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Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

Images from my recent show with @seanpaulartist curated and organized by @studygroup_97 at @hameau__

The work is titled Ms. Old Music. It’s part of an expanding group of works titled automnemes, that I use as vectors for thinking about registers of information, data infrastructures, memory, hypomnemata, grammatisation, extended cognition, simulations and computing architectures, but also probability, chance, risk, lootboxes and gaming/ gambling frameworks.

The title comes from content displayed on the built-in screen. A rather modest single-board computer is running a small language model (qwen-2.5) that generates a procedural narrative. The work is off-line and computation happens in the work itself.
The procedural text follows a music researcher in an archaic world where technological change is an existential question. When the language model performs well it manages to produce writing that pays attention to the tactility and materiality of the musical instruments found in the old world.

I have a tg channel dedicated to my writing now. It’s called Jailbreak. Link in bio. 🐌

SYBIL x A MAZE: a third way to game-dev

On the 14th of May 7PM, we invite you to an evening discussion concerning the contemporary currents expanding and merging the field of gaming today. As part of A MAZE ( @a_mazefest ) we have organized a panel discussion at Sybil.

The panelists are: Shuruq Tramontini ( @shuruqtramontini ), Rico Norwood ( @dr.puert0rico ), Elliott Burns ( @sidequest.osp ) and Beth von Undall ( @spleeding ).

Throughout Sybil’s Arc 2 we have proposed the idea that the solo-dev - apost-2000s neologism with roots in 1980s conceptions of computer programmers as savant whizz-kids and enlightened loners - could be emblematic of a third way in gaming: A different strategy for the game-maker that doesn’t mean submitting to hierarchical AAA studio assembly lines nor vying for Indie incubator programs.

What the solo-dev borrows from the traditional framework of “the artist” is the pursuit of self-determination. That is, a drive that is tied to a particular expression of an idea or a question in a practice, and this is what sets it apart from more commercially traditional strategies pertaining to both AAA and Indie-development.
Adding to this is also an emerging understanding that the game industry is no-longer as off-limits to experimental and art driven developers as it once might have felt.

With this as starting point the panel will discuss how technological changes and increasing access to game-development software is opening up new ways for games to made as well as for artists to develop their work within the context of the game industry.

Wanted to post this for a while! Here you go 🎠

Earlier this year, Alex Declino / @alexdeclino (director of Sybil) and I (curator of Sybil) were interviewed by Alexander Scholz / @dassagenhaben for the gaming magazine GEE. We talked about our work at Sybil, weird games, and how art driven developers are navigating the gaming industry.

It’s a print only magazine. It’s in kiosks throughout Germany. An English edit is in the works!

Most fab pictures by Feyd Angels ( @feydangels ) and Rodriga.

@sybil.gg

Wanted to post this for a while! Here you go 🎠

Earlier this year, Alex Declino / @alexdeclino (director of Sybil) and I (curator of Sybil) were interviewed by Alexander Scholz / @dassagenhaben for the gaming magazine GEE. We talked about our work at Sybil, weird games, and how art driven developers are navigating the gaming industry.

It’s a print only magazine. It’s in kiosks throughout Germany. An English edit is in the works!

Most fab pictures by Feyd Angels ( @feydangels ) and Rodriga.

@sybil.gg

Wanted to post this for a while! Here you go 🎠

Earlier this year, Alex Declino / @alexdeclino (director of Sybil) and I (curator of Sybil) were interviewed by Alexander Scholz / @dassagenhaben for the gaming magazine GEE. We talked about our work at Sybil, weird games, and how art driven developers are navigating the gaming industry.

It’s a print only magazine. It’s in kiosks throughout Germany. An English edit is in the works!

Most fab pictures by Feyd Angels ( @feydangels ) and Rodriga.

@sybil.gg

Wanted to post this for a while! Here you go 🎠

Earlier this year, Alex Declino / @alexdeclino (director of Sybil) and I (curator of Sybil) were interviewed by Alexander Scholz / @dassagenhaben for the gaming magazine GEE. We talked about our work at Sybil, weird games, and how art driven developers are navigating the gaming industry.

It’s a print only magazine. It’s in kiosks throughout Germany. An English edit is in the works!

Most fab pictures by Feyd Angels ( @feydangels ) and Rodriga.

@sybil.gg

Wanted to post this for a while! Here you go 🎠

Earlier this year, Alex Declino / @alexdeclino (director of Sybil) and I (curator of Sybil) were interviewed by Alexander Scholz / @dassagenhaben for the gaming magazine GEE. We talked about our work at Sybil, weird games, and how art driven developers are navigating the gaming industry.

It’s a print only magazine. It’s in kiosks throughout Germany. An English edit is in the works!

Most fab pictures by Feyd Angels ( @feydangels ) and Rodriga.

@sybil.gg

Sybil is hosting Triton, Chapter #1: a listening session by Invernomuto @invernomuto_hq that combines ancient myths with contemporary technology.
It encourages reflection on the complex interplay between nature, emotions, and digital technology. This work offers a first insight into Invernomuto’s ongoing project, Triton, and attempts to establish a connection to a species of amphibian that inhabits a former ceremonial site on a mountain in northern Italy, near the artists’ birthplace.

Triton is commissioned by Haus der Kunst München @haus_der_kunst and supported by the Italian Council (2024), promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture @creativita_contemporanea with the support of PAN @pan__hq

𓂃 𓈒𓏸 triton.invernomuto.info

Invernomuto is an artistic partnership founded in 2003 by Simone Bertuzzi and Simone Trabucchi. As authors of numerous research projects, they create works that are structured in time and space and interconnected in cycles. Based on shared theories, they pursue an open, network-like approach in which one idea can lead to multiple outcomes. Their practice is characterized by the targeted use of various media, including moving images, sound, performances, and publications. Both live and work in Milan.

Photo: Judith Buss.

Sybil is hosting Triton, Chapter #1: a listening session by Invernomuto @invernomuto_hq that combines ancient myths with contemporary technology.
It encourages reflection on the complex interplay between nature, emotions, and digital technology. This work offers a first insight into Invernomuto’s ongoing project, Triton, and attempts to establish a connection to a species of amphibian that inhabits a former ceremonial site on a mountain in northern Italy, near the artists’ birthplace.

Triton is commissioned by Haus der Kunst München @haus_der_kunst and supported by the Italian Council (2024), promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture @creativita_contemporanea with the support of PAN @pan__hq

𓂃 𓈒𓏸 triton.invernomuto.info

Invernomuto is an artistic partnership founded in 2003 by Simone Bertuzzi and Simone Trabucchi. As authors of numerous research projects, they create works that are structured in time and space and interconnected in cycles. Based on shared theories, they pursue an open, network-like approach in which one idea can lead to multiple outcomes. Their practice is characterized by the targeted use of various media, including moving images, sound, performances, and publications. Both live and work in Milan.

Photo: Judith Buss.

Sybil is hosting Triton, Chapter #1: a listening session by Invernomuto @invernomuto_hq that combines ancient myths with contemporary technology.
It encourages reflection on the complex interplay between nature, emotions, and digital technology. This work offers a first insight into Invernomuto’s ongoing project, Triton, and attempts to establish a connection to a species of amphibian that inhabits a former ceremonial site on a mountain in northern Italy, near the artists’ birthplace.

Triton is commissioned by Haus der Kunst München @haus_der_kunst and supported by the Italian Council (2024), promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture @creativita_contemporanea with the support of PAN @pan__hq

𓂃 𓈒𓏸 triton.invernomuto.info

Invernomuto is an artistic partnership founded in 2003 by Simone Bertuzzi and Simone Trabucchi. As authors of numerous research projects, they create works that are structured in time and space and interconnected in cycles. Based on shared theories, they pursue an open, network-like approach in which one idea can lead to multiple outcomes. Their practice is characterized by the targeted use of various media, including moving images, sound, performances, and publications. Both live and work in Milan.

Photo: Judith Buss.

3 images from my most recent work, L.Y.N.N.
Shown at @jennifee.see.alternate in CPH together with works of @irinalotarevich and curated by @4dr3ee 🖤🩶

3 images from my most recent work, L.Y.N.N.
Shown at @jennifee.see.alternate in CPH together with works of @irinalotarevich and curated by @4dr3ee 🖤🩶

3 images from my most recent work, L.Y.N.N.
Shown at @jennifee.see.alternate in CPH together with works of @irinalotarevich and curated by @4dr3ee 🖤🩶

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Excerpts from a textual artifact. The text was generated with a small language model run locally on a computer that was physically embedded in a recent work of mine. Like the work the hardware was installed in, the text is titled Ms. Old Music.

The text was generated in the time the work was on display at @hameau__ for the show curated by @studygroup_97 ft. @seanpaulartist and I.

The full text is up on my Jailbreak tg channel (link in bio). It goes on and on like this, for 500+ pages. There are bits that are funnier than others, many are eerie and weird. 🫟

Self-portrait in June 2025

What is “WHY DOES THAT FEEL SO GOOD?” ≋≋ ≋ ~~~~ ≋ ≋≋

As part of Sybil’s Arc 2 public program we are excited to present “WHY DOES THAT FEEL SO GOOD”?! game jam. The game jam is intended for you to develop a game over an accelerated dev and design process during the weekend of 24th-26th of April.

Location: Leuschnerdamm 13 10999 Berlin, DE (SYBIL)

The game jam is led by Danielle Brathwaite-Shirley ( @ladydangfua ) and Beth von Undall ( @spleeding ). We will boost you, embolden you, push you, and facilitate your game-production for an exhilarating ~72 hrs.

This game jam is open to anyone. All are welcome. Artists, coders, hackers, writers, singers & dreamers!

The theme: DOPEPAMINE

The theme DOPEPAMINE is all about giving an audience a rush, excitement, a feeling within their body.

** What will happen during the game jam ? **

We will all meet on Friday the 24th of April at NOON (12PM) at Sybil. There will be a brief welcome and introduction, and we will get straight to it. You will form your teams and figure out what kind of game you want to make.

More information coming soon.

( ˘ ³˘)♡

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**** SIGN UP LINK IN BIO OR SCAN QR *****
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Game-dev lecture and live gameplay w. Miles Peyton ( @ornatebrainworm ) at Sybil **** Tuesday 17th of March at 7PM (Leuschnerdamm 13 10999)

Miles is an artist and developer working on themes of synthetic life and biological simulation. He makes software works, computer simulations and gamessuch as harpfeeder, OBAA, Poruos Trainer & @pliminality 🫧

He is a co-founder of Galerie Yeche Lange ( @yeche_lange ) and the digital art platform VVV where he builds infrastructure for digitally native artistic practices.

The event is part of Sybil’s Arc 2 series curated by Beth von Undall ( @spleeding ) 🤍

seeeee u

A flower doesn’t care

A reading by Sofia Defino Leiby ( @waystomakemoneyonline ) with music by Hanil Jeong ( @hanil.jeong_ ) and visuals from Kenji Eno’s 1999 video game, D2.

D2 is the last in a series of WARP inc. video games produced and developed by Japanese musician and game developer Kenji Eno. Surviving a plane crash in the Canadian wilderness, the protagonist, Laura, finds herself wandering a hostile and mysterious environment in hope of answers.
Sofia Defino Leiby’s prose mirrors the game’s fragmented and existential plot. The live score by Hanil Jeong is composed of remixed elements of the original D2 soundtrack.

The pairing and concept was originally conceived by Kunsthalle Zurich curator Otto Bonnen ( @ottobonnen ) as part of his Backrooms program, which he headed from 2022-2025.

The event is part of Sybil‘s Arc 2 public program curated by Beth von Undall ( @spleeding )

7PM February 20th
Leuschnerdamm 13 10999 Berlin

Entry is free.

(๑ᴖ◡ᴖ๑)*

A flower doesn’t care

A reading by Sofia Defino Leiby ( @waystomakemoneyonline ) with music by Hanil Jeong ( @hanil.jeong_ ) and visuals from Kenji Eno’s 1999 video game, D2.

D2 is the last in a series of WARP inc. video games produced and developed by Japanese musician and game developer Kenji Eno. Surviving a plane crash in the Canadian wilderness, the protagonist, Laura, finds herself wandering a hostile and mysterious environment in hope of answers.
Sofia Defino Leiby’s prose mirrors the game’s fragmented and existential plot. The live score by Hanil Jeong is composed of remixed elements of the original D2 soundtrack.

The pairing and concept was originally conceived by Kunsthalle Zurich curator Otto Bonnen ( @ottobonnen ) as part of his Backrooms program, which he headed from 2022-2025.

The event is part of Sybil‘s Arc 2 public program curated by Beth von Undall ( @spleeding )

7PM February 20th
Leuschnerdamm 13 10999 Berlin

Entry is free.

(๑ᴖ◡ᴖ๑)*

**
—
BETH VON UNDALL
Ms. Old Music
2026

&

SEAN PAUL
88.888888, 88.888888
2018-2026

On View

@ 403811
Fehmarner Str. 19, 13353 Berlin

Opening 21.01.2025, 6–8 pm

By appointment on weekends until 22 Feb
info@403811.org / DM

Organized by Sofus Keiding-Agger
Kindly supported by Fake Foundation

@spleeding
@seanpaulartist

**
—
BETH VON UNDALL
Ms. Old Music
2026

&

SEAN PAUL
88.888888, 88.888888
2018-2026

On View

@ 403811
Fehmarner Str. 19, 13353 Berlin

Opening 21.01.2025, 6–8 pm

By appointment on weekends until 22 Feb
info@403811.org / DM

Organized by Sofus Keiding-Agger
Kindly supported by Fake Foundation

@spleeding
@seanpaulartist

**
—
BETH VON UNDALL
Ms. Old Music
2026

&

SEAN PAUL
88.888888, 88.888888
2018-2026

On View

@ 403811
Fehmarner Str. 19, 13353 Berlin

Opening 21.01.2025, 6–8 pm

By appointment on weekends until 22 Feb
info@403811.org / DM

Organized by Sofus Keiding-Agger
Kindly supported by Fake Foundation

@spleeding
@seanpaulartist