UCL Multimedia Anthropology Lab is proud to present Multimedia Encounters, our latest exhibition and experiment created to coincide with UCL MAL’s first academic conference: Multimedia Encounters: Experimental Approaches to Ethnographic Research. 

Multimedia Encounters attends to the relationship between anthropological thought and computer intelligence. Algorithms and the anthropological mind both operate recursively, dismembering knowledge as we know it, re-calculating and birthing alternative manifestations of ethnographic data. Our exhibition seeks to probe and push this formal equivalence, exploring its limits and creating new ground for future multimedia encounters.

The exhibition aims to dissect and examine our own systems of value, to re-think how knowledge is produced, and to create spaces for re-imagining what it means to be (more than) human in a 21st Century mediascape. In addition to presenting the work of conference panellists, our exhibition features work from UCL MAL’s global network of anthropologists, artists and researchers.

VIRTUAL EXHIBITION

MULTIMEDIA ENCOUNTERS

EXPERIMENTAL APPROACHES TO ETHNOGRAPHIC RESEARCH

HOW TO NAVIGATE THE EXHIBITION

Below is an outline of the three possible linear journeys together with indications of where the portal to the next space is located. These are titled route 1, route 2 and route 3.

Each route's journey will start and end in the default ‘crater’ setting (Wade Wallerstein's Room), where you will be invited to recursively explore alternative routes. This information is also available to be downloaded in a PDF format below. However, we also encourage you to take on the challenge of locating these portals yourselves: you may find unexpected encounters...

You can also directly access the individual exhibition rooms in the descriptions below.

ENTER THE BEGINNING OF THE VIRTUAL EXHIBITION THROUGH ROOM 0

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





To find the path forward, walk through the screen to the terrain beyond. You will find three portals scattered around the outskirts of this default landscape on the outside of the installation. The blue portal marks the start to route one, the purple portal is for route two, while the red portal initialises route three.

ROUTE 1

ROOM 1: Moshen Hazrati


ENTER ROOM HERE How can AI help visualise the future by using tools from the past? In Moshen Hazrati’s ongoing work Fāl Project: Word’s Soul, AI is utilised in the visualisation process of bibliomancy - a sacred method of Iranian future foretelling. Using the random selection of book passages, bibliomancy answers specific questions about the future placed by its practitioner. Bridging Iranian literature with technology, Hazrati explores their creative potential by applying AI and algorithmic-translations to historical texts, thus ‘growing’ three-dimensional scenes. As you continue along the turquoise path, you will discover a world of Hazrati’s collaborative visualisations.





To find your next portal to the next room, continue on towards the very end of the path.

DELIVERY


UK delivery only. (For international deliveries, please email us for rates.) All orders are sent by Royal Mail Second Class and the charge for this is £3.95. Please allow 3-5 working days for delivery. If you would like or need your item quicker, please contact us directly on info@thecocktail.co.uk and we will send you options and prices. We are offering collection from the Askew Road shop on Fridays between 10am and 1pm. Last orders Thursdays at midnight. Please wait for confirmation that your items are ready to collect before coming in person. Buying for a friend? Add their shipping address at checkout.




RETURNS


If your recent purchase isn't quite what you wanted and you would like to return something our policy is as follows: 1. You must notify us within 14 days of receiving the goods and return the goods to us within 14 days of notifying us so that we can give you a full refund or exchange the item. Please note that any items bought at a discounted price must be returned within 7 days of receipt and are only eligible for a credit note. 2. All items must be returned to us unworn, undamaged and unwashed with the sale tag still attached. We reserve the right to refuse any item that is contrary to the above and that we deem not to be in a saleable condition. 3. We cannot be responsible for items lost in transit so we ask that you please use a secure delivery service and attach the correct postage to your parcel. Please also fill in the returns form (downloadable here) with your details and send it with the item(s). Please send your item(s) to: Cocktail Returns, 111 Askew Road, London W12 9AS Return of Faulty or Incorrect Products
Please contact us immediately if your item(s) are faulty, incorrect or damaged in transit on their way to you. Under these circumstances we will refund you the cost of the return postage, as well as the goods and your original postage. The item(s) must be returned within 14 days of receipt.




GIFT WRAPPING / BUYING FOR A FRIEND


If you'd like your items gift wrapped please click on 'GIFT WRAPPED?' when you checkout and let us know. You can also write a short message. We'll handwrite it and include it with your present. Buying for a friend? You can add their shipping details when you checkout.





To continue the exhibition, type ‘/fly’ into the chat. Point your mouse towards the floor to go through it. You will find the next portal below the ground plane.

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





The portal to Funkhouser’s room is on the other side of the floating video.

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





Teleport yourself into the next room by following the frogs through the foliage.

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





Walk through the mouse to make your way to the next portal.

DELIVERY


UK delivery only. (For international deliveries, please email us for rates.) All orders are sent by Royal Mail Second Class and the charge for this is £3.95. Please allow 3-5 working days for delivery. If you would like or need your item quicker, please contact us directly on info@thecocktail.co.uk and we will send you options and prices. We are offering collection from the Askew Road shop on Fridays between 10am and 1pm. Last orders Thursdays at midnight. Please wait for confirmation that your items are ready to collect before coming in person. Buying for a friend? Add their shipping address at checkout.




RETURNS


If your recent purchase isn't quite what you wanted and you would like to return something our policy is as follows: 1. You must notify us within 14 days of receiving the goods and return the goods to us within 14 days of notifying us so that we can give you a full refund or exchange the item. Please note that any items bought at a discounted price must be returned within 7 days of receipt and are only eligible for a credit note. 2. All items must be returned to us unworn, undamaged and unwashed with the sale tag still attached. We reserve the right to refuse any item that is contrary to the above and that we deem not to be in a saleable condition. 3. We cannot be responsible for items lost in transit so we ask that you please use a secure delivery service and attach the correct postage to your parcel. Please also fill in the returns form (downloadable here) with your details and send it with the item(s). Please send your item(s) to: Cocktail Returns, 111 Askew Road, London W12 9AS Return of Faulty or Incorrect Products
Please contact us immediately if your item(s) are faulty, incorrect or damaged in transit on their way to you. Under these circumstances we will refund you the cost of the return postage, as well as the goods and your original postage. The item(s) must be returned within 14 days of receipt.




GIFT WRAPPING / BUYING FOR A FRIEND


If you'd like your items gift wrapped please click on 'GIFT WRAPPED?' when you checkout and let us know. You can also write a short message. We'll handwrite it and include it with your present. Buying for a friend? You can add their shipping details when you checkout.





North-east to the spawn point is a white pot with a handle. Step inside of it in order to find your next portal.

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





Peek under the pair of trousers for your next portal.

ROOM 5: Funa Ye


ENTER ROOM HERE In Funa Ye’s work Beauty+, beauty apps and filters –– otherwise known as beautification software –– are central to contemporary notions of the self and the proliferation of facial recognition and data surveillance in China. As the world becomes ‘filtered’ and smoothed over with the click of a button, ‘flaws’ become conditions of a reality left behind. The three-dimensional models have been built on this premise –– all of the faces that you see are merely products of beautification software such as Meitu and Instagram filters.





Your next portal lies behind one of the encircling videos.

ROUTE 2

ROOM 8: Megan Gette


ENTER ROOM HERE In Ordinary Schizophonia, Megan Gette sonically weaves together a wide range of multimedia data sources including field recordings from Gulu, Uganda; New Orleans; New York City; Austin; Durham; Guatemala and Vancouver. Highlighting the technological separation of sound from source –– what anthropologists of sound and acoustic ecologists have considered ‘schizophonia’ –– Gette seeks to expand ordinary, everyday attunements to ecological fragilities. Foregrounding moments of breakdown, interference, and environmental noise, Gette’s ‘ecological fragility’ is further materialized by the deconstructed and detached tree renderings displayed in this room.





Float upwards towards the image with the tree in the middle. Behind it you will see a purple sphere. Enter it to get teleported to the next room.

ROOM 1: Moshen Hazrati


ENTER ROOM HERE How can AI help visualise the future by using tools from the past? In Moshen Hazrati’s ongoing work Fāl Project: Word’s Soul, AI is utilised in the visualisation process of bibliomancy - a sacred method of Iranian future foretelling. Using the random selection of book passages, bibliomancy answers specific questions about the future placed by its practitioner. Bridging Iranian literature with technology, Hazrati explores their creative potential by applying AI and algorithmic-translations to historical texts, thus ‘growing’ three-dimensional scenes. As you continue along the turquoise path, you will discover a world of Hazrati’s collaborative visualisations.





Turn fly mode on by typing ‘/fly’ into the chat. This will allow you to walk out of the torus. For your next portal, make your way inwards towards the trees.

ROOM 1: Moshen Hazrati


ENTER ROOM HERE How can AI help visualise the future by using tools from the past? In Moshen Hazrati’s ongoing work Fāl Project: Word’s Soul, AI is utilised in the visualisation process of bibliomancy - a sacred method of Iranian future foretelling. Using the random selection of book passages, bibliomancy answers specific questions about the future placed by its practitioner. Bridging Iranian literature with technology, Hazrati explores their creative potential by applying AI and algorithmic-translations to historical texts, thus ‘growing’ three-dimensional scenes. As you continue along the turquoise path, you will discover a world of Hazrati’s collaborative visualisations.





Make your way up towards the tip of the black post right to the spawn point to locate the portal to the next room.

ROOM 3: Ignacio Gutierrez Crocco


ENTER ROOM HERE Ignacio Gutierrez Crocco’s Perspectivism is an immersive installation that intends to interpret and transmit the stories of the Lafkenche people from Lake Budi in the Araucanía region of Chile about the earthquake of 1960. The installation mixes a habitable infrastructure with 360o video, immersive audio and with interview extracts, to produce a lively simulation of the experience of the earthquake in the Lafkenche-world from the perspective of the Panku rock.





To make your way to the next portal, go inside the mouse.

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





Find your next portal by going inside the grey pot.

ROOM 5: Funa Ye


ENTER ROOM HERE In Funa Ye’s work Beauty+, beauty apps and filters –– otherwise known as beautification software –– are central to contemporary notions of the self and the proliferation of facial recognition and data surveillance in China. As the world becomes ‘filtered’ and smoothed over with the click of a button, ‘flaws’ become conditions of a reality left behind. The three-dimensional models have been built on this premise –– all of the faces that you see are merely products of beautification software such as Meitu and Instagram filters.





For the next exhibition room, make your way outside the 360 projection.

ROOM 3: Penelope Watson & Yiannis Christidis


ENTER ROOM HERE In dialogue with one-another, Penelope Watson’s visual works and Yiannis Christidis sonic composition A Final Preparation communicate rich traditions of passage and transcendence. Blending ‘documental’ and imaginary soundscapes, Christidis creates an immersive sonic experience centring around the funerary preparations of a body. In Watson’s works, the aesthetic tradition of the Greek Orthodox Church is contemplated through artistic practice, serving as an ethnographic process of reflection, iteration, and communication. Inspired by the synthesis of these works, the cloud-like formations in this room interplay with themes of ‘ethereality’ and touch upon the non-textual communication of lived tradition.





Continue the exhibition by going outside the 360 projection.

DELIVERY


UK delivery only. (For international deliveries, please email us for rates.) All orders are sent by Royal Mail Second Class and the charge for this is £3.95. Please allow 3-5 working days for delivery. If you would like or need your item quicker, please contact us directly on info@thecocktail.co.uk and we will send you options and prices. We are offering collection from the Askew Road shop on Fridays between 10am and 1pm. Last orders Thursdays at midnight. Please wait for confirmation that your items are ready to collect before coming in person. Buying for a friend? Add their shipping address at checkout.




RETURNS


If your recent purchase isn't quite what you wanted and you would like to return something our policy is as follows: 1. You must notify us within 14 days of receiving the goods and return the goods to us within 14 days of notifying us so that we can give you a full refund or exchange the item. Please note that any items bought at a discounted price must be returned within 7 days of receipt and are only eligible for a credit note. 2. All items must be returned to us unworn, undamaged and unwashed with the sale tag still attached. We reserve the right to refuse any item that is contrary to the above and that we deem not to be in a saleable condition. 3. We cannot be responsible for items lost in transit so we ask that you please use a secure delivery service and attach the correct postage to your parcel. Please also fill in the returns form (downloadable here) with your details and send it with the item(s). Please send your item(s) to: Cocktail Returns, 111 Askew Road, London W12 9AS Return of Faulty or Incorrect Products
Please contact us immediately if your item(s) are faulty, incorrect or damaged in transit on their way to you. Under these circumstances we will refund you the cost of the return postage, as well as the goods and your original postage. The item(s) must be returned within 14 days of receipt.




GIFT WRAPPING / BUYING FOR A FRIEND


If you'd like your items gift wrapped please click on 'GIFT WRAPPED?' when you checkout and let us know. You can also write a short message. We'll handwrite it and include it with your present. Buying for a friend? You can add their shipping details when you checkout.





To find your next portal, continue on to the outermost tree. You will find a black cube at its root inside of which is the next portal.

ROUTE 3

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





Discover your next portal by going past the video on one of the ends of the tunnel.

DELIVERY


UK delivery only. (For international deliveries, please email us for rates.) All orders are sent by Royal Mail Second Class and the charge for this is £3.95. Please allow 3-5 working days for delivery. If you would like or need your item quicker, please contact us directly on info@thecocktail.co.uk and we will send you options and prices. We are offering collection from the Askew Road shop on Fridays between 10am and 1pm. Last orders Thursdays at midnight. Please wait for confirmation that your items are ready to collect before coming in person. Buying for a friend? Add their shipping address at checkout.




RETURNS


If your recent purchase isn't quite what you wanted and you would like to return something our policy is as follows: 1. You must notify us within 14 days of receiving the goods and return the goods to us within 14 days of notifying us so that we can give you a full refund or exchange the item. Please note that any items bought at a discounted price must be returned within 7 days of receipt and are only eligible for a credit note. 2. All items must be returned to us unworn, undamaged and unwashed with the sale tag still attached. We reserve the right to refuse any item that is contrary to the above and that we deem not to be in a saleable condition. 3. We cannot be responsible for items lost in transit so we ask that you please use a secure delivery service and attach the correct postage to your parcel. Please also fill in the returns form (downloadable here) with your details and send it with the item(s). Please send your item(s) to: Cocktail Returns, 111 Askew Road, London W12 9AS Return of Faulty or Incorrect Products
Please contact us immediately if your item(s) are faulty, incorrect or damaged in transit on their way to you. Under these circumstances we will refund you the cost of the return postage, as well as the goods and your original postage. The item(s) must be returned within 14 days of receipt.




GIFT WRAPPING / BUYING FOR A FRIEND


If you'd like your items gift wrapped please click on 'GIFT WRAPPED?' when you checkout and let us know. You can also write a short message. We'll handwrite it and include it with your present. Buying for a friend? You can add their shipping details when you checkout.





Continue the exhibition by going inside the black cube behind the roadblocks.

ROOM 3: Penelope Watson & Yiannis Christidis


ENTER ROOM HERE In dialogue with one-another, Penelope Watson’s visual works and Yiannis Christidis sonic composition A Final Preparation communicate rich traditions of passage and transcendence. Blending ‘documental’ and imaginary soundscapes, Christidis creates an immersive sonic experience centring around the funerary preparations of a body. In Watson’s works, the aesthetic tradition of the Greek Orthodox Church is contemplated through artistic practice, serving as an ethnographic process of reflection, iteration, and communication. Inspired by the synthesis of these works, the cloud-like formations in this room interplay with themes of ‘ethereality’ and touch upon the non-textual communication of lived tradition.





To find your portal to the next room, continue past the central light which is illuminating the floor.

ROOM 1: Moshen Hazrati


ENTER ROOM HERE How can AI help visualise the future by using tools from the past? In Moshen Hazrati’s ongoing work Fāl Project: Word’s Soul, AI is utilised in the visualisation process of bibliomancy - a sacred method of Iranian future foretelling. Using the random selection of book passages, bibliomancy answers specific questions about the future placed by its practitioner. Bridging Iranian literature with technology, Hazrati explores their creative potential by applying AI and algorithmic-translations to historical texts, thus ‘growing’ three-dimensional scenes. As you continue along the turquoise path, you will discover a world of Hazrati’s collaborative visualisations.





Step through the film to discover the black cube with the portal to the next room.

ROOM 3: Penelope Watson & Yiannis Christidis


ENTER ROOM HERE In dialogue with one-another, Penelope Watson’s visual works and Yiannis Christidis sonic composition A Final Preparation communicate rich traditions of passage and transcendence. Blending ‘documental’ and imaginary soundscapes, Christidis creates an immersive sonic experience centring around the funerary preparations of a body. In Watson’s works, the aesthetic tradition of the Greek Orthodox Church is contemplated through artistic practice, serving as an ethnographic process of reflection, iteration, and communication. Inspired by the synthesis of these works, the cloud-like formations in this room interplay with themes of ‘ethereality’ and touch upon the non-textual communication of lived tradition.





To enter the next exhibition room, make your way to the chin of the upwards-facing model and step inside it.

ROOM 1: Moshen Hazrati


ENTER ROOM HERE How can AI help visualise the future by using tools from the past? In Moshen Hazrati’s ongoing work Fāl Project: Word’s Soul, AI is utilised in the visualisation process of bibliomancy - a sacred method of Iranian future foretelling. Using the random selection of book passages, bibliomancy answers specific questions about the future placed by its practitioner. Bridging Iranian literature with technology, Hazrati explores their creative potential by applying AI and algorithmic-translations to historical texts, thus ‘growing’ three-dimensional scenes. As you continue along the turquoise path, you will discover a world of Hazrati’s collaborative visualisations.





Teleport yourself into the next room by entering the floating black cube north-west to the spawn point, behind one of the floating collages.

ROOM 3: Penelope Watson & Yiannis Christidis


ENTER ROOM HERE In dialogue with one-another, Penelope Watson’s visual works and Yiannis Christidis sonic composition A Final Preparation communicate rich traditions of passage and transcendence. Blending ‘documental’ and imaginary soundscapes, Christidis creates an immersive sonic experience centring around the funerary preparations of a body. In Watson’s works, the aesthetic tradition of the Greek Orthodox Church is contemplated through artistic practice, serving as an ethnographic process of reflection, iteration, and communication. Inspired by the synthesis of these works, the cloud-like formations in this room interplay with themes of ‘ethereality’ and touch upon the non-textual communication of lived tradition.





Look for a green rectangle next to the image of a beauty mask for the next portal.

ROOM 1: YoungEun Kim


ENTER ROOM HERE In Red Noise Visit, YoungEun Kim resurrects the ‘sounds of the past’, spotlighting two characteristic sounds at the backdrop of Korea’s modernization. The first sound is of the siren: over the course of 36 years, the curfew siren gradually instilled within the nation a strict temporal discipline, dominating the space, time, and minds of individuals. In tandem with the memory of the siren’s sound is the rigid visuality of the siren tower (formerly, a Japanese-occupation era watchtower) which stands as the tallest redbrick watchtower in existence. The second sound is the radio, which carried deliberate propaganda and ordinary transmissions to and from each side of the border. The perceived sound of all radio signals was thus labelled ‘Red Noise’: two vexed sounds—two ‘red noises’—one oppressively striking down upon the flow of time, the other permeating across spatial borders. Towards composing Red Noise Visit,Kim utilised news articles, interviews, and essays describing echoic memories of the siren and radio. In this room, Kim’s work is enveloped in a totalizing, almost oppressive, red space, inviting you to be completely taken over by a vivid collective memory and Korea’s ‘sounds of the past’.





Go into the middle of the fire for the next portal.