence inside the structure is continued at Sacred Danger for the Kim Fielding Award for experimental arts. 

Both That Side Where Real Is (St Marks Church Kennington, London) and Sacred Danger (the Kim Fielding Award for experimental arts, Wales South Glamorgan at Coed Hills  and Cardiff) investigate sacred and transitional spaces, research into which also manifests itself in Syu Iro (International Artist-in-Residence Programme in Aso, Japan), White Light  Inside the White Cube (Art Licks Weekend, London), and Red Room (Herrick Gallery, London).

 

 

The ideas is that you become an interactive projection and enter video space in the same way you enter physical space.

Space 2: View on the inside entrance and back Space 3

Space 1: View on the mezzanine

Space 4: TSWRI two-wall projection with immersive soundscape

The first morph as an erasing the identity statement appeared in my artistic practice in 2013 during the opening of TSWRI [That Side Where Real Is] in the Crypt@St.Mark's at St.Mark's Church Kennington.

 

Black morph symbolised the cReature exiting the flat TV screen and entering the black corridor [Black Penetration Part I, II] to dissolve in its blackness  to a total dissolution, invisibility or an absence of presence. The artist' absence from the own opening was an anti-thesis to Marina Abramovich's performance "The Artist Is Present" at MoMa.

Genesio De Rosa at work