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🎙️ Live interview with @cezarmocan on his new digital simulation A Field Guide to Orbital Melancholy—premiering in drifts;.

We speak about satellite vision, uncertainty, and how “all-seeing” systems can still produce overlapping, conflicting versions of what they observe.

drifts;
Cezar Mocan, Yoshi Sodeoka, Yehwan Song
on view until 06.03.

Instagram Live interview with Cezar Mocan — Wednesday, 18.02, 5 pm (Berlin time).

@cezarmocan premieres a new digital simulation in drifts;: A Field Guide to Orbital Melancholy—a work that follows a distributed satellite system trying to account for the disappearance of a toxic lake, producing overlapping and conflicting versions of what it observes.

drifts; · 22.01–06.03.2026 · Wed–Fri 3–6 pm
Next Open Saturday: 21.02, 12–4

#cezarmocan #interview #officeimpart

Instagram Live interview with Cezar Mocan — Wednesday, 18.02, 5 pm (Berlin time).

@cezarmocan premieres a new digital simulation in drifts;: A Field Guide to Orbital Melancholy—a work that follows a distributed satellite system trying to account for the disappearance of a toxic lake, producing overlapping and conflicting versions of what it observes.

drifts; · 22.01–06.03.2026 · Wed–Fri 3–6 pm
Next Open Saturday: 21.02, 12–4

#cezarmocan #interview #officeimpart

Instagram Live interview with Cezar Mocan — Wednesday, 18.02, 5 pm (Berlin time).

@cezarmocan premieres a new digital simulation in drifts;: A Field Guide to Orbital Melancholy—a work that follows a distributed satellite system trying to account for the disappearance of a toxic lake, producing overlapping and conflicting versions of what it observes.

drifts; · 22.01–06.03.2026 · Wed–Fri 3–6 pm
Next Open Saturday: 21.02, 12–4

#cezarmocan #interview #officeimpart

Instagram Live interview with Cezar Mocan — Wednesday, 18.02, 5 pm (Berlin time).

@cezarmocan premieres a new digital simulation in drifts;: A Field Guide to Orbital Melancholy—a work that follows a distributed satellite system trying to account for the disappearance of a toxic lake, producing overlapping and conflicting versions of what it observes.

drifts; · 22.01–06.03.2026 · Wed–Fri 3–6 pm
Next Open Saturday: 21.02, 12–4

#cezarmocan #interview #officeimpart

Instagram Live interview with Cezar Mocan — Wednesday, 18.02, 5 pm (Berlin time).

@cezarmocan premieres a new digital simulation in drifts;: A Field Guide to Orbital Melancholy—a work that follows a distributed satellite system trying to account for the disappearance of a toxic lake, producing overlapping and conflicting versions of what it observes.

drifts; · 22.01–06.03.2026 · Wed–Fri 3–6 pm
Next Open Saturday: 21.02, 12–4

#cezarmocan #interview #officeimpart

I’ve been developing A Field Guide to Orbital Melancholy for the past year, and I’m so excited to slowly start sharing this body of work with the world 🛰️

A few pieces from this project are currently on display at @office_impart, part of “drifts”, a group exhibition with the amazing @yehwan.yen.song and @yoshisodeoka.

Field Guide is a project about earth observation systems as unreliable narrators, spirals, competing narratives, phantom islands, reenactment, Point Nemo and a lake that might or might not have disappeared.

The videos and images in this post are part of The Lake, a real-time simulation in which Argus, an AI driven constellation of satellites, is in a forever loop of trying (and failing) to accurately reconstruct the events that led to a questionable series of images it produced.

Making this simulation would have been impossible without a few amazing collaborators:

@laenzzz (sound design) — you always create soundscapes that go above and beyond what I could possibly imagine, always so deeply aligned with the worlds we’re building. Thank you 🫶

@ailiescu7 (3D environment design) — your craft, dedication, attention to detail and willingness to dive into the unknown have been so inspiring, I can’t picture this project without your contributions. Thank you 🫶

@sofiaenriquezg (curatorial development) — your writing, ideas, references, feedback and energy to engage with a messy pile of research have been so essential in helping this work come together. Thank you 🫶

And of course thank you to @office_impart, @onkaos_ and @studiotopia.art for the trust and support. More to come ✨

I’ve been developing A Field Guide to Orbital Melancholy for the past year, and I’m so excited to slowly start sharing this body of work with the world 🛰️

A few pieces from this project are currently on display at @office_impart, part of “drifts”, a group exhibition with the amazing @yehwan.yen.song and @yoshisodeoka.

Field Guide is a project about earth observation systems as unreliable narrators, spirals, competing narratives, phantom islands, reenactment, Point Nemo and a lake that might or might not have disappeared.

The videos and images in this post are part of The Lake, a real-time simulation in which Argus, an AI driven constellation of satellites, is in a forever loop of trying (and failing) to accurately reconstruct the events that led to a questionable series of images it produced.

Making this simulation would have been impossible without a few amazing collaborators:

@laenzzz (sound design) — you always create soundscapes that go above and beyond what I could possibly imagine, always so deeply aligned with the worlds we’re building. Thank you 🫶

@ailiescu7 (3D environment design) — your craft, dedication, attention to detail and willingness to dive into the unknown have been so inspiring, I can’t picture this project without your contributions. Thank you 🫶

@sofiaenriquezg (curatorial development) — your writing, ideas, references, feedback and energy to engage with a messy pile of research have been so essential in helping this work come together. Thank you 🫶

And of course thank you to @office_impart, @onkaos_ and @studiotopia.art for the trust and support. More to come ✨

I’ve been developing A Field Guide to Orbital Melancholy for the past year, and I’m so excited to slowly start sharing this body of work with the world 🛰️

A few pieces from this project are currently on display at @office_impart, part of “drifts”, a group exhibition with the amazing @yehwan.yen.song and @yoshisodeoka.

Field Guide is a project about earth observation systems as unreliable narrators, spirals, competing narratives, phantom islands, reenactment, Point Nemo and a lake that might or might not have disappeared.

The videos and images in this post are part of The Lake, a real-time simulation in which Argus, an AI driven constellation of satellites, is in a forever loop of trying (and failing) to accurately reconstruct the events that led to a questionable series of images it produced.

Making this simulation would have been impossible without a few amazing collaborators:

@laenzzz (sound design) — you always create soundscapes that go above and beyond what I could possibly imagine, always so deeply aligned with the worlds we’re building. Thank you 🫶

@ailiescu7 (3D environment design) — your craft, dedication, attention to detail and willingness to dive into the unknown have been so inspiring, I can’t picture this project without your contributions. Thank you 🫶

@sofiaenriquezg (curatorial development) — your writing, ideas, references, feedback and energy to engage with a messy pile of research have been so essential in helping this work come together. Thank you 🫶

And of course thank you to @office_impart, @onkaos_ and @studiotopia.art for the trust and support. More to come ✨

I’ve been developing A Field Guide to Orbital Melancholy for the past year, and I’m so excited to slowly start sharing this body of work with the world 🛰️

A few pieces from this project are currently on display at @office_impart, part of “drifts”, a group exhibition with the amazing @yehwan.yen.song and @yoshisodeoka.

Field Guide is a project about earth observation systems as unreliable narrators, spirals, competing narratives, phantom islands, reenactment, Point Nemo and a lake that might or might not have disappeared.

The videos and images in this post are part of The Lake, a real-time simulation in which Argus, an AI driven constellation of satellites, is in a forever loop of trying (and failing) to accurately reconstruct the events that led to a questionable series of images it produced.

Making this simulation would have been impossible without a few amazing collaborators:

@laenzzz (sound design) — you always create soundscapes that go above and beyond what I could possibly imagine, always so deeply aligned with the worlds we’re building. Thank you 🫶

@ailiescu7 (3D environment design) — your craft, dedication, attention to detail and willingness to dive into the unknown have been so inspiring, I can’t picture this project without your contributions. Thank you 🫶

@sofiaenriquezg (curatorial development) — your writing, ideas, references, feedback and energy to engage with a messy pile of research have been so essential in helping this work come together. Thank you 🫶

And of course thank you to @office_impart, @onkaos_ and @studiotopia.art for the trust and support. More to come ✨

I’ve been developing A Field Guide to Orbital Melancholy for the past year, and I’m so excited to slowly start sharing this body of work with the world 🛰️

A few pieces from this project are currently on display at @office_impart, part of “drifts”, a group exhibition with the amazing @yehwan.yen.song and @yoshisodeoka.

Field Guide is a project about earth observation systems as unreliable narrators, spirals, competing narratives, phantom islands, reenactment, Point Nemo and a lake that might or might not have disappeared.

The videos and images in this post are part of The Lake, a real-time simulation in which Argus, an AI driven constellation of satellites, is in a forever loop of trying (and failing) to accurately reconstruct the events that led to a questionable series of images it produced.

Making this simulation would have been impossible without a few amazing collaborators:

@laenzzz (sound design) — you always create soundscapes that go above and beyond what I could possibly imagine, always so deeply aligned with the worlds we’re building. Thank you 🫶

@ailiescu7 (3D environment design) — your craft, dedication, attention to detail and willingness to dive into the unknown have been so inspiring, I can’t picture this project without your contributions. Thank you 🫶

@sofiaenriquezg (curatorial development) — your writing, ideas, references, feedback and energy to engage with a messy pile of research have been so essential in helping this work come together. Thank you 🫶

And of course thank you to @office_impart, @onkaos_ and @studiotopia.art for the trust and support. More to come ✨

Join us today for the opening of 𝒅𝒓𝒊𝒇𝒕𝒔; with @yoshisodeoka @cezarmocan @yehwan.yen.song

The exhibition looks at reality as something continuously produced—through infrastructures, data flows, interfaces, and lived perception—rather than a stable given. Across layered installations and algorithmic narratives, the works reveal how digital systems shape what becomes visible, believable, and felt.

𝒅𝒓𝒊𝒇𝒕𝒔;
Cezar Mocan, Yoshi Sodeoka, Yehwan Song
22.01. – 06.03.2026

💫Opening
Thursday - 22.01.2026 – 6–9pm

With a wonderful exhibition text by the amazing @stinagustafsson
#linkinbio

#officeimpart
📸 @marjoriebrunetplaza

Save the Date!
January 22nd, 6-9 pm

drifts;
@cezarmocan @yoshisodeoka @yehwan.yen.song

Watch 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 for a few minutes and you might witness a Boston dynamic dog carrying flowers through a meadow or a Dyson hoover settling under a pier. The inhabitants of this always summer reality act upon a utility AI decision-making scaffold, in part inspired by the systems designed by Will Wright and Maxis for ‘The Sims’.

However, instead of being driven by survival needs: ‘Hunger’, ‘Comfort’, Hygiene’, ‘Bladder’, ‘Energy’, ‘Fun’, ‘Social’ and ‘Room’, Cezar Mocan’s cast have no existential threats and instead react to more abstract, almost social desires.

“Everything is a little dumb, and a little smart. The poplar tree, the Dyson vacuum, the humans, the robot dogs—they all run on the exact same cognitive architecture.”

You can read more about the AI guiding the 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 in our 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan. Follow the link in the bio and subscribe for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@thesims
#sidequest
#worldupstream
#cezarmocan

Watch 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 for a few minutes and you might witness a Boston dynamic dog carrying flowers through a meadow or a Dyson hoover settling under a pier. The inhabitants of this always summer reality act upon a utility AI decision-making scaffold, in part inspired by the systems designed by Will Wright and Maxis for ‘The Sims’.

However, instead of being driven by survival needs: ‘Hunger’, ‘Comfort’, Hygiene’, ‘Bladder’, ‘Energy’, ‘Fun’, ‘Social’ and ‘Room’, Cezar Mocan’s cast have no existential threats and instead react to more abstract, almost social desires.

“Everything is a little dumb, and a little smart. The poplar tree, the Dyson vacuum, the humans, the robot dogs—they all run on the exact same cognitive architecture.”

You can read more about the AI guiding the 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 in our 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan. Follow the link in the bio and subscribe for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@thesims
#sidequest
#worldupstream
#cezarmocan

Watch 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 for a few minutes and you might witness a Boston dynamic dog carrying flowers through a meadow or a Dyson hoover settling under a pier. The inhabitants of this always summer reality act upon a utility AI decision-making scaffold, in part inspired by the systems designed by Will Wright and Maxis for ‘The Sims’.

However, instead of being driven by survival needs: ‘Hunger’, ‘Comfort’, Hygiene’, ‘Bladder’, ‘Energy’, ‘Fun’, ‘Social’ and ‘Room’, Cezar Mocan’s cast have no existential threats and instead react to more abstract, almost social desires.

“Everything is a little dumb, and a little smart. The poplar tree, the Dyson vacuum, the humans, the robot dogs—they all run on the exact same cognitive architecture.”

You can read more about the AI guiding the 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 in our 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan. Follow the link in the bio and subscribe for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@thesims
#sidequest
#worldupstream
#cezarmocan

Watch 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 for a few minutes and you might witness a Boston dynamic dog carrying flowers through a meadow or a Dyson hoover settling under a pier. The inhabitants of this always summer reality act upon a utility AI decision-making scaffold, in part inspired by the systems designed by Will Wright and Maxis for ‘The Sims’.

However, instead of being driven by survival needs: ‘Hunger’, ‘Comfort’, Hygiene’, ‘Bladder’, ‘Energy’, ‘Fun’, ‘Social’ and ‘Room’, Cezar Mocan’s cast have no existential threats and instead react to more abstract, almost social desires.

“Everything is a little dumb, and a little smart. The poplar tree, the Dyson vacuum, the humans, the robot dogs—they all run on the exact same cognitive architecture.”

You can read more about the AI guiding the 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 in our 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan. Follow the link in the bio and subscribe for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@thesims
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

“It’s always Sunday afternoon in the late summer, it’s always sunny, the shadows always fall at the same angle. Which is a utopia; or tyranny depending on how you look at it.”

In a 𝗣𝗹𝗮𝘆 𝗤𝘂𝗲𝘀𝘁 interview with Cezar Mocan, we discuss his real-time simulation artwork 𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 and how the removal of playability can open up new opportunities for observation, speculation and can force you to think at different scales. Read it on the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 Substack to find out more about Cezar’s influences and the technical fine tuning of the AI agents his artwork sets in motion.

𝘞𝘰𝘳𝘭𝘥 𝘜𝘱𝘴𝘵𝘳𝘦𝘢𝘮 has previously been exhibited by OFFICE IMPART, Putty’s Coronation, Artemis Gallery and the Centre for Collaborative Arts and Media at Yale University. It was the subject of an artist talk at Onassis ONX in New York and Mocan received theABS Prize 2025 ‘Emerging Artist’ prize for the piece.

Find the link to the Substack in the bio and sign-up for all the 𝘚𝘐𝘋𝘌 𝘘𝘜𝘌𝘚𝘛 interviews and articles.

@cezarmocan
@office_impart
@puttyscoronation
@artemisgallerylisbon
@yaleccam
@onassis.onx
#sidequest
#worldupstream
#cezarmocan

Cezar Mocan is a Lisbon-based artist and computer programmer interested in the interplay between technology and the natural landscape.

At this year’s Rare Effect festival, Cezar presents Exhibit A, part of “”A Field Guide to Orbital Melancholy,”” his long-term research project that explores a speculative future where planetary infrastructure develops its own interpretive layer of reality. The project centers on a simple, yet unsettling, premise: what if a satellite started lying about what it observes on the ground, becoming an unreliable narrator of the Earth below?

“”A Field Guide to Orbital Melancholy”” screens at Arroz Estúdios this Friday and Saturday for Rare Effect, RSVP now: https://luma.com/RareEffect2025

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[PT]

Cezar Mocan é um artista e programador informático sediado em Lisboa, interessado na interação entre a tecnologia e a paisagem natural.

No festival Rare Effect deste ano, Cezar apresenta Exhibit A, parte do seu projeto de investigação de longo prazo «A Field Guide to Orbital Melancholy», que explora um futuro especulativo em que a infraestrutura planetária desenvolve a sua própria camada interpretativa da realidade. O projeto centra-se numa premissa simples, mas inquietante: e se um satélite começasse a mentir sobre o que observa no solo, tornando-se um narrador pouco fiável da Terra abaixo?

SCAI de pe 13 septembrie la Șona.

#RA110 #artistinresidence #AI

#cofinanțatdeafcn
@fondul_cultural_national

SCAI de pe 13 septembrie la Șona.

#RA110 #artistinresidence #AI

#cofinanțatdeafcn
@fondul_cultural_national

SCAI de pe 13 septembrie la Șona.

#RA110 #artistinresidence #AI

#cofinanțatdeafcn
@fondul_cultural_national

SCAI de pe 13 septembrie la Șona.

#RA110 #artistinresidence #AI

#cofinanțatdeafcn
@fondul_cultural_national

Cezar Mocan @cezarmocan World Upstream, 2023-2024
curated by @moulsssss at @harmonia.ltd (07.06.25)

A post-human interspecies community transforms a crumbling hydroelectric dam, rewilding the technologically transformed landscape.

New Release - NODE #9 with @cezarmocan Arcadia Inc: IPO, 2022/2025

Arcadia Inc. is a work of speculative fiction which investigates the commodification of nature through computer-generated landscape photography. In observing context erasure as the main mechanism behind re-programming images with new meanings, the work proposes a new model for obtaining the type of nature imagery meant for brand-based visual communication: a group of virtual beings which photograph scenic beauty in a real-time simulation, organized as a fictional company which produces stock images of natural environments. In an era when visual culture is created increasingly through technological automation, the work raises important questions about the future of image making.

📷 Arcadia Inc: IPO #4, 2021/2025

Each Arcadia Inc: IPO consists of three digital components:
Arcadia Inc: IPO (Asset) png,
Arcadia Inc: IPO (Provenance) mp4 video,
Arcadia Inc: IPO (Agreement), jpg,
as well as a framed print of Arcadia Inc: IPO (Asset), 21 × 28 cm

We’re delighted that the first six works from the series Arcadia Inc: IPO have found their way into thoughtful collections. 🙏

#cezarmocan #arcadiainc #arcadiaincipo #ai #aiphotography#officeimpart

New Release - NODE #9 with @cezarmocan Arcadia Inc: IPO, 2022/2025

Arcadia Inc. is a work of speculative fiction which investigates the commodification of nature through computer-generated landscape photography. In observing context erasure as the main mechanism behind re-programming images with new meanings, the work proposes a new model for obtaining the type of nature imagery meant for brand-based visual communication: a group of virtual beings which photograph scenic beauty in a real-time simulation, organized as a fictional company which produces stock images of natural environments. In an era when visual culture is created increasingly through technological automation, the work raises important questions about the future of image making.

📷 Arcadia Inc: IPO #4, 2021/2025

Each Arcadia Inc: IPO consists of three digital components:
Arcadia Inc: IPO (Asset) png,
Arcadia Inc: IPO (Provenance) mp4 video,
Arcadia Inc: IPO (Agreement), jpg,
as well as a framed print of Arcadia Inc: IPO (Asset), 21 × 28 cm

We’re delighted that the first six works from the series Arcadia Inc: IPO have found their way into thoughtful collections. 🙏

#cezarmocan #arcadiainc #arcadiaincipo #ai #aiphotography#officeimpart

New Release - NODE #9 with @cezarmocan Arcadia Inc: IPO, 2022/2025

Arcadia Inc. is a work of speculative fiction which investigates the commodification of nature through computer-generated landscape photography. In observing context erasure as the main mechanism behind re-programming images with new meanings, the work proposes a new model for obtaining the type of nature imagery meant for brand-based visual communication: a group of virtual beings which photograph scenic beauty in a real-time simulation, organized as a fictional company which produces stock images of natural environments. In an era when visual culture is created increasingly through technological automation, the work raises important questions about the future of image making.

📷 Arcadia Inc: IPO #4, 2021/2025

Each Arcadia Inc: IPO consists of three digital components:
Arcadia Inc: IPO (Asset) png,
Arcadia Inc: IPO (Provenance) mp4 video,
Arcadia Inc: IPO (Agreement), jpg,
as well as a framed print of Arcadia Inc: IPO (Asset), 21 × 28 cm

We’re delighted that the first six works from the series Arcadia Inc: IPO have found their way into thoughtful collections. 🙏

#cezarmocan #arcadiainc #arcadiaincipo #ai #aiphotography#officeimpart

New Release - NODE #9 with @cezarmocan Arcadia Inc: IPO, 2022/2025

Arcadia Inc. is a work of speculative fiction which investigates the commodification of nature through computer-generated landscape photography. In observing context erasure as the main mechanism behind re-programming images with new meanings, the work proposes a new model for obtaining the type of nature imagery meant for brand-based visual communication: a group of virtual beings which photograph scenic beauty in a real-time simulation, organized as a fictional company which produces stock images of natural environments. In an era when visual culture is created increasingly through technological automation, the work raises important questions about the future of image making.

📷 Arcadia Inc: IPO #4, 2021/2025

Each Arcadia Inc: IPO consists of three digital components:
Arcadia Inc: IPO (Asset) png,
Arcadia Inc: IPO (Provenance) mp4 video,
Arcadia Inc: IPO (Agreement), jpg,
as well as a framed print of Arcadia Inc: IPO (Asset), 21 × 28 cm

We’re delighted that the first six works from the series Arcadia Inc: IPO have found their way into thoughtful collections. 🙏

#cezarmocan #arcadiainc #arcadiaincipo #ai #aiphotography#officeimpart

New Release - NODE #9 with @cezarmocan Arcadia Inc: IPO, 2022/2025

Arcadia Inc. is a work of speculative fiction which investigates the commodification of nature through computer-generated landscape photography. In observing context erasure as the main mechanism behind re-programming images with new meanings, the work proposes a new model for obtaining the type of nature imagery meant for brand-based visual communication: a group of virtual beings which photograph scenic beauty in a real-time simulation, organized as a fictional company which produces stock images of natural environments. In an era when visual culture is created increasingly through technological automation, the work raises important questions about the future of image making.

📷 Arcadia Inc: IPO #4, 2021/2025

Each Arcadia Inc: IPO consists of three digital components:
Arcadia Inc: IPO (Asset) png,
Arcadia Inc: IPO (Provenance) mp4 video,
Arcadia Inc: IPO (Agreement), jpg,
as well as a framed print of Arcadia Inc: IPO (Asset), 21 × 28 cm

We’re delighted that the first six works from the series Arcadia Inc: IPO have found their way into thoughtful collections. 🙏

#cezarmocan #arcadiainc #arcadiaincipo #ai #aiphotography#officeimpart

Meet the winner of the Emerging Artist category of the ABS Digital Art Prize: @cezarmocan with his piece “World Upstream”! 👏

Based in Lisbon, @cezarmocan is a visual artist and computer programmer whose work explores the intersection of technology and nature.

World Upstream is an inquiry into the aesthetics of leisure. Set in a fictional future which takes for granted the embodiment of artificial intelligence - and with it, the fulfilled techno-utopian promise of freedom through automation. World Upstream asks what remains once labor becomes obsolete.

Huge congratulations again to Cezar for winning the 2025 Emerging Artist prize!
And a heartfelt thank you to our 10 brilliant finalists for the passion and creativity they brought to the ABS Digital Art Prize.

Meet the winner of the Emerging Artist category of the ABS Digital Art Prize: @cezarmocan with his piece “World Upstream”! 👏

Based in Lisbon, @cezarmocan is a visual artist and computer programmer whose work explores the intersection of technology and nature.

World Upstream is an inquiry into the aesthetics of leisure. Set in a fictional future which takes for granted the embodiment of artificial intelligence - and with it, the fulfilled techno-utopian promise of freedom through automation. World Upstream asks what remains once labor becomes obsolete.

Huge congratulations again to Cezar for winning the 2025 Emerging Artist prize!
And a heartfelt thank you to our 10 brilliant finalists for the passion and creativity they brought to the ABS Digital Art Prize.