Salva Storie Instagram

丈量 (Measure) is a project I developed together with George Micah Kuhn (@g_micah_kuhn) last summer during STRATA Project, a residency with 1:4:9 Art (@149.art) and an off-site exhibition in Toli County, Xinjiang, China. The site comprises a marble quarry and a Gobi terrain that once lay beneath an ancient ocean.

Treating ‘measure’ as both means and metaphor, our work consists of a series of silicone foot casts morphing into a half-human-half-gazelle creature’s footprints along the Gobi Desert, accompanied by 3D renders of the full 20-kilometre-long speculative trail across the landscape. The footprints depict an attempt to map the site, which fails to exhaust it but is absorbed into the terrain itself through acts of presence, mimicry, and drift. As industrial measurements, units, and technics falter or decay, the body becomes the sole instrument: patrolling the terrain barefoot, imitating the endemic animal’s territorial logic.

At last, the creature’s footprints end at the edge of the quarry, as if gazing uncertainly into the uncharted pit.

This collaboration is an extension of elements in both of our previous practices. I use half-human sculptural forms to conjure mythical absence in my films. George researches animals, biomes, and Borgesian cartography in his 3D renders and animations. Here, we choose to multiply and transform our works into a process — an action on site — while the mapped and unmappable begin to collide.

Thank you @aorbital and @hao___huang for being amazing curators and conveners.

Images:
1. Silicone foot casts. Photography by @149.art
2-3. Silicone foot casts. Photography by Flo & George
4-6 Speculative trails. 3D renders by @g_micah_kuhn

丈量 (Measure) is a project I developed together with George Micah Kuhn (@g_micah_kuhn) last summer during STRATA Project, a residency with 1:4:9 Art (@149.art) and an off-site exhibition in Toli County, Xinjiang, China. The site comprises a marble quarry and a Gobi terrain that once lay beneath an ancient ocean.

Treating ‘measure’ as both means and metaphor, our work consists of a series of silicone foot casts morphing into a half-human-half-gazelle creature’s footprints along the Gobi Desert, accompanied by 3D renders of the full 20-kilometre-long speculative trail across the landscape. The footprints depict an attempt to map the site, which fails to exhaust it but is absorbed into the terrain itself through acts of presence, mimicry, and drift. As industrial measurements, units, and technics falter or decay, the body becomes the sole instrument: patrolling the terrain barefoot, imitating the endemic animal’s territorial logic.

At last, the creature’s footprints end at the edge of the quarry, as if gazing uncertainly into the uncharted pit.

This collaboration is an extension of elements in both of our previous practices. I use half-human sculptural forms to conjure mythical absence in my films. George researches animals, biomes, and Borgesian cartography in his 3D renders and animations. Here, we choose to multiply and transform our works into a process — an action on site — while the mapped and unmappable begin to collide.

Thank you @aorbital and @hao___huang for being amazing curators and conveners.

Images:
1. Silicone foot casts. Photography by @149.art
2-3. Silicone foot casts. Photography by Flo & George
4-6 Speculative trails. 3D renders by @g_micah_kuhn

丈量 (Measure) is a project I developed together with George Micah Kuhn (@g_micah_kuhn) last summer during STRATA Project, a residency with 1:4:9 Art (@149.art) and an off-site exhibition in Toli County, Xinjiang, China. The site comprises a marble quarry and a Gobi terrain that once lay beneath an ancient ocean.

Treating ‘measure’ as both means and metaphor, our work consists of a series of silicone foot casts morphing into a half-human-half-gazelle creature’s footprints along the Gobi Desert, accompanied by 3D renders of the full 20-kilometre-long speculative trail across the landscape. The footprints depict an attempt to map the site, which fails to exhaust it but is absorbed into the terrain itself through acts of presence, mimicry, and drift. As industrial measurements, units, and technics falter or decay, the body becomes the sole instrument: patrolling the terrain barefoot, imitating the endemic animal’s territorial logic.

At last, the creature’s footprints end at the edge of the quarry, as if gazing uncertainly into the uncharted pit.

This collaboration is an extension of elements in both of our previous practices. I use half-human sculptural forms to conjure mythical absence in my films. George researches animals, biomes, and Borgesian cartography in his 3D renders and animations. Here, we choose to multiply and transform our works into a process — an action on site — while the mapped and unmappable begin to collide.

Thank you @aorbital and @hao___huang for being amazing curators and conveners.

Images:
1. Silicone foot casts. Photography by @149.art
2-3. Silicone foot casts. Photography by Flo & George
4-6 Speculative trails. 3D renders by @g_micah_kuhn

丈量 (Measure) is a project I developed together with George Micah Kuhn (@g_micah_kuhn) last summer during STRATA Project, a residency with 1:4:9 Art (@149.art) and an off-site exhibition in Toli County, Xinjiang, China. The site comprises a marble quarry and a Gobi terrain that once lay beneath an ancient ocean.

Treating ‘measure’ as both means and metaphor, our work consists of a series of silicone foot casts morphing into a half-human-half-gazelle creature’s footprints along the Gobi Desert, accompanied by 3D renders of the full 20-kilometre-long speculative trail across the landscape. The footprints depict an attempt to map the site, which fails to exhaust it but is absorbed into the terrain itself through acts of presence, mimicry, and drift. As industrial measurements, units, and technics falter or decay, the body becomes the sole instrument: patrolling the terrain barefoot, imitating the endemic animal’s territorial logic.

At last, the creature’s footprints end at the edge of the quarry, as if gazing uncertainly into the uncharted pit.

This collaboration is an extension of elements in both of our previous practices. I use half-human sculptural forms to conjure mythical absence in my films. George researches animals, biomes, and Borgesian cartography in his 3D renders and animations. Here, we choose to multiply and transform our works into a process — an action on site — while the mapped and unmappable begin to collide.

Thank you @aorbital and @hao___huang for being amazing curators and conveners.

Images:
1. Silicone foot casts. Photography by @149.art
2-3. Silicone foot casts. Photography by Flo & George
4-6 Speculative trails. 3D renders by @g_micah_kuhn

丈量 (Measure) is a project I developed together with George Micah Kuhn (@g_micah_kuhn) last summer during STRATA Project, a residency with 1:4:9 Art (@149.art) and an off-site exhibition in Toli County, Xinjiang, China. The site comprises a marble quarry and a Gobi terrain that once lay beneath an ancient ocean.

Treating ‘measure’ as both means and metaphor, our work consists of a series of silicone foot casts morphing into a half-human-half-gazelle creature’s footprints along the Gobi Desert, accompanied by 3D renders of the full 20-kilometre-long speculative trail across the landscape. The footprints depict an attempt to map the site, which fails to exhaust it but is absorbed into the terrain itself through acts of presence, mimicry, and drift. As industrial measurements, units, and technics falter or decay, the body becomes the sole instrument: patrolling the terrain barefoot, imitating the endemic animal’s territorial logic.

At last, the creature’s footprints end at the edge of the quarry, as if gazing uncertainly into the uncharted pit.

This collaboration is an extension of elements in both of our previous practices. I use half-human sculptural forms to conjure mythical absence in my films. George researches animals, biomes, and Borgesian cartography in his 3D renders and animations. Here, we choose to multiply and transform our works into a process — an action on site — while the mapped and unmappable begin to collide.

Thank you @aorbital and @hao___huang for being amazing curators and conveners.

Images:
1. Silicone foot casts. Photography by @149.art
2-3. Silicone foot casts. Photography by Flo & George
4-6 Speculative trails. 3D renders by @g_micah_kuhn

丈量 (Measure) is a project I developed together with George Micah Kuhn (@g_micah_kuhn) last summer during STRATA Project, a residency with 1:4:9 Art (@149.art) and an off-site exhibition in Toli County, Xinjiang, China. The site comprises a marble quarry and a Gobi terrain that once lay beneath an ancient ocean.

Treating ‘measure’ as both means and metaphor, our work consists of a series of silicone foot casts morphing into a half-human-half-gazelle creature’s footprints along the Gobi Desert, accompanied by 3D renders of the full 20-kilometre-long speculative trail across the landscape. The footprints depict an attempt to map the site, which fails to exhaust it but is absorbed into the terrain itself through acts of presence, mimicry, and drift. As industrial measurements, units, and technics falter or decay, the body becomes the sole instrument: patrolling the terrain barefoot, imitating the endemic animal’s territorial logic.

At last, the creature’s footprints end at the edge of the quarry, as if gazing uncertainly into the uncharted pit.

This collaboration is an extension of elements in both of our previous practices. I use half-human sculptural forms to conjure mythical absence in my films. George researches animals, biomes, and Borgesian cartography in his 3D renders and animations. Here, we choose to multiply and transform our works into a process — an action on site — while the mapped and unmappable begin to collide.

Thank you @aorbital and @hao___huang for being amazing curators and conveners.

Images:
1. Silicone foot casts. Photography by @149.art
2-3. Silicone foot casts. Photography by Flo & George
4-6 Speculative trails. 3D renders by @g_micah_kuhn

Fell in foley addiction again…🌀🌀

Sharing this short track I made: it’s from a sound design workshop by the ICA Creatives (@icalondon) I’ve been doing for the past 2 months. Based on @ezraola ’s incredible film photography of a goat on the streets of Nigeria - saw it from the pile and felt an instant click with the suspense. ~ Space, drama, mood. ~ there’s so much sound design can do

Having great fun at the workshops…and getting lots of love there🐏

Fell in foley addiction again…🌀🌀

Sharing this short track I made: it’s from a sound design workshop by the ICA Creatives (@icalondon) I’ve been doing for the past 2 months. Based on @ezraola ’s incredible film photography of a goat on the streets of Nigeria - saw it from the pile and felt an instant click with the suspense. ~ Space, drama, mood. ~ there’s so much sound design can do

Having great fun at the workshops…and getting lots of love there🐏

SSSC Vol.1 ———The Now Continuum
Introducing: George Micah Kuhn & Max Jala & Magpie @g_micah_kuhn @maxjala @_magpie

George Micah Kuhn
George is an artist and programmer researching digital Creatures and the spaces they call home. He makes games, aidiovisual stuff and writes about sickness, parasites and bugs in networked spaces.
His works are linked by a concern with how creatures persist in worlds left out of time or advancing far beyond them.

Max Jala
Max Jala is a Malaysian visual artist and programmer based in London. Using technology and computation as a medum. his work spans interactive installations, game simulations, audio-reactive visuals, and live performance.
A sense of liveness is central to Max’s work, whether that be through an audience‘s real-time interaction with a piece, the interplay between sound and visual, emergent behaviours arising from a system of AIs, or a combination of the above.
gHis recent work with interactive game simulations subverts the trend of hyper-advanced AI art systems (such as DALL.E and Midjourney) by taking a regressed approach using prim itive game AIs within a chaotic system to create bizarre and emergent worlds.

Sound by @_magpie

Save the date: 11/02/2025 3-10 pm

SSSC Vol.1 ———The Now Continuum
Introducing: George Micah Kuhn & Max Jala & Magpie @g_micah_kuhn @maxjala @_magpie

George Micah Kuhn
George is an artist and programmer researching digital Creatures and the spaces they call home. He makes games, aidiovisual stuff and writes about sickness, parasites and bugs in networked spaces.
His works are linked by a concern with how creatures persist in worlds left out of time or advancing far beyond them.

Max Jala
Max Jala is a Malaysian visual artist and programmer based in London. Using technology and computation as a medum. his work spans interactive installations, game simulations, audio-reactive visuals, and live performance.
A sense of liveness is central to Max’s work, whether that be through an audience‘s real-time interaction with a piece, the interplay between sound and visual, emergent behaviours arising from a system of AIs, or a combination of the above.
gHis recent work with interactive game simulations subverts the trend of hyper-advanced AI art systems (such as DALL.E and Midjourney) by taking a regressed approach using prim itive game AIs within a chaotic system to create bizarre and emergent worlds.

Sound by @_magpie

Save the date: 11/02/2025 3-10 pm

SSSC Vol.1 ———The Now Continuum
Introducing: George Micah Kuhn & Max Jala & Magpie @g_micah_kuhn @maxjala @_magpie

George Micah Kuhn
George is an artist and programmer researching digital Creatures and the spaces they call home. He makes games, aidiovisual stuff and writes about sickness, parasites and bugs in networked spaces.
His works are linked by a concern with how creatures persist in worlds left out of time or advancing far beyond them.

Max Jala
Max Jala is a Malaysian visual artist and programmer based in London. Using technology and computation as a medum. his work spans interactive installations, game simulations, audio-reactive visuals, and live performance.
A sense of liveness is central to Max’s work, whether that be through an audience‘s real-time interaction with a piece, the interplay between sound and visual, emergent behaviours arising from a system of AIs, or a combination of the above.
gHis recent work with interactive game simulations subverts the trend of hyper-advanced AI art systems (such as DALL.E and Midjourney) by taking a regressed approach using prim itive game AIs within a chaotic system to create bizarre and emergent worlds.

Sound by @_magpie

Save the date: 11/02/2025 3-10 pm

SSSC Vol.1 ———The Now Continuum
Introducing: George Micah Kuhn & Max Jala & Magpie @g_micah_kuhn @maxjala @_magpie

George Micah Kuhn
George is an artist and programmer researching digital Creatures and the spaces they call home. He makes games, aidiovisual stuff and writes about sickness, parasites and bugs in networked spaces.
His works are linked by a concern with how creatures persist in worlds left out of time or advancing far beyond them.

Max Jala
Max Jala is a Malaysian visual artist and programmer based in London. Using technology and computation as a medum. his work spans interactive installations, game simulations, audio-reactive visuals, and live performance.
A sense of liveness is central to Max’s work, whether that be through an audience‘s real-time interaction with a piece, the interplay between sound and visual, emergent behaviours arising from a system of AIs, or a combination of the above.
gHis recent work with interactive game simulations subverts the trend of hyper-advanced AI art systems (such as DALL.E and Midjourney) by taking a regressed approach using prim itive game AIs within a chaotic system to create bizarre and emergent worlds.

Sound by @_magpie

Save the date: 11/02/2025 3-10 pm

SSSC Vol.1 ———The Now Continuum
Introducing: George Micah Kuhn & Max Jala & Magpie @g_micah_kuhn @maxjala @_magpie

George Micah Kuhn
George is an artist and programmer researching digital Creatures and the spaces they call home. He makes games, aidiovisual stuff and writes about sickness, parasites and bugs in networked spaces.
His works are linked by a concern with how creatures persist in worlds left out of time or advancing far beyond them.

Max Jala
Max Jala is a Malaysian visual artist and programmer based in London. Using technology and computation as a medum. his work spans interactive installations, game simulations, audio-reactive visuals, and live performance.
A sense of liveness is central to Max’s work, whether that be through an audience‘s real-time interaction with a piece, the interplay between sound and visual, emergent behaviours arising from a system of AIs, or a combination of the above.
gHis recent work with interactive game simulations subverts the trend of hyper-advanced AI art systems (such as DALL.E and Midjourney) by taking a regressed approach using prim itive game AIs within a chaotic system to create bizarre and emergent worlds.

Sound by @_magpie

Save the date: 11/02/2025 3-10 pm

Highlights from ::::: Our Slanted. Deserted. Pursuit

Thanks again to everyone who came to our exhibition last week at @h.artslane. It was such a fulfilling, exciting, and spooky(🕷) journey bringing the show to life with two other artists @pietrobardini and @zchsiung. Hope you all enjoyed our ghost trail quest – until next time. 🐾

Photography: @zhangkangyue_
Edit: me
Soundtrack: @looplicator

This exhibition is an interim showcase of my R&D project 𝙁𝙖𝙡𝙨𝙚 𝙒𝙞𝙩𝙣𝙚𝙨𝙨 supported by the Jamie Iddon Award from @blasttheory. Looking forward to sharing more progress soon!

Performing 𝙁𝙖𝙡𝙨𝙚 𝙒𝙞𝙩𝙣𝙚𝙨𝙨 3 months ago in the garden of “Violent Divinity”

Video: @timelessclock
Curator: @guccini_jingyi, @siteng.mus
Venue: @luckypotart

Performing 𝙁𝙖𝙡𝙨𝙚 𝙒𝙞𝙩𝙣𝙚𝙨𝙨 in a bedroom at "Violent Divinity" 3 months ago

Photo: @edline_tw
Curator: @guccini_jingyi, @siteng.mus
Venue: @luckypotart

I’m a little addicted to this

Keeping track of small progress has never been my biggest strength, so I created this account as a place for devlogs, and all the uncurated bits and scraps of any digital mess I made.

Hopefully, this will be the first post of the 𝙪𝙣𝙩𝙞𝙩𝙡𝙚𝙙𝘿𝙚𝙫𝙡𝙤𝙜. It’s for a new performance project I recently started, about co-habitation with sentient agents, a.k.a performing with grumpy timid noise-making bots. I decided to start with creating a body/shape/form that can later be mobilized by ai.

So, small steps - here’s some simple springy and flocking physics:)

#unity #procedural #physics #𓂻