2025-12-05 00:00:00 +0000

Quick facts

• Format: Live audiovisual performance
• Duration: 50 min
• On stage: 1 performer (Chi Him Chik)
• FOH: 1 operator (visual system / live control)
• Premiere: 5-6 December 2025, Schwankhalle Bremen (Neuer Saal)
• Workshop: 6 December 2025 (audience invited inside the kinetic structure)

For sound and composition details, see Chi Him Chik’s page: www.chihimchik.com

Teaser

Idea

umbra is a live media performance built as a feedback loop between body, sound, and a computational double.
It questions the boundary between the human performer and a system that observes, remembers, and responds - a digital shadow that is at once a reflection and an agent.

At its core, umbra unfolds through three overlapping layers:

• the extractivist layer: what traces do we leave when our data is harvested - and who owns the digital double?
• the psychological layer: shadow as the repressed, drawing on Jungian and mythological archetypes
• the ontological / epistemological layer: what is a shadow, where does it begin, and how autonomous can it become?

Memory becomes an instrument: past gestures return as material for the next decisions, turning the performance into a living archive.

Performance

On stage, a motorized semi-transparent screen structure forms a 3x3m kinetic cube.
It opens and transforms during the performance, functioning alternately as container, stage, and projection surface.

The cube acts as a compositional and symbolic device: an “ideal room” of encapsulation and extraction.
When closed, it frames the performer as if inside a controlled chamber - a space where observation and capture intensify.
When it opens, shadows and body spill outward, shifting the choreography from containment to release - and, later, to re-capture.

Performer Chi Him Chik engages with his improvisation machine Aiii and the multimedia instrument Type-0, generating live sound and light.
Media artist Slava Romanov designs real-time visuals, depth-sensor tracking, and projection mapping - making the digital shadow appear as point-cloud bodies, particles, and AI-reinterpreted figures that answer the performer back.

The audience witnesses a fragile dialogue between body and double, shadow and source, analogue and digital - a choreography of presence and disappearance.

Photos: Jimi Liu.

Composition (7 acts)

• Intro - bodyless contour to intentional encapsulation
• Development / recording gestures - exposition, absorption, classification, emerging conflict, shadow overtake, breakout
• Body as “Truth” - Type-0 performance
• Aria of umbra
• Encounter and improvisation - a multitude of reimagined twins
• Reverse aria - separation toward autonomy, then trapping the shadow back into synergy
• Outro - resolution

Screen and visual system

The visual layer of umbra is built as an instrument: a real-time pipeline that observes the performer, constructs a 3D shadow-body, mutates its rules, and reprojects it back into the scenography.

Two intertwined logics shape the visuals:

1. Audio-reactive immediacy
   Onset-driven events, dynamics, and rhythmic impulses articulate particles, density shifts, and abrupt transitions - keeping the image tied to live physical energy.

2. Internal system states
   “Physiological” values such as breath and heartbeat from Aiii act as slower, structural controls - shaping the temperament of the shadows: persistence, delay, instability, drift, and intensity.

Visual language moves between two poles:

• reduced, high-contrast white point constellations on black, flowing and mutating as a legible “data-body”
• occasional transitions into colorful, more figurative AI reinterpretations, where the same embodied stream is translated into unstable image-memory - not as background video, but as a responding agent.

Toolchain / setup: TouchDesigner + Resolume; 3x Azure Kinect; 2 PCs in the visual subsystem.

Photos: Slava Romanov.

Technology

• Kinetic screen structure - semi-transparent, motorized cube (3x3m), opening/closing as an active scenographic gesture
• Depth cameras and point cloud tracking - live 3D shadow-body and motion-based interaction
• Type-0 - katana-inspired multimedia instrument with motion sensors, LED strip, and wireless data/audio
• Aiii - improvisation machine by Chi Him Chik, an algorithmic persona reacting across sound and control streams
• AI image synthesis (real-time) - driven by the same embodied data stream, transforming point-cloud shadows into unstable image-memory
• Shared control layer - synchronization across gesture, sound, and image through system-state signals and triggers

Workshops

After the performance, an interactive workshop invites audience members to step inside the kinetic screen structure, try sensors and instruments, and learn how sound, visuals, and shadows are produced in real time.
The workshop fosters transparency, discussion, and shared experimentation around AI and media art.

Full documentation

Presentation

Premiere: 5-6 December 2025, Schwankhalle Bremen (Neuer Saal)
Workshops: 6 December 2025

Supported by: Der Senator fur Kultur Bremen, Schwankhalle Bremen, Hochschule fur Kunste Bremen, We Dig It!, URBANSCREEN GmbH & Co. KG.

Credits

Concept / Direction - Slava Romanov x Chi Him Chik
Performance - Chi Him Chik
Sound / Type-0 / Aiii - Chi Him Chik
Visuals / Real-time system (depth scanning, point clouds, generative visuals) - Slava Romanov
Kinetic screen design & fabrication - Slava Romanov, Juan Camilo Luque, Leonard Spillner
External Communications - Alexandra Reinig
Photo - Jimi Liu
Video documentation - Patrick Peljhan
Teaser - Chi Him Chik

Links / Contact

Instagram: @umbra_mediaart
Email: chihimchik@gmail.com / node@slavaromanov.art

A compact touring configuration is in development. Tech rider available on request.

2025-05-31 00:00:00 +0000

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2025-03-20 00:00:00 +0000

Idea

UNGROUND is a kinetic typographic light installation built around the letters of the German word ORDNUNG (“order”). Rather than forming a stable whole, these letters remain in constant rotation, occasionally hinting at partial words such as GROUND or RUN, but never fully settling. The piece mirrors our collective mode of news consumption: refreshing headlines again and again in the hope of finding something solid, only to encounter further fragmentation.

The invented term UNGROUND evokes the absence of any firm foundation. It names both an internal feeling of rootlessness and an external reality shaped by permanent crisis updates.

Photos: Jennifer Braun

Context

In Germany, studies such as the Security Radar by the Friedrich Ebert Foundation indicate a comparatively high level of trust in the media combined with marked anxiety about geopolitical developments. This tension, the desire to stay informed versus the fear of what new information might bring, drives the thematic core of UNGROUND.

Losing Ground

The word “Ordnung” implies structure and predictability. By scrambling its letters, the installation underscores how the reassurance we seek in news and information often dissolves before we can grasp it. Drawing on Marshall McLuhan’s notion of the “global village”, UNGROUND reflects the paradox of feeling increasingly connected while simultaneously becoming more unsettled.

Endless Refresh

Visitors watch as three gobo projectors cast rotating capsules of letters onto a wall. The letters swirl unpredictably, much like the endless scroll of headlines in a media feed. At times they briefly align and suggest meaning; more often they remain ambiguous, reflecting the elusive nature of “ground truth” in a world saturated with updates.

Personal Experience

The project also draws on the artist’s own experience of checking news websites dozens of times a day, a habit that produces not control, but exhaustion and emptiness. This emotional burnout lies at the heart of UNGROUND: by visually fragmenting the ideal of order, the work invites reflection on how we process, absorb and sometimes drown in the relentless flow of information.

Technical Side

3D-printed letters in rotating capsules
Each capsule contains letters in typefaces inspired by real media logos, including a business newspaper, a tabloid and a local city paper. The different typefaces generate subtly different movement dynamics when rotated.

Bright LED gobo projectors
Standard gobo projectors were modified by replacing halogen bulbs with intense 50 W LEDs. Each projector rotates its capsule continuously, keeping the letters in motion and preventing any stable alignment.

Reflections in Lüdenscheid
Projected onto the walls of the abandoned city mall, the letters became legible through their mirrored reflections in the glass windows.

Photos: Slava Romanov

Presentation

UNGROUND was presented at the Lichtrouten Festival, 20-29 March 2025, in the abandoned Forum am Sternplatz in Lüdenscheid (DE). The projectors illuminated a corridor wall and enveloped passers-by in a shifting choreography of letters. Visitors could observe these fleeting formations and ask themselves how often they, too, refresh news feeds in search of answers only to end up with still more questions.

Links

• Installation profile on the Lichtrouten Festival website

Author

• Slava Romanov: Concept, design, and execution

2025-03-20 00:00:00 +0000

Idee

UNGROUND ist eine kinetisch-typografische Lichtinstallation, die von den Buchstaben des deutschen Wortes ORDNUNG ausgeht. Diese Buchstaben fügen sich jedoch nie zu einem stabilen Ganzen, sondern bleiben in permanenter Rotation und deuten nur für kurze Momente Teilwörter wie GROUND oder RUN an, ohne sich jemals vollständig zu setzen. Die Arbeit spiegelt damit unsere kollektive Form des Nachrichtenkonsums: Schlagzeilen immer wieder zu aktualisieren, in der Hoffnung auf etwas Verlässliches, und stattdessen nur weitere Fragmentierung vorzufinden.

Der erfundene Begriff UNGROUND bezeichnet das Fehlen eines festen Fundaments. Er verweist zugleich auf ein inneres Gefühl der Haltlosigkeit und auf eine äußere Wirklichkeit, die von permanenten Krisenmeldungen geprägt ist.

Fotos: Jennifer Braun

Kontext

In Deutschland zeigen Studien wie der Security Radar der Friedrich-Ebert-Stiftung ein vergleichsweise hohes Vertrauen in die Medien bei gleichzeitig deutlich ausgeprägter Sorge über geopolitische Entwicklungen. Diese Spannung, also der Wunsch, informiert zu bleiben, und zugleich die Angst vor dem, was neue Informationen mit sich bringen könnten, bildet den thematischen Kern von UNGROUND.

Bodenverlust

Das Wort “Ordnung” steht für Struktur und Vorhersehbarkeit. Indem die Installation seine Buchstaben zerlegt und neu anordnet, macht sie sichtbar, wie schnell sich jene Beruhigung auflöst, die wir in Nachrichten und Informationen suchen. In Anlehnung an Marshall McLuhans Idee des “global village” reflektiert UNGROUND das Paradox, sich immer stärker verbunden zu fühlen und zugleich zunehmend verunsichert zu werden.

Endloses Aktualisieren

Die Besucherinnen und Besucher sehen, wie drei Gobo-Projektoren rotierende Buchstabenkapseln auf eine Wand projizieren. Die Buchstaben wirbeln unvorhersehbar durcheinander, ähnlich dem endlosen Scrollen durch Schlagzeilen in einem Newsfeed. Manchmal scheinen sie sich für einen Augenblick zu sinnvollen Konstellationen zu fügen, häufiger bleiben sie mehrdeutig und verweisen so auf die schwer greifbare Natur von “ground truth” in einer Welt permanenter Updates.

Persönliche Erfahrung

Das Projekt speist sich auch aus der persönlichen Erfahrung des Künstlers, Nachrichtenseiten dutzende Male am Tag zu überprüfen, eine Gewohnheit, die nicht zu Kontrolle, sondern zu Erschöpfung und Leere führt. Dieses emotionale Ausbrennen steht im Zentrum von UNGROUND: Indem die Arbeit das Ideal von Ordnung visuell zerlegt, regt sie dazu an, darüber nachzudenken, wie wir den unaufhörlichen Informationsstrom verarbeiten, aufnehmen und manchmal in ihm untergehen.

Technische Umsetzung

3D-gedruckte Buchstaben in rotierenden Kapseln
Jede Kapsel enthält Buchstaben in Schriften, die von realen Medienlogos inspiriert sind, darunter eine Wirtschaftszeitung, ein Boulevardblatt und eine lokale Stadtzeitung. Die unterschiedlichen Typografien erzeugen unter Rotation leicht verschiedene Bewegungsdynamiken.

Helle LED-Gobo-Projektoren
Standard-Gobo-Projektoren wurden modifiziert, indem die Halogenlampen durch starke 50-W-LEDs ersetzt wurden. Jeder Projektor dreht seine Kapsel kontinuierlich, sodass die Buchstaben permanent in Bewegung bleiben und keine dauerhafte Ausrichtung entsteht.

Reflexionen in Lüdenscheid
Auf die Wände des verlassenen Einkaufszentrums projiziert, wurden die Buchstaben über ihre Spiegelungen in den Glasflächen lesbar.

Fotos: Slava Romanov

Präsentation

UNGROUND wurde im Rahmen des Lichtrouten Festivals vom 20. bis 29. März 2025 im verlassenen Forum am Sternplatz in Lüdenscheid (DE) präsentiert. Die Projektoren beleuchteten eine Korridorwand und hüllten Vorbeigehende in eine sich fortwährend verändernde Choreografie aus Buchstaben. Die Besucherinnen und Besucher konnten diese flüchtigen Formationen beobachten und sich fragen, wie oft auch sie selbst Nachrichtenfeeds aktualisieren, um Antworten zu finden, und am Ende doch nur auf neue Fragen stoßen.

Links

• Installationsprofil auf der Website des Lichtrouten Festivals

Autor

• Slava Romanov: Konzept, Design und Umsetzung

2025-03-20 00:00:00 +0000

Idea

after (fleeting retention) is an immersive audiovisual experience that explores the ephemeral nature of memory through fleeting afterimages. In darkness, archival photographic negatives from the 1950s to the 2000s are briefly illuminated by intense bursts of LED flashes from a modified Kodak Carousel projector, synchronised to generative sounds. These momentary visual imprints linger briefly on the retina and inevitably fade, emphasising the fragility of our perception and memory.

Video documentation

By deliberately fragmenting the original narratives of these slides, after (fleeting retention) invites visitors to piece together new meanings or to surrender to the fleeting moment. In the sudden glow of each flash, one may catch a glimpse of a family scene, an architectural detail, a feat of labour or a hunting expedition, yet the image almost immediately dissolves into a lingering silhouette on the retina. Through this ephemeral cycle, the installation encourages reflection on how quickly we form, distort and lose visual impressions.

Photos: Jennifer Braun, Lars Gonikman

Context

Drawing on influences such as Kurt Hentschläger’s “SUB”, which uses stroboscopic light to induce afterimages, and Franz Gertsch’s large-scale photorealism, which evokes seemingly permanent yet fleeting scenes, this work questions how ephemeral visual inputs become embedded in our memories or distorted by them.

Here, the intense LED flash often produces an inverted afterimage on the retina, so that even after the projector goes dark, one’s vision temporarily clings to a ghostly silhouette. In many cases, successive flashes merge in perception, creating partial illusions of continuity in an otherwise random sequence.

By decontextualising these negatives, by removing explicit dates or locations, the installation prioritises direct sensory engagement over narrative: each viewer pieces together a fragmented story of their own, or surrenders to an ephemeral moment in which meaning remains just out of reach.

Listen to the 30-minute fragment of the audio experience:

Technical Side

The project utilises a combination of technologies and materials:

• Modified Kodak Carousel projector: equipped with an ultra-bright LED (~200 W), a wireless microcontroller-controlled flash and slide advance (ESP32-C3 + MOSFET + relay). A wide-angle lens allows floor-to-ceiling projection of 81 archive slides.
• Negative images: archival negatives from East and West Germany from the 1950s and colour photos from the early 2000s in Lüdenscheid, grouped thematically (traffic, childhood, society, animals, etc.).
• Generative ambient sound: created in Bespoke Synth on an Intel NUC and played through a 300 W bi-amp stereo system. Random sound triggers every 10 to 40 seconds align with bursts of light, while asynchronous LFO-based patterns create a constantly evolving audio texture.
• Installation setup: a dark environment with low-light neutral red safety navigation, designed to maximise contrast and intensify afterimages.

Photos: Slava Romanov

Presentation

Exhibited during the Lichtrouten Festival in Lüdenscheid (DE), 20-29 March 2025, the installation occupied a darkened space in the abandoned Forum am Sternplatz, a place rich in intergenerational memories. Visitors navigated in near darkness, guided only by sporadic bursts of light and layered sound cues. This environment fostered a heightened awareness of bodily presence, echoing the tension between intimacy and uncertainty.

Links

• Exhibition profile on the Lichtrouten Festival website

Author

• Slava Romanov: Concept, design, and execution

2025-03-20 00:00:00 +0000

Idee

after (fleeting retention) ist eine immersive audiovisuelle Installation, die die fragile und flüchtige Natur von Erinnerung anhand von Nachbildern untersucht. In einem abgedunkelten Raum werden fotografische Archivnegative aus den 1950er Jahren bis in die 2000er Jahre durch intensive LED-Blitze eines modifizierten Kodak-Carousel-Projektors für kurze Momente sichtbar gemacht und mit generativen Klängen synchronisiert. Diese visuellen Eindrücke bleiben für einen Augenblick auf der Netzhaut bestehen und verblassen dann unweigerlich wieder. Gerade dadurch wird die Zerbrechlichkeit von Wahrnehmung und Erinnerung spürbar.

Videodokumentation

Indem die ursprünglichen Erzählungen der Dias bewusst fragmentiert werden, lädt after (fleeting retention) die Besucherinnen und Besucher dazu ein, neue Bedeutungen zusammenzusetzen oder sich ganz dem flüchtigen Moment zu überlassen. Im plötzlichen Aufleuchten eines Blitzes kann man vielleicht eine Familienszene, ein architektonisches Detail, eine Arbeitssituation oder eine Jagdepisode erkennen, doch das Bild löst sich fast sofort wieder in eine nachwirkende Silhouette auf der Netzhaut auf. In diesem ephemeren Kreislauf regt die Installation dazu an, darüber nachzudenken, wie schnell sich visuelle Eindrücke bilden, verzerren und wieder verloren gehen.

Fotos: Jennifer Braun, Lars Gonikman

Kontext

Unter dem Einfluss von Arbeiten wie Kurt Hentschlägers “SUB”, das mit stroboskopischem Licht Nachbilder hervorruft, sowie Franz Gertschs großformatigem Fotorealismus, der zugleich dauerhaft und flüchtig wirkende Szenen evoziert, fragt die Arbeit danach, wie vergängliche visuelle Reize in unser Gedächtnis eingehen oder dort verzerrt weiterleben.

Der intensive LED-Blitz erzeugt häufig ein invertiertes Nachbild auf der Netzhaut, sodass das Sehen auch dann noch kurz an einer geisterhaften Form festhält, wenn der Projektor längst wieder dunkel ist. Oft verschmelzen mehrere aufeinanderfolgende Lichtimpulse in der Wahrnehmung und erzeugen so den Eindruck einer partiellen Kontinuität innerhalb einer ansonsten zufälligen Sequenz.

Durch die Dekontextualisierung der Negative, also den Verzicht auf konkrete Daten oder Ortsangaben, stellt die Installation die unmittelbare sensorische Erfahrung über jede klare Erzählung. Jede Person fügt ihre eigene fragmentierte Geschichte zusammen oder bleibt in einem flüchtigen Moment, in dem sich Bedeutung gerade nicht vollständig greifen lässt.

30-minütiger Ausschnitt aus der Audioarbeit:

Technische Umsetzung

Das Projekt verbindet mehrere Technologien und Materialien:

• Modifizierter Kodak-Carousel-Projektor: ausgestattet mit einer sehr hellen LED (~200 W), drahtlos gesteuertem Mikrocontroller für Blitz und Dia-Transport (ESP32-C3 + MOSFET + Relais). Ein Weitwinkelobjektiv ermöglicht eine Projektion vom Boden bis zur Decke mit 81 Archivdias.
• Negative Bilder: Archivnegative aus Ost- und Westdeutschland der 1950er Jahre sowie Farbfotos aus dem frühen 2000er-Jahren aus Lüdenscheid, thematisch gruppiert (Verkehr, Kindheit, Gesellschaft, Tiere usw.).
• Generativer Ambient-Sound: mit Bespoke Synth auf einem Intel NUC erzeugt und über ein 300-W-Bi-Amp-Stereosystem ausgegeben. Zufällige Klangtrigger im Abstand von 10 bis 40 Sekunden sind mit den Lichtimpulsen abgestimmt, während asynchrone LFO-basierte Muster eine sich kontinuierlich verändernde Klangtextur erzeugen.
• Installationsaufbau: ein dunkler Raum mit neutralroter Sicherheitsbeleuchtung in geringer Intensität, um den Kontrast zu maximieren und die Nachbilder zu verstärken.

Fotos: Slava Romanov

Präsentation

Die Installation wurde im Rahmen des Lichtrouten Festivals in Lüdenscheid (DE) vom 20. bis 29. März 2025 gezeigt. Sie befand sich in einem abgedunkelten Bereich des verlassenen Forum am Sternplatz, einem Ort mit starken generationenübergreifenden Erinnerungsschichten. Die Besucherinnen und Besucher bewegten sich fast im Dunkeln und wurden nur von sporadischen Lichtblitzen und geschichteten Klangsignalen geleitet. So entstand eine Situation gesteigerter körperlicher Präsenz, die die Spannung zwischen Intimität und Unsicherheit unmittelbar erfahrbar machte.

Links

• Ausstellungsprofil auf der Website des Lichtrouten Festivals

Autor

• Slava Romanov: Konzept, Design und Umsetzung

2024-10-02 00:00:00 +0000

ENGLISH VERSION

Idee

Šūtum ist eine Mixed-Media-Installation, die über die Vergänglichkeit von Gesetzen, Normen und deren Interpretationen reflektiert. Durch die Verwendung eines Ultraviolettlasers und photochromer Pigmente entstehen auf einer Steinoberfläche ephemere Bilder antiker Gesetze, die allmählich verschwinden und so die Fragilität und Wandelbarkeit menschlicher Konstrukte symbolisieren.

Video documentation

Der Titel Šūtum, was in der akkadischen Sprache “Südwind” bedeutet, symbolisiert Veränderung und Transformation. Der Südwind steht für Kräfte des Wandels und der Vergänglichkeit, stellt Konzepte von Beständigkeit und Flüchtigkeit gegenüber und hebt die zyklische Natur der Geschichte und menschlicher Konstrukte hervor.

Die Installation bezieht sich auf den Codex Hammurapi und das Talionsprinzip (“Auge um Auge”) und erforscht, wie alte Vorstellungen von Gerechtigkeit die moderne Welt weiterhin beeinflussen. Die auftauchenden und verschwindenden Keilschrifttexte in Akkadisch dienen als Metapher für fortwährende Fragen nach Gerechtigkeit und Vergeltung und wie alte Gesetze in zeitgenössischen Kontexten fortbestehen oder wieder auftauchen.

Fotos: Slava Romanov, Jennifer Braun: Studio Bettina Pelz, Lars Gonikman

Kontext

Mit einem tiefen Eintauchen in die Geschichte verwendet Šūtum die akkadische Sprache und Keilschrift – eines der ältesten Schriftsysteme, das um 3000 v. Chr. in Mesopotamien entstand. Akkadisch wurde ungefähr von 2500 bis 1000 v. Chr. verwendet und diente als Lingua Franca des Alten Orients, die verschiedene Kulturen und Völker verband.

Der Codex Hammurapi, der um 1754 v. Chr. auf Steinstelen eingraviert wurde, repräsentiert einen der frühesten bekannten Gesetzescodes und etablierte Regeln und Normen für die Gesellschaft.

Das Talionsprinzip, das in diesen Gesetzen reflektiert wird, schreibt eine gleichwertige Vergeltung für zugefügten Schaden vor. Die für die Installation ausgewählten Artikel betonen diese Idee:

• Artikel 196: “Wenn ein Mann das Auge eines Mitglieds der awīlum-Klasse geblendet hat, wird sein Auge geblendet.”
• Artikel 197: “Wenn er einen Knochen eines Mannes gebrochen hat, wird sein Knochen gebrochen.”
• Artikel 200: “Wenn ein Mann einem Mann gleichen Ranges einen Zahn ausgeschlagen hat, wird sein Zahn ausgeschlagen.”

Die Installation stellt diese alten Normen den zeitgenössischen Vorstellungen von Gerechtigkeit gegenüber und hebt hervor, dass trotz der Evolution der Gesetze einige grundlegende Prinzipien weiterhin wiederkehren. In der modernen Welt begegnen wir Phänomenen, die an das Wiederaufleben des Talionsprinzips erinnern, besonders im Kontext internationaler Konflikte und “Vergeltungsschläge”.

Technische Umsetzung

Das Projekt nutzt eine Kombination aus Technologien und Materialien:

• Ultraviolettlaser: Dient als Werkzeug, um Bilder auf die Steinoberfläche zu “gravieren” und symbolisiert die Klinge von Zeit und Licht.
• Photochrome Pigmente: Die Steinoberfläche ist mit Pigmenten behandelt, die auf UV-Strahlung reagieren:
  • Langlebiges Pigment: Bewahrt das Bild bis zu 1,5 Minuten, sodass der Betrachter die Details beobachten kann.
  • Schnell verblassendes Pigment: Das Bild verschwindet innerhalb von 5–7 Sekunden und erzeugt ein Gefühl von Flüchtigkeit und Vergänglichkeit.
• Galvanometer-Scanner: Eine selbstgebaute Kombination aus einem Galvanometer und einem fokussierten 405-nm-Niedrigenergielaser, basierend auf einem programmierten Mikrocontroller, kombiniert schnelle und langsame Rendering-Methoden, um sowohl unmittelbare als auch sich allmählich entwickelnde visuelle Formen zu erzeugen.

Fotos: Slava Romanov

Präsentation

Šūtum wurde auf dem Goldstücke Festival in Gelsenkirchen (DE) vom 2. bis 6. Oktober 2024 präsentiert und lud die Besucher ein, über die Kontinuität und die Veränderlichkeit von Gesetzen und Normen nachzudenken. Der zweite Auftritt des Kunstwerks fand während des Lichtrouten Festival in Lüdenscheid (DE), 20. bis 29. März 2025, im verlassenen Forum am Sternplatz statt. Die Installation bot dem Betrachter eine meditative Erfahrung beim Betrachten der auftauchenden und verschwindenden Bilder, die persönliche Assoziationen und Reflexionen über Gerechtigkeit, Geschichte und Modernität hervorriefen.

Foto: Slava Romanov, Lars Gonikman, Jennifer Braun

Das Projekt wurde unter der Anleitung von Professor Lorenz Potthast (Konzeptualisierung) und Professorin Bettina Pelz (kuratiorische Unterstützung und Mentoring) realisiert.

Links

• Ausstellungsprofil auf der Website des Goldstücke-Festivals
• Ausstellungsprofil auf der Website des Lichtrouten Festivals

Autor

• Slava Romanov: Konzept, Design und Umsetzung

2024-10-02 00:00:00 +0000

Idea

Šūtum is a mixed media installation that reflects on the impermanence of laws, norms, and their interpretations. Utilizing an ultraviolet laser and photochromic pigments, the artwork creates ephemeral images of ancient laws on a stone surface that gradually disappear, symbolizing the fragility and mutability of human constructs.

Video documentation

The title Šūtum, meaning “south wind” in the Akkadian language, symbolizes change and transformation. The south wind represents forces of change and impermanence, juxtaposing concepts of permanence and transience, and highlighting the cyclical nature of history and human constructs.

The installation references the Code of Hammurabi and the talion principle (“an eye for an eye”), exploring how ancient notions of justice continue to influence the modern world. The appearing and disappearing cuneiform texts in Akkadian serve as a metaphor for ongoing questions about justice and retribution, and how ancient laws persist or resurface in contemporary contexts.

Photos: Slava Romanov, Jennifer Braun: Studio Bettina Pelz, Lars Gonikman

Context

Delving deep into history, Šūtum employs the Akkadian language and cuneiform—one of the oldest writing systems originating in Mesopotamia around 3000 BCE. Akkadian was used from approximately 2500 to 1000 BCE and served as the lingua franca of the ancient Near East, connecting diverse cultures and peoples.

The Code of Hammurabi, inscribed on stone steles around 1754 BCE, represents one of the earliest known legal codes, establishing rules and norms for society.

The talion principle, reflected in these laws, prescribes equivalent retribution for harm caused. The selected articles for the installation emphasize this idea:

• Article 196: “If a man has blinded the eye of a member of the awīlum class, his eye will be blinded.”
• Article 197: “If he has broken a man’s bone, his bone will be broken.”
• Article 200: “If a man has knocked out the tooth of a man of his own rank, his tooth will be knocked out.”

The installation juxtaposes these ancient norms with contemporary notions of justice, highlighting that despite the evolution of laws, some fundamental principles continue to recur. In the modern world, we encounter phenomena reminiscent of the resurgence of the talion principle, especially in the context of international conflicts and “retaliation strikes.”

Technical Side

The project utilizes a combination of technologies and materials:

• Ultraviolet Laser: Serves as a tool to “etch” images onto the stone surface, symbolizing the blade of time and light.
• Photochromic Pigments: The stone surface is treated with pigments that react to UV radiation:
  • Long-lasting Pigment: Preserves the image for up to 1.5 minutes, allowing the viewer to observe the details.
  • Fast-fading Pigment: The image disappears within 5–7 seconds, creating a sense of ephemerality and transience.
• Galvanometer Scanner: A self-assembled combination of a galvanometer and a 405nm low-power focused laser, based on a programmed microcontroller, combines fast and slow rendering methods to produce both immediate and gradually evolving visual forms.

Photos: Slava Romanov

Presentation

Šūtum was presented at the Goldstücke Festival in Gelsenkirchen (DE), October 2–6, 2024, inviting visitors to contemplate the continuity and mutability of laws and norms. The second appearance of the artwork took place during the Lichtrouten Festival in Lüdenscheid (DE), March 20-29, 2025, in the abandoned Forum am Sternplatz. The installation offered a meditative experience as viewers observe the appearing and disappearing images, evoking personal associations and reflections on justice, history, and modernity.

Foto: Slava Romanov, Lars Gonikman, Jennifer Braun

The project was realized under the guidance of Professors Lorenz Potthast (conceptualization) and Bettina Pelz (curatorial support and mentoring).

Links

• Exhibition Profile on the Goldstücke Festival Website
• Exhibition Profile on the Lichtrouten Festival Website

Author

• Slava Romanov: Concept, design, and execution

2024-06-02 00:00:00 +0000

Idea

PNCTM is a multimedia interactive installation that reanimates historical diaslides using AI and generative tools, creating a reflective dialogue about the impermanence and malleability of memory. The installation features three frame boxes with integrated screens displaying dynamic animations beneath historical slides, enhanced by interactive magnifying lenses and an immersive ambient soundtrack.

photo: Hsun Hsiang Hsu

The medium of collectible, archival, and simply discarded transparencies is disconnected from its original contexts. PNCTM reanimates these fragments by engaging AI and generative tools to expand, distort, reimagine, and highlight the static images. This process mirrors the fluidity and transience of memory as it fades, transforms, and distorts over time. The intermedial dialogue embodies the idea of the plurality of perception.

Inspired by Roland Barthes’ notion of the ‘punctum’ in ‘Camera Lucida,’ the installation seeks to evoke the unexpected, poignant moment of personal resonance within each viewer. Drawing on David Le Breton’s perspectives on perception and Susan Sontag’s critical exploration of photography and memory, the installation challenges viewers to consider how memories are constructed and reconstructed—shaped by individual subjective lenses and the collective memory of society.

Video documentation

Context

The original collection of diaslides began with a box of old slides found on the streets of Bremen. This discovery sparked an interest in the psychological and neurobiological mechanics of memory, leading to the creation of the artwork “Forgetting Machine”. Building on this foundation, the author focused on several important aspects for PNCTM:

• Importance of Memory Medium and Representation: Unlike digital memory archives, old diaslides have physical mass and presence. A collection of 400 glass diaslides from Bremen in the 1950s-60s weighs over 3 kilograms, but the collection’s significance is easily transported and transformed through digital platforms like eBay. This physicality demands a means of exceeding the flatness of a projection screen, providing a deeply personal experience.
• Perception of Photography through Anthropological and Personal Lenses: The search for a deeply personal response guided the selection and curation of the diaslides for the artwork, alongside their technical compatibility.
• Agency of AI as a Metaphorical Perceiver: By using AI to interpret and transform the images, the artwork universalizes the experience, bridging human and machine perspectives without claiming authorship or ownership over the images.

Photos: Slava Romanov

Presentation

• Studies of Change, Alte Pathologie Bremen (DE), May 29 - June 2, 2024
• KIKK Festival, Hospice d’Harscamp, Namur (BE), October 24 - 27, 2024
• OUTLINE Festival, Moscow (RU), July 8-14, 2025
• Miniaturen Festival, Theaterkontor, Bremen (DE), January 16-17, 2026

Technical side

The artwork utilizes:

• Set of curated old diaslides (Bremen, 1958; DDR, 1960s), author unknown, laid over high-definition digital screens.
• Stable Diffusion web-UI by Automatic1111 web API for generating imagery based on a source image and a caption.
• MusicGen accessed through DotSimulate’s TouchDesigner module for generating the soundtrack.
• Customized photo boxes with MDF-made photo frame, 5-inch FHD photo preview screen, integrated Android TV box, active air cooling in custom 3d-printed casing
• Derivative TouchDesigner as an integration hub for generating and mapping the visual output and hosting a generative algorithm.
• MIDI Controller as a realtime performance and recording control operating generative algorithms

Photos: Hsun Hsiang Hsu, Slava Romanov

Bibliography

1. Barthes, R. (1981). Camera Lucida: Reflections on Photography. Translated by Richard Howard. Hill and Wang.
2. Le Breton, D. (2006). La Saveur du Monde: Une Anthropologie des Sens. Éditions Métailié.
3. Sontag, S. (1977). On Photography. Farrar, Straus and Giroux.

Authors

• Slava Romanov: Concept, design, and execution

2023-09-05 00:00:00 +0000

Idea

The Forgetting Machine is an experimental artistic study that interprets the principles of how our memory operates, distorts, and reimagines events. It features a self-driving agent that combines both old and new visual projection mediums. This agent engages in an interplay of feedback loops, machine dialogues, generative captions, and overlays imagery onto 1970s-1980s discarded diaslides of an unidentified Bremen family. The title of the artwork is derived from the eponymous book by neuroscientist Rodrigo Quian Quiroga, who studies memory dynamics and narratives.

Context

Throughout life, individuals accumulate many visually significant cues in various forms: fridge magnets, postcards, and both analogue and digital photos. These usually relate solely to personal or group experiences. The author found it intriguing to explore mediums and memories unfamiliar to outsiders.

Old diaslides were discovered in a “zu Verschenken” booth in one of Bremen’s numerous neighborhoods. Plastic cartridges held dozens of slides containing discarded personal memories, all neatly stacked in shoeboxes.

photo: Slava Romanov

Some slides were distorted or underexposed; others seemed accidental, yet all maintained their imperfections, authenticity, and uniqueness. These slides once captured focal points of someone’s attention and were imprinted in their memory through the click of an analogue camera.

They now serve to represent the collective memory of a family that likely lived in Bremen during the 1970s-1980s but now remains anonymous. This generalizes the common experience of being captured in memory media and then being disposed of and forgotten.

photos on the slides: unknown

Mechanics

The Forgetting Machine is an interactive installation that incorporates AI and expanded animation techniques to artistically interpret various human memory processes. These include Encoding, Short-term memorization, Chunking, Long-term storage, Consolidation, Associations, Retrieval, Reconsolidation, Transience, Distortion, Decay, Forgetting, and Dissolution. The installation operates in real-time and dynamically changes decision patterns for switching diaslides and visualizing as well as deleting forgotten memories.

The Forgetting Machine at Cybioses Circle (Nordic Summer University), March 2025

Technical side

The artwork utilizes:

• A Kodak Caroussel 2030 diaprojector, extended by an Arduino microcontroller for digital relay remote control (previous/next slide, dark screen)
• A camera for capturing imagery in real-time
• A beamer for overlaying generated or captured imagery
• A CLIP Interrogation module for generating captions
• Stable Diffusion web-UI by Automatic1111 web API, and an SD_API module by DotSimulate for generating imagery based on a source image and a caption
• Derivative TouchDesigner as an integration hub for generating and mapping the visual output

photos: Slava Romanov

Presentation

The documentation of the artwork was presented on September 5, 2023, at Open Space Domshof Bremen. The work was exhibited November 20-27, 2023, at UMZU Bremen.

photo: David Bartusch

Bibliography

1. Quian Quiroga, R. (2017). The Forgetting Machine: Memory, Perception, and the “Jennifer Aniston Neuron”
2. Maguire, Eleanor. “The Neuroscience of Memory.” YouTube, uploaded by The Royal Institution, 2016
3. Quiroga, Rodrigo Quian. “Memory and Perception (BS 141).” Brain Science Podcast with Ginger Campbell, MD, 2018,
4. Genova, Lisa and Lisa Monteggia. “How the Brain Remembers.” YouTube, uploaded by Vanderbilt University, 2021
5. Genova, Lisa. “How Your Memory Works – and Why Forgetting Is Totally OK.” YouTube, uploaded by TED, 2021
6. Storage, Daniel. “Memory Errors, Forgetting, and Learning” YouTube, uploaded by Daniel Storage, 2020
7. Miller, Brooke. “Memory Errors Psychology”. YouTube, uploaded by Course Hero, 2019
8. Atchison, Kristin. “Introduction to Psychology:6.3 - Memory- Forgetting” YouTube, uploaded by Dr. Kristin Atchison, 2019
9. Yale, Kathleen et al. “Remembering and Forgetting: Crash Course Psychology #14.” YouTube, uploaded by CrashCourse, 2014
10. Morris, Richard G.M. “Forgetting is a part of memory.” YouTube, uploaded by TEDx Talks, 2017
11. Kirsanov, Artem. “Building Blocks of Memory in the Brain.” YouTube, uploaded by Artem Kirsanov, 2023

Authors

• Slava Romanov: design, implementation

2023-06-17 00:00:00 +0000

Idea

“On Prompt: Humanizing the Machine Self” is an exploration into the emergent dialogues between artificial intelligence and human essence, crystallized in an intermedial theater performance. Convening artists, researchers, and performers, the project engages in an experimental inquiry into what it means for AI to co-author our human experiences. By partnering AI-generated dramaturgical instructions with sensor-motion control, voice recognition, and field recording, the performance challenges traditional theatrical modalities and expands the conversation on the agency and authenticity of ‘machine selves.’

Long Description

This project manifests the collaborative vision of 14 artists and researchers under the guidance of Peter Kirn. It premiered on the stage of the Folkwang Music School in Essen, as part of the “Blaues Rauschen” festival’s Open Sound HackLab. Leveraging state-of-the-art AI algorithms, including GANprompts for “machine self” representation, the performance destabilizes the boundaries between the human and the algorithmic. It provokes audiences to rethink the ethical, cultural, and technological implications of AI’s increasingly pervasive role in shaping our actions, perceptions, and values.

Presentation

The performance premiered on June 17, 2023, as a culmination of a four-day intensive HackLab. Each act dynamically integrated ChatGPT-generated dramaturgical instructions, forming an ever-evolving theatrical narrative. The venue transformed into a techno-sensory playground where sound and visuals were manipulated through human movement, and feedback loops with AI offered a cyclical, interactive experience.

Links

Humanizing the Machine Self Online Gallery To Perform Ask ChatGPT Performance Video excerpt <!–

Illustrations

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Format

Intermedial theater performance incorporating sound art, live coding, motion control, and AI-generated dramaturgy.

Instruments

TouchDesigner, Stable Diffusion, Kinect V2, alongside various AI algorithms for real-time data processing and dramaturgical generation.

Ethical Inquiries

The project prompts a reconsideration of AI’s role in shaping human ethics and perceptions. It questions whether AI, often built on biased datasets and opaque algorithms, can truly augment or reshape artistic and humanistic values without losing the nuances that define human agency and creativity.

Authors

• Michelle Adolfs
• Dr. Veronika Batzdorfer
• Louisa Kistemaker
• Maria Matinyan
• Slava Romanov
• Dmytro Filatov
• Urte Daugirdate
• Justyna Niznik
• Xue Fiona Ju
• Ting Chun Liu
• David Jongsung Myung
• Hyungjoong Kim
• Tomo Sone
• Ada Nnoir
• Directed by Peter Kirn

2023-05-19 00:00:00 +0000

Idea

The De:Code tech party at the Polyester Klub in Oldenburg delved into the challenges and opportunities presented by artificial intelligence in both day-to-day life and creative fields. This event served as a platform for engaging public discussions and showcasing works of digital art, particularly focusing on the generation of images via neural networks.

Long Description

The exhibition was an exploration into the realms of image generation through AI, examining both traditional and avant-garde approaches. It aimed to demonstrate how AI could act as an extension of the artist’s hand, offering a wide variety of overlaying techniques and noise values. The event also emphasized the importance of non-standard solutions and a critical approach to the infiltration of generative art in everyday life and media landscapes.

Presentation

The event took place on May 19, 2023, at the Polyester Klub in Oldenburg. It was a tech party dedicated to AI, featuring an open discussion forum and an art exhibition. The artworks generated for this event reflected a broad spectrum of techniques and conceptual approaches, catering to both the layman and the expert.

Links

• NWZ Online Announcement
• Polyester Klub Announcement

Illustrations

Format

Generative graphics using AI and overlay techniques.

Instruments

AI models, TouchDesigner, StableDiffusion algorithms.

Authors

• Slava Romanov: Concept, design, and execution

2022-10-10 00:00:00 +0000

Idea

The “Edit Wars” project delves deep into the phenomenon of state-controlled information manipulation, especially pronounced during Russia’s invasion of Ukraine in 2022. By artistically interpreting Russian propaganda, this initiative seeks to heighten awareness and foster resistance against such manipulations.

“Edit Wars” is a transdisciplinary project that fuses data journalism with art to decipher and artistically interpret Russian propaganda narratives. Originating in the backdrop of Russia’s invasion of Ukraine in 2022, the project seeks to uncover the state’s manipulation and control over information. Using tools like the GDELT Global Difference Graph (GDG) databases and the BERTopic algorithm, the project analyzes over 250,000 news headlines from Russian-language media. This research unveils the distorted reality propagated during the invasion, serving as a foundation for the project’s subsequent artistic endeavors, such as the “Propaganda Narrative Soundscapes” installation.

Research Methodology

Within the information bubble created by the Russian authorities, propaganda narratives are woven to present an alternative history. “Edit Wars” dissects these narratives, sourced from Russian state-approved digital media between January and July 2022. Using advanced tools like GDELT Global Difference Graph (GDG) databases, BERTopic algorithm, and visualization platforms like Tableau and the Spacy library, the project unveils the distorted reality propagated during the Russian invasion.

Goals of the project include deconstructing Russian propaganda, developing data analysis tools, studying the dynamics of propaganda in media, promoting critical thinking, and crafting artistic interpretations of research insights.

Web Platform: editwars.org

Editwars.org visualizes research findings and dissects key propaganda themes and techniques. This online platform showcases the cultivation of enemy imagery, imperial resentment, and the “Newspeak” of state propaganda.

Interactive Installation: “Propaganda Narrative Soundscapes”

This installation transforms narratives into auditory and visual experiences, offering a deeper understanding of propaganda mechanisms. It encompasses an “Outside” space for analysis and an “Inside” room symbolizing aggressive news dissemination.

Photos: Slava Romanov, Antonio Hofmeister Ribeiro, TAZ.de

Interactive Installation: “Propaganda Narrative Soundscapes: Dashboard”

This installation, adapted for portable format, presents the detailed research insights of the Edit Wars project in a dashboard interface, combining them with realtime propaganda websites load on the second screen, and a sonified feedback within 3 7-minute soundscapes, with temporal and topical touchscreen navigation.

Photos: Slava Romanov

Touch interface demo

Presentation

“Edit Wars” has been presented at multiple exhibitions:

• “Propaganda Narrative Soundscapes”, Tor40, Bremen (2-5.02.2023)
• “Cases of Spaces”, TOP, Berlin (15.02.2023)
• Iterations, HfK Bremen Master Project Exhibition, Bremen (5-10.05.2022)
• Temporary Spaces class exhibition, Hochschultage 2023, HfK Bremen (8-9.07.2023)
• In den Stadtlöchern at Haus der Wissenschaft, Bremen (09.11.2023-21.02.2024)
• International Symposium “Sybioses: Life in Future Imperfect”, organized by Nordic Summer University, Vilnius (06-09.03.2024)

The project was launched as the Master project within the HfK Digital Media program (Winter Semester 2022-2023), with support from professors including Dennis Paul, Petra Klusmeyer, Andrea Sick, Peter Von Maydell, and Ralf Bäcker.

The project was honored as the winner in the Artists for Media track of the Mediafutures program at DemoDays 2022 in Paris.

Project Team

The Edit Wars team consists of:

• Alberto Harres, Artist and Developer
• Antonio Hofmeister Ribeiro, Artist and Developer
• Lucy Saribegyan, Artist and Designer
• Maiia Guseva, Data Analyst
• Slava Romanov, Media Artist, Team Lead
• Sofya Ozga, Artist and Researcher

Tools used

• GDELT GDG Big dataset and Google BigQuery for extracting relevant headlines
• BERTopic and SpaCy, via Google Colab for topic clusterization and building word combination tables
• Tableau Public for creating a research dashboard with regex filtering
• 3d-force-graph library for rendering the Word connection graph
• a website hosted on Netlify
• Derivative TouchDesigner creating an “Outer” audiovisual piece
• Unity for creating an “Inner” audiovisual piece

Funding

Endorsed by the European Union’s Horizon 2020 research and innovation programme (MediaFutures «‎Artist for media»‎) under grant agreement No. 951962.

Media Publications

Highlighted by esteemed media outlets such as TAZ and Buten un Binnen.

Links

• Project Website
• Exhibition Documentation Teaser
• Edit Wars on Mediafutures
• Instagram Account
• Project Presentation
• Outer Installation Video
• Early Setup Model

Project Timeline

• Nov 2021-Jan 2022: Conceptualization and Mediafutures program application
• Feb-Apr 2022: Mediafutures Program interviews and team adjustments
• Apr 2022: Mediafutures program commencement
• May 2022: Methodology development
• Jun 2022: Expert consultations and data requests
• Jul 2022: Team Hackathon and journalist consultations
• Aug 2022: Website design and structure finalization
• Sep-Oct 2022: Prototype creation and website updates
• Nov 2022-Jan 2023: Website updates and installation preparation
• Feb 2023: Instagram launch and “Propaganda narrative soundscapes” exhibition
• Feb-Apr 2023: Feedback collection, funding search, and grant applications
• May 2023: “Propaganda Narrative Soundscapes: Outer” presentation
• Jun 2023: Mediafutures DemoDays 2023 keynote speech
• Sep-Oct 2023: Development of the Dashboard interface
• Nov 2023 - Feb 2024: Exhibition in Bremen
• Mar 2024: Exhibition in Vilnius at the winter session of Cybioses Circle (Nordic Summer University)
• Aug 2024: Presentation at the summer session of Cybioses Circle (NSU),Løgumkloster (DK)
• Aug 2025: Presentation of the project at Discuss Data Lab Bremen with a small installation showcase

2022-08-09 00:00:00 +0000

Idea

“Clean It Up!” is a 2D third-person point-and-click apartment-cleaning simulation game. The player’s mission is to assist the main character, a university student, in tidying up his apartment in the days leading up to his birthday. But it’s not just about cleaning; the protagonist must also balance his work, studies, daily chores, and fluctuating moods and energy levels. With only six days left until the big celebration, the race against time adds an extra layer of challenge.

Long Description

The game, set within the confines of a rented apartment, offers a unique blend of strategy, time management, and narrative. The environment, depicted in a hand-drawn minimalist style, becomes a reflection of the protagonist’s life, filled with tasks, distractions, and moments of relaxation. The player must navigate through this space, making decisions that will impact the character’s mood, energy, and the state of the apartment. Can you ensure that the apartment is spotless before the birthday celebration?

Developed for the PC Windows platform using Unity 3D during the “Entertainment Computing” course at the University of Bremen under the guidance of Prof. Dr. Rainer Malaka and Dr. Dmitry Alexandrovsky, “Clean It Up!” offers a relatable and engaging experience. It’s more than just a game; it’s a reflection of the challenges many face in their daily lives, trying to balance responsibilities while also taking care of their well-being.

Links

• Game Design Document
• Soundtrack - Shivering Breathe
• Game repository (Windows Unity build)

Illustrations

• Game process
• Game process
• Game process

Format

2D Point-and-click simulation game in a pseudo-perspective playing field.

Instruments

Unity 3D, Adventure Creator framework.

Authors

• Slava Romanov: Game design, Game development, Soundtrack

2022-08-01 00:00:00 +0000

Idea

Digital Suprematism dives deep into the avant-garde art movements of Suprematism and Abstractionism, translating their foundational principles of form, color, and composition into a computational context. The aim is to construct a generator capable of producing avant-garde images that embody the spirit and aesthetic of these movements, while also allowing for variation through user-defined parameters.

Background

Suprematism, with its emphasis on basic geometric forms and a limited color palette, has long been a beacon for artists looking to express abstract concepts through visual means. The movement’s pioneers, like Kazimir Malevich and Nikolai Suetin, forged a path that sought balance, harmony, and efficiency in their compositions. Digital Suprematism seeks to walk this path, but with the added dimension of algorithmic design and interactivity.

Long Description

This project, realized in the Processing environment, is an exploration and reinterpretation of Suprematism in the digital realm. The core of the generator is built upon ArrayLists, holding shape data, and uses Perlin noise algorithms for organic value distributions. The resultant images are not just random assortments of shapes and colors; they are informed by the theories and compositional principles of Suprematist artists.

The generator offers a level of interactivity, allowing users to influence the generation process. This interactivity is a nod to the ever-evolving nature of art and the role of the viewer in the artistic experience.

The approach is focusing on fundamental artistic principles rather than mere shape and color randomness and ensures that each generated image is a meaningful representation of Suprematist ideals.

Presentation

Digital Suprematism was created as part of the “Algorithmic Thinking with Processing” course under the guidance of Professor Frieder Nake. The project was exhibited as a testament to the convergence of art and technology, serving as a bridge between traditional Suprematist principles and contemporary generative art practices.

Interactive Sketch in P5.js

Links

• Video Presentation

Sources & References

• Kandinsky’s Theoretical Work
• Academic Research on Suprematism
• OpenProcessing Projects
• Nature of Code

Technical Details

The installation is based on the Processing programming language, a tool tailored for artists. It employs a variety of algorithms and data structures, such as Perlin noise and ArrayLists, to generate its images. User interaction is a key component, allowing for a dynamic and ever-changing artistic experience.

Authors

• Slava Romanov: Concept, design, implementation, and exploration

2022-07-03 00:00:00 +0000

Idea

“In the Style of” is an interactive AI-generated art installation that uses graphic pieces to delve into the complexities of expressing political dissent in times of war and state censorship. The artwork, reflecting the apprehensions of artists linked to authoritarian states, explores themes like police brutality, propaganda, surveillance, and warfare.

Using body tracking, canvas and projection mapping, it brings to light generative metaphors and interpretations of ongoing events. The authorship is purposefully indistinct, straddling between the chosen technique, the prompts, the stylization of other artists’ works, and AI outputs. The pieces draw from the work of Felix Nussbaum, who painted under political repression, using early generative models of Disco Diffusion for obtaining specific metaphorical depth.

Author commentary

Presentation

Initially showcased at Hochschultage 2022 (Hochschule für Künste Bremen, July 2-3, 2022) as a two-layered installation, “In the Style of” was later adapted for the Brixen Water Light Lab (May 3-21, 2023, Brixen, II) in the medieval Kloster Neustift’s reading room. Project Documentation on SPILL Young Masters

From January 26 to February 11, 2024, the arwork was hosted by the LUNA Young Masters Festival (Leeuwarden, NL)

Photos: Jimi Liu, Klaas Klee, Studio Bettina Pelz, Jennifer Braun, Slava Romanov

Links

• How Many Different Things a Screen Can Be? Publication at Ars Photonica
• SPILL Young Masters Project Description
• Video Presentation of Original Installation

Technical realization

The artwork utilizes:

• VQGAN+CLIP models presented within the DiscoDiffusion (ver.1.4) generative framework used for generating multi-iterational 3d-Textures
• Kinect V2 for tracking position of the visitors
• Empty canvases as a projection mapping medium
• 4K/FHD short-throw projector
• TouchDesigner as a hub for assembling the artwork logic

Authors

• Slava Romanov: Concept, design, and execution

2022-06-15 00:00:00 +0000

Idea

A short frame-by-frame animation on ‘At the Table’ topic, about the impact of television propaganda and military rhetoric.

Long Description

To implement the project, the author built a specialized hardware-software complex for recording and processing frame-by-frame animation. The main material used in the animation is metal nails of various sizes. Class �Trick der Sterne� by prof. Kati Barath, Ulrike Isenberg (WiSe20-21)

Presentation

Hochschultage, Campus Kino Bremen. The work was screened at the TrickFilm Abendfestival, Galerie des Westens, Bremen, Germany, 09.10.2021

Links

• video presentation
• video from the exhibition
• exhibition page

Illustrations

• Physical image capture kit and Touch Designer module
• Actual images from the animation

Format

stop-motion

Instruments

Derivative TouchDesigner, Panasonic GH4, Blackmagic ATEM Mini, Vegas

Authors

• Viacheslav Romanov: stop-motion video, sound

2021-11-21 00:00:00 +0000

Idea

The author created a tool for reproducing the synesthetic equivalent of the distance between objects in space in a form of a physical interface that playback sound with different characteristics. The author strived for creating an artifact that provides playful interaction and easy development and updating.

Long Description

Author decided to embody the musical instrument in the form of a sci-fi gun. It became a fierce means of Sonic Fiction in the form of a console gamepad, attaching an interface to the basic concept of pointing at the target. It uses the Klangstrom board platform and incoming digital and analog signals to generate and process a real-time audio. It gets data from a laser distance sensor (LIDAR) as well as analog input via 6 buttons and a pressure sensor for triggering and changing individual sound parameters - frequency, modulation, filtering. Gives the possibility to modify the signal processing settings to obtain a different sound character within Arduino environment.

Presentation

Course �New Musical Instruments� by prof. Dennis Paul, HfK Bremen (SoSe21)

Links

• Video experiments
• Klangstrom website
• Concept video

Illustrations

• Building physical elements
• Enclosing the board
• Testing outside

Format

musical instrument

Instruments

Arduino, Klangstrom board, Dremel, Soldering iron

Authors

• name: Viacheslav Romanov
• url: https://www.facebook.com/viacheslav.romanov.9

2021-10-10 00:00:00 +0000

Idea

Opening the veil of others’ sleep, watching them breathe in a minimalistic setup. When sound entities made of field recordings and synthetic oscillators subordinate to random generation principles. Where 3D soundscape subordinates to sensory data

Long Description

15 virtual sound sources were flying around the audience with filtering parameters controlled separately and randomly by 4 performers in a quadro sound setup. 5 temporal phases meant different stages of sensible sleep, connected to different sets of sound (falling asleep, travelling, escaping from a chase, finding harmony and washing out with rain and sea). Breathing of the performers captured by sensors was their own adventure of finding within the soundscape entities connected to their own scenario and communicate with them. Course “Electronic in Performative context” by prof. Mattia Bonafini (SoSe-21).

Presentation

Kunstraum 34 Atelierhaus, Stuttgart, Germany, Xchanges X2, 10.10.21

Links

• performance recording
• 3D sound prototype video
• performance announcement

Illustrations

• recording sound scenes
• building replication and a randomness network
• venue and team
• performance photo

Format

electronic performance

Instruments

Derivative TouchDesigner, ZigSim, Zoom H4n Pro, GyrOSC

Authors

• Viacheslav Romanov: idea, virtual environment, perf.design
• *qianxunchen: performing with sensors
• Caroline Schlingemann: performing with sensors
• Melissa Wedekind: performing with sensors
• Chi Him Chik: saxophone

2021-10-09 00:00:00 +0000

Idea

The author continues to develop interactivity tools for developing step-by-step animations. The result was a short film about the learned helplessness of citizens in the face of repressions, embodied in the image of the teeth of a metal saw. The work draws attention to the problems of Russian civil society and the state’s attempt to liquidate the International Memorial, organization protecting the memory of victims of political repression.

Long Description

Rough and minimalist animated sketches, inspired by the work of William Kentridge, use the textures and shapes of real metal hacksaw blades as a backing. The looping, morphing, unrefined design, framerate shifting video tracks and soundtrack based on the same metal saw blades, create a sense of growing menace. The project continues to explore the capabilities of idiosyncratic hardware-software system for creating non-standard step-by-step animation. Class �Trickfilmkurs� by prof. Kati Barath, Ulrike Isenberg (SoSe21)

Presentation

The work was screened at the TrickFilm Abendfestival, Galerie des Westens, Bremen, Germany, 09.10.2021

Links

• video presentation
• video from the exhibition
• exhibition page

Illustrations

• Preliminary materials and updated workspace
• Actual images from the animation

Format

stop-motion

Instruments

Derivative TouchDesigner, Panasonic GH4, Blackmagic ATEM Mini, Vegas

Authors

• Viacheslav Romanov: concept, saws layer, montage, sound
• Anastasia Guzenkova: concept, drawings

2021-09-29 00:00:00 +0000

Idea

Discussions about the nature of matter, the relationship between time and space are a component of a whole philosophical branch, including questions of ontological, epistemological nature. The aim of the work is to explore and present the views of Kodwo Eshun and Timothy Morton, in the context of their interpretations of the concepts of time and space, associations with the creative and cultural practices of electronic music, to illustrate and model them in the format of a reproduced dialogue.

Long Description

This term paper explores the interpretation of time and space in the works and interviews of Timothy Morton and Kodwo Eshun, as well as researchers of the topic of environmental criticism, Afrofuturism, and Sonic fiction, by simulating fictitious dialogue in an imaginary environment, with these authors and Oswald Wiener as moderator. The search for interconnections in their approaches draws attention to the importance of the role of language, logic and politics in shaping the perception of time and space. They are changeable in the direction from a monopolistic future and linear time to a multiple futurality free from the predominance of constructions of appropriation and restriction of access.

Presentation

HfK Bremen, course DIGITAL MEDIA NOW, Mapping contemporary conditions by Profs. Andrea Sick and Henrik Nieratschker

Links

• Paper website

Illustrations

• Screenshots

Format

term paper

Instruments

Tilda.cc, TouchDesigner, YouTube Music, Fuji X20.

Authors

• name: Viacheslav Romanov
• url: https://www.facebook.com/viacheslav.romanov.9

2021-09-01 00:00:00 +0000

Idea

Is this flow of information trying to mimic reality? Or is this all our interpretation? Let’s focus on something simple. AMetal Dreams delves into the realm of analog frame-by-frame animation, juxtaposed with real-time digital processing. Using simple metallic elements, like nails, it plays with the concept of the digital world emulating tangible objects, questioning our interpretation of reality.

Long Description

To implement the project, the author built a specialized hardware-software complex for recording and processing frame-by-frame animation. The main material used in the animation is metal nails of various sizes. Class �Trick der Sterne� by prof. Kati Barath, Ulrike Isenberg (WiSe20-21)

Presentation

The work was screened at the TrickFilm Abendfestival, Galerie des Westens, Bremen, Germany, 09.10.2021, as well as at the Sehsüchte Student Film Festival, 11.04.2022

Links

• video presentation
• video from the exhibition
• exhibition page

Illustrations

• Physical image capture kit and Touch Designer module
• Actual images from the animation

Format

stop-motion

Instruments

Derivative TouchDesigner, Panasonic GH4, Blackmagic ATEM Mini, Vegas

Authors

• Viacheslav Romanov: stop-motion video, processing
• Lasse Borntraeger: sound

2021-06-26 00:00:00 +0000

Idea

The impossibility to plan and foresee, the lack of trust in authorities, media and statistics, the anxiety had already built a different mental state in people involved in that. The idea of the project is to reflect and try to reproduce the state of the fake environment, loneliness and anxiety through 3 key elements - digital content, material embodiment and a physical interface to connect them. Visitor doesn’t have any capability to change the covid stats, the news and the way people on the streets behave.

Long Description

Presentation

OpenSpace Domshof, Bremen, Germany. 26.06.21-03.07.21. Distance Matters. Coming Together to Stay Apart.

Links

• video presentation
• video from the exhibition
• exhibition website

Illustrations

• Photo shooting, converting and assembling in a sketch
• Installation prototype modelling in Touch Designer
• Controller interface prototyping and assembling
• Physical installation assembling

Format

interactive installation

Instruments

idea, concept, data collection, videos, interface, physical installation

Authors

• Viacheslav Romanov: idea, virtual environment, performance design

2021-06-21 00:00:00 +0000

Idea

A rethinking of distance between objects, by reproducing its characteristics through alternative artistic means of expression (generative sound, video). Interaction with the created instrument is showing the significance of the chosen observation point, the trajectory of movement, as well as the environment itself, as they allow to fill the sequence of recorded data, a kind of “choreography”.

Long Description

Distance data is obtained through the laser distance-measuring sensor (LIDAR) and saved as individual sequences to an SD card. Sound indication allows you to get an idea of the characteristic of the sound in real time. The collected data can be processed in any program working with text files. The device also allows you to send current distance signals via USB cable to the serial port.

Presentation

The work was developed during the course “AutomationDistribution � Sites, Technologies, Politics” by Prof. Henrik Nieratschker (WiSe20-21).

Links

• Data experiment 1 video
• Data experiment 2 video

Illustrations

• Tool assembly
• Collected data example (.txt file)
• Data visualization (sonified as a waveshape) examples

Format

data collection instrument

Instruments

Arduino, Derivative TouchDesigner, Digital Thermometer

Authors

• name: Viacheslav Romanov
• url: https://www.facebook.com/viacheslav.romanov.9

2021-05-09 00:00:00 +0000

Idea

Inspired by projects to sonify the biological properties of the coronavirus spike protein, the author sought to reproduce in musical generative form the open statistical data on coronavirus infection (from January 2020 to April 2021).

Long Description

Most of the composition is based on the number of daily and total infections, deaths and recoveries in the world (from the covid observer portal), and Apple mobile activity index (how often users navigated every day). The rhythmic and emotional picture of growing anxiety is formed through binary transformations, minor scales and frequency modulations based on weekly and monthly dynamics. Using the Wellen library for Processing language (developed by Dennis Paul), the author is experimenting with the available classes and methods and plans to create various generative works based on data from cities and countries around the world.

Presentation

Course �Transient Sensors and Eternal Algorithmic Composition� by prof. Dennis Paul, HfK Bremen (WiSe20-21). Presented on Radio Angrezi Live Show on 12.04.2021

Links

• Original audio
• Video
• Radioshow page

Illustrations

• Working with 2 datasets (COVID Observer and Apple Mobility Trends)
• Building basic visualizations for composition
• Building a sketch in Processing

Format

data sonification

Instruments

Processing, Wellen library for Processing

Authors

• name: Viacheslav Romanov
• url: https://www.facebook.com/viacheslav.romanov.9

2021-03-18 00:00:00 +0000

Idea

“Isolate” is an arcade game that draws inspiration from the COVID-19 pandemic’s societal need for distancing. Through a simple mouse-driven control scheme, players guide a ball through a 2D space, aiming to evade or obliterate constantly spawning adversaries, while embodying the essence of keeping distance in a challenging environment.

Presentation

Developed during the course “First steps into Creative Coding with Processing” under the guidance of Professor Peter Buczkowski, “Isolate” showcases the application of creative coding techniques to produce an engaging arcade experience. The game is built using the Processing framework and incorporates the Wellen generative audio framework, demonstrating the potential of these tools in game development.

Long Description

Set in an abstract 2D world, “Isolate” challenges players to use strategy and quick reflexes to avoid or destroy adversaries. The main character, a ball, is endowed with a finite set of lives, losing one with each adversary collision. Over time, the character amasses light mines which can be strategically deployed against the pursuing balls, turning the tables on the chase. With each adversary destroyed, players earn points, adding a competitive edge to the gameplay.

The game’s object-oriented design, with distinct classes for various game elements, ensures a smooth and engaging gameplay experience. It serves as both a reflection on the challenges faced during the pandemic times and a testament to the versatility of the Processing platform in game creation.

Links

• Wellen generative audio framework
• Video Gameplay
• Game repository

Illustrations

• Main Game Interface
• Gameplay
• Processing code

Format

2D Arcade game with mouse-driven controls in the Processing environment.

Instruments

Processing, Wellen generative audio framework.

Authors

• Slava Romanov: Game design, Game development, Soundtrack

2021-01-06 00:00:00 +0000

Idea

By frequently using navigation maps the user becomes stick to the schematic representation of spece rather than to real environment and its landmarks, which leads to the issues with corellating between them. The solution may be found in a navigational mode, aimed to help users with orientation in space by using landmarks and decision points instead of street names

Long Description

The idea is to lesser the timeuse of navigational software, mitigate �dark concepts of HCI�, and help users to better memorize key visual inputs and build stronger orientation connections.

Presentation

The concept, including description and animated illustrations, was presented during the course �Interface/Interaction Design� by Prof. Peter von Maydell, HfK Bremen (WiSe 20-21)

Links

• Concept presentation

Illustrations

• UX concept presentation

Format

UX concept

Instruments

Figma, Google Maps

Authors

• name: Viacheslav Romanov
• url: https://www.facebook.com/viacheslav.romanov.9

2020-03-14 00:00:00 +0000

Idea

Visualization of intangible rhythm, cyclicity, symmetry and harmony of music, through a combination of natural landscapes and geometry

Long Description

The work is based on author’s video footages, filmed in Morocco, Berlin and the Leningrad region in 2019. Reflex hunt for rhythm and symmetry was the core theme and was revealed through the spray of a waterfall, blossoming flowers and man-made structures, shifting and changing one to each other in combination with complex geometries.

Presentation

Museum of Sound, GES-21 (Gallery of Experimental Sound 21), Saint Petersburg, 14 March 2020. The footages were also used during BYOB Bremen, 2021.

Links

• Live performance video
• Festival group

Illustrations

• Video footages were filmed in May-July 2019 and converted to HAP format in Vegas
• A modular interface consisting of videos, effects and additional generative graphics was built in Touch Designer and then connected to the Novation midi-interface
• Final live performance was carried out at the festival

Format

live performance

Instruments

Derivative TouchDesigner, Panasonic GH4, Vegas Pro, Novation LaunchControl XL

Authors

• Viacheslav Romanov: visuals
• Tim Six: drone music

2020-03-14 00:00:00 +0000

Idea

Representation of Curiosity as the inner core of digital utopia and an unconscious desire to ask a question to the reality.

Long Description

The work was built by mixing generative graphics and prerecorded video and adapted for demonstaring on a large media facade of Yeltsin Center with unusual shape (2200 square meters). It consisted of three parts, representing the process of transition from Curiosity to action, variability and the desire to capture attention as well as the collective experience as a source of identity formation in the digital environment.

Presentation

Work was demonstrated on a media facade of Yeltsin Center. Curiosity scored 191 votes in an online competition

Links

• video on a media facade
• original footage
• Video on a festival contest site

Illustrations

• The project collected different source of media in TouchDesigner environment and then rendered as a video. Finishing was made and sound was added in Vegas Pro
• Work was sent to apply for a contest and was published on a website
• Then it was demonstrated live on a media facade

Format

mediascreen video

Instruments

Derivative TouchDesigner, Vegas Pro

Authors

• Viacheslav Romanov: idea, virtual environment, performance design

2019-11-23 00:00:00 +0000

Idea

An empty, freshly created and still untouched space of the new leisure complex had completely white walls which were ideal for creating light installations. For this reason, the author decided to select his video footages on architecture thematic - brick buildings of abandoned factories, concrete colonnades of viaducts, road junctions and bridges. In the symbolic act of video performance, the history of places filled with meaning and experience of the past comes into contact with a completely new environment of the future but leaves no material mark.

Long Description

The work is based on author’s video footages, filmed in Saint Petersburg in 2019 (Red Triangle abandoned factory, West Speed Diameter and Kanonersky island). The music scene was based on a custom SoundCloud playlist, consisting of instumental and ambient tracks. The selection, processing of content and the creation of effects was carried out right during the performance.

Presentation

Bring Your Own Beamer Festival, opening of Lines Space, Saint Petersburg, 23 November 2019. The footages were also used during BYOB Bremen, 2021

Links

• Live performance video
• Performance Venue group
• playlist

Illustrations

• Photos and screenshots

Format

live performance

Instruments

Derivative TouchDesigner, Panasonic GH4, Vegas Pro, SoundCloud

Authors

• Viacheslav Romanov: visuals

2019-10-25 00:00:00 +0000

Idea

The experience of creating an immersive and interactive environment for musical expression and perception of the sea through direct and indirect associations.

Long Description

The work reveals the idea and atmosphere of the sea through the effect of immersion in a three-dimensional interactive sound and visual environment. A user in the Oculus Rift moves through a tunnel built of adjectives describing the sea. To move, the user must play his own unique melody on the electronic calimba. During the journey, the user is surrounded by luminous and sounding models of marine life.

Presentation

“Metaphor of the Sea” was successfully presented on “Form of Communication” visual art festival in Saint Petersburg, Russia as the graduation work of students of the course “Visual programming in Kvadrat Youth Center”

Links

• YouTube demonstration

Illustrations

• Textual information, simplified geometry, sounds and 3d audio rendering, as well as Oculus environment, were combinated in Touch Designer
• Audio-interface and audio-reactive modules were added and connected to textures, image filters and camera route.
• The work was presented to the public at the festival.

Format

Interactive VR scene, with electroacoustic input

Instruments

Derivative TouchDesigner, Oculus Rift S, Electronic kalimba

Authors

• Viacheslav Romanov: idea, scenery, generative graphics, VR setup
• *antonivanov: textures, background, presentation
• *artyommakarov: sound settings, calimba

2017-08-01 00:00:00 +0000

Idea

The general idea of the product is to provide a choice of patterns and colors that reflect the individual characteristics of the user. Adjustable glow color allows the user to project the inner world and his or her emotional state on the surrounding objects. In addition, the decorative lamp was made affordable and easy to manufacture (including the possibility of self-assembly and painting)

Long Description

Experimenting with patterns and forms, adding manual finishing assembly and painting, we tried to find the most interesting and non-standard combinations.

Presentation

37 pcs. were ordered

Links

• Video presentation
• Online Store

Illustrations

• Modelling in Corel Draw and adapting to laser cut. Manual assembly and painting. Adding electrics (AC cords, switches and RGB remote controlled lamps
• Displaying

Format

video

Instruments

Corel Draw 13, Laser cut (plywood), paint (acrylic)

Authors

• Viacheslav Romanov: design, assembly, painting
• *irinaperevalova: distribution
• *ivanshchupov: engineering, production

2016-08-25 00:00:00 +0000

Donec eget ex magna. Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fergiat. Pellentesque in mi eu massa lacinia malesuada et a elit. Donec urna ex, lacinia in purus ac, pretium pulvinar mauris. Curabitur sapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis dapibus rutrum facilisis. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Etiam tristique libero eu nibh porttitor fermentum. Nullam venenatis erat id vehicula viverra. Nunc ultrices eros ut ultricies condimentum. Mauris risus lacus, blandit sit amet venenatis non, bibendum vitae dolor. Nunc lorem mauris, fringilla in aliquam at, euismod in lectus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. In non lorem sit amet elit placerat maximus. Pellentesque aliquam maximus risus, vel sed vehicula.

Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fersapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit tristique lorem ipsum dolor.

2016-08-24 00:00:00 +0000

Donec eget ex magna. Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fergiat. Pellentesque in mi eu massa lacinia malesuada et a elit. Donec urna ex, lacinia in purus ac, pretium pulvinar mauris. Curabitur sapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis dapibus rutrum facilisis. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Etiam tristique libero eu nibh porttitor fermentum. Nullam venenatis erat id vehicula viverra. Nunc ultrices eros ut ultricies condimentum. Mauris risus lacus, blandit sit amet venenatis non, bibendum vitae dolor. Nunc lorem mauris, fringilla in aliquam at, euismod in lectus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. In non lorem sit amet elit placerat maximus. Pellentesque aliquam maximus risus, vel sed vehicula.

Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fersapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit tristique lorem ipsum dolor.

2016-08-23 00:00:00 +0000

Donec eget ex magna. Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fergiat. Pellentesque in mi eu massa lacinia malesuada et a elit. Donec urna ex, lacinia in purus ac, pretium pulvinar mauris. Curabitur sapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis dapibus rutrum facilisis. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Etiam tristique libero eu nibh porttitor fermentum. Nullam venenatis erat id vehicula viverra. Nunc ultrices eros ut ultricies condimentum. Mauris risus lacus, blandit sit amet venenatis non, bibendum vitae dolor. Nunc lorem mauris, fringilla in aliquam at, euismod in lectus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. In non lorem sit amet elit placerat maximus. Pellentesque aliquam maximus risus, vel sed vehicula.

Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fersapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit tristique lorem ipsum dolor.

2016-08-22 00:00:00 +0000

Donec eget ex magna. Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fergiat. Pellentesque in mi eu massa lacinia malesuada et a elit. Donec urna ex, lacinia in purus ac, pretium pulvinar mauris. Curabitur sapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis dapibus rutrum facilisis. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Etiam tristique libero eu nibh porttitor fermentum. Nullam venenatis erat id vehicula viverra. Nunc ultrices eros ut ultricies condimentum. Mauris risus lacus, blandit sit amet venenatis non, bibendum vitae dolor. Nunc lorem mauris, fringilla in aliquam at, euismod in lectus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. In non lorem sit amet elit placerat maximus. Pellentesque aliquam maximus risus, vel sed vehicula.

Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fersapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit tristique lorem ipsum dolor.

2016-08-21 00:00:00 +0000

Donec eget ex magna. Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fergiat. Pellentesque in mi eu massa lacinia malesuada et a elit. Donec urna ex, lacinia in purus ac, pretium pulvinar mauris. Curabitur sapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis dapibus rutrum facilisis. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Etiam tristique libero eu nibh porttitor fermentum. Nullam venenatis erat id vehicula viverra. Nunc ultrices eros ut ultricies condimentum. Mauris risus lacus, blandit sit amet venenatis non, bibendum vitae dolor. Nunc lorem mauris, fringilla in aliquam at, euismod in lectus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. In non lorem sit amet elit placerat maximus. Pellentesque aliquam maximus risus, vel sed vehicula.

Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fersapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit tristique lorem ipsum dolor.

2016-08-20 00:00:00 +0000

Donec eget ex magna. Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fergiat. Pellentesque in mi eu massa lacinia malesuada et a elit. Donec urna ex, lacinia in purus ac, pretium pulvinar mauris. Curabitur sapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis dapibus rutrum facilisis. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Etiam tristique libero eu nibh porttitor fermentum. Nullam venenatis erat id vehicula viverra. Nunc ultrices eros ut ultricies condimentum. Mauris risus lacus, blandit sit amet venenatis non, bibendum vitae dolor. Nunc lorem mauris, fringilla in aliquam at, euismod in lectus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. In non lorem sit amet elit placerat maximus. Pellentesque aliquam maximus risus, vel sed vehicula.

Interdum et malesuada fames ac ante ipsum primis in faucibus. Pellentesque venenatis dolor imperdiet dolor mattis sagittis. Praesent rutrum sem diam, vitae egestas enim auctor sit amet. Pellentesque leo mauris, consectetur id ipsum sit amet, fersapien risus, commodo eget turpis at, elementum convallis elit. Pellentesque enim turpis, hendrerit tristique lorem ipsum dolor.