This episode is an interview with artists Vicky Browne and Simon Reece about their innovative work, "Motherboard." Merging ceramics with technology, this piece invites viewers to experience interactive sculptures that emit varying tonal frequencies as they hold the objects. The piece was developed for a show called “Underground” that was held at the Blue Mountains Cultural centre from late 2023 to early 2024.    Vicky Browne, an interdisciplinary artist with a background in sculpture, and Simon Reece, a ceramic artist, both hail from the Blue Mountains, Australia.  The interview explores the audience’s response to the interaction, and the process of developing the piece and the importance of collaboration in their practice.  Highlights (0:02:04) Vicky describes the physicality of Motherboard and its interactive nature. (0:03:01) People at the exhibition interacted with the sculpture, creating nonverbal communication. (0:00:01) Simon discusses the importance of allowing space for creativity. (0:06:09) The importance of tactile response and the freedom to touch ceramics in the artwork. (0:07:00) Vicky and Simon’s focus on materiality and problem-solving in their collaborative process. (0:09:22) The unique aesthetic and combined strengths that arise from their collaboration. (0:12:40) Playing and problem-solving (0:13:12) Collaboration allows for new and unexpected work (0:14:29) Collaboration leads to making things they wouldn’t normally produce (0:15:27) Learning from each other’s different approaches (0:18:19) Technology embedded in our lives and materials (0:19:19) Greater respect for materials through technology (0:19:56) Exploring the interconnectedness of technology and materials (0:22:44) Allowing space for collaboration and being open to different ideas (0:23:52) Leaving ego at the door and effective communication About ​Vicky Browne ​Vicky Browne, an interdisciplinary mixed media artist from the Blue Mountains, NSW, completed her Master of Visual Art at Sydney College of the Arts in 2010. Her extensive exhibition history includes showcases at renowned venues like Artspace Sydney, Artspace Auckland, and Dunedin Public Art Gallery in New Zealand. Browne's participation in institutional group exhibitions, such as Living in the Ruins of the Twentieth Century at UTS Gallery and Sound Full at City Gallery Wellington, has bolstered her standing in the contemporary art sphere. Notable achievements include winning the 2013 Fauvette Loureiro Memorial Artists’ Travel Scholarship Prize. Browne's recent solo exhibition, Work/Play at Blue Mountains City Gallery in 2022, underscores her exploration of mixed media and interdisciplinary art, establishing her as a leading figure in Australian art. About Simon ReeceSimon Reece is a distinguished ceramic artist celebrated for his expertise and inventive approach to ceramics. Trained at The National Art School, he delved into ceramics in the early 1980s, refining his craft under expert tutelage. A pivotal moment came in 1985 when Reece journeyed to Japan, immersing himself in wood firing ceramics under master Uneo Norihide's guidance in Bizen. This transformative experience shaped Reece's unique aesthetic and profound understanding of ceramic art. Back in Australia, he became a journeyman potter, collaborating with peers and constructing wood kilns. Reece's diverse portfolio spans tableware for top chefs, environmental sculptures, and global workshops, solidifying his influence in contemporary ceramics Links from the interview and Vicky Browne and Simon Reece    Visit Vicky Browne’s website  Follow Vicky Browne’s on InstagramRead Vicky Browne’s article -  Sound is as much in the dirt as it is in the airVisit Simon Reece’s websiteFollow on InstagramLearn more about the Underground exhibition

In this interview Theresa Schubert a Berlin-based artist discusses her “Glacier trilogy”, a three-piece work that explores the transformation of glaciers in the face of climate change.  The Glacier trilogy, which is the outcome from S+T+ARTS 4 WATER artist residency.    The interview explores the creative processes behind the making of the trilogy, including working with generative AI and with a glassblower. Listen to this podcast to learn about  Insights into using art to comment on and bring awareness to global environmental issues like climate change through thematic focus and material choice. The importance of cross-disciplinary collaboration, working with experts from different fields to enrich art projects, enhance their execution, and broaden their impact. The creative application of generative AI. The value of artist residencies in providing unique opportunities for research exploration, and collaboration.   Practical advice on making the most out of residency programs.     Highlights (0:01:41) Theresa describes the Glacier trilogy as a three-piece work that explores glaciers and their transformation in the current climate crisis. (0:02:42) Theresa explains the first part of the trilogy, which includes a sound composition and a projection of synthetic glacier formation videos. (0:04:17) Theresa discusses the second part of the trilogy, which features glass vessels containing ice core melt water from glaciers, emphasising the fragility of the environment. (0:05:57) Theresa talks about the third part of the trilogy, a video sculpture that simulates glacial fluid systems and includes CO2 sensors that affect the simulation based on the presence of people in the exhibition space. (0:08:20) Theresa explains the importance of the topic of climate change and the role of art in bringing it to a wider audience through experiential and reflective approaches. (0:13:10) Theresa explains that she didn’t have specific ideas initially but was inspired by various inputs during the residency, including visiting an archive and translating the diaries of an Italian glaciologist. (0:16:20) Theresa discusses the difference between working with simulations of natural phenomena and using generative AI models for visual or text-based outputs. (0:18:03) The excitement of AI’s unpredictability and variation. (0:21:06) Working with a glass blower for the first time. (0:22:48 Researching and collaborating with scientists and experts. (0:24:54) Differences in physicality and bodily experiences between glass blowing and computer work. (0:28:46) Establishing lasting connections and relationships after the residency. (0:30:02) Advice for artists doing residencies: come with curiosity, network, and find something unique to the location. About Theresa Schubert Theresa Schubert, operating at the confluence of alchemy and science fiction, is a visionary Berlin-based artist, researcher, and curator whose work interrogates anthropocentrism while fostering alternative visions and sensory experiences. With a PhD from Bauhaus-University Weimar, her work spans installations and performances that incorporate living organisms and AI, questioning the nature-culture divide in our digital age. Schubert's projects, recognized globally with awards from prestigious entities like the Japan Media Arts Festival and Prix Ars Electronica, engage deeply with environmental and ethical themes. As a curator and educator, she extends her inquiry into the unconventional, advocating for a harmonious intertwining of technology, art, and the natural world.   Links from the podcast   Learning more ⁠⁠Glacier Trilogy – Part 1⁠⁠: a synthetic archive, ⁠⁠Glacier Trilogy – Part 2⁠⁠: earth memory, ⁠⁠Glacier Trilogy – Part 3⁠⁠: Simulating glacial water systems Learn more about ⁠⁠ S+T+ARTS⁠⁠ Visit Theresa Schubert’s ⁠⁠website⁠Follow Theresa Schubert on ⁠⁠Instagram

Camila Colussi, a Chilean artist based in London, discusses her sound-light interactive installation "Tectonic Lingering: A microPolitics of Time". The piece explores the concept of time and the acceleration of technology, inviting viewers to pause and reflect. The installation features an LED light display that responds to real-time earthquake data from around the world as well as an interactive sound component that tells stories about earthquakes and time. The interview explores experiences of time, place, and Camila’s process.   Highlights (0:01:39) Camila explains the concept of "Tectonic lingering" and how it relates to her personal experience with earthquakes in Chile. (0:06:05) Camila describes the LED light display in the installation and how it interacts with earthquake data. (0:07:20) Camila discusses the sound interactive system in the installation and how it tells stories about earthquakes and time. (0:10:42) Robin reflects on how experiencing tremors in Chile changed Camila's awareness of the world. (0:13:03) Camila discusses the fragility of the earth and how it can be taken for granted. (0:15:13) Camila explains the intention behind creating an invitation to linger with the installation. (0:16:21) Camila discusses the use of headphones in the installation and how it enhances the immersive experience. (0:19:34) Simplifying the technology for portability and accessibility. (0:21:35) The piece started from a desire to explore slowness in technology. (0:24:02) Making decisions and refining the concept over time. (0:25:05) Writing, drawing, and prototyping to develop the piece. (0:29:05) Challenges and iterations in the prototyping process. (0:33:12) Advice for artists working with interactivity. Camila discusses the need for flexibility in physical computing projects. About Camila Colussi       Camila Colussi, a Chilean artist based in London, has an MFA in Computational Arts from Goldsmiths University of London and currently works at Kingston University. She works across mediums like installation, video, sound, objects, and interactive technologies. Her art explores the nexus of technology, politics, and human experience, focusing on the political dimensions of time, care, and sensing technologies. Colussi's pieces have graced prestigious venues globally, earning her accolades like a 2023 Lumen Prize nomination and grants such as the 2020 FONDART Nacional from the Ministerio de las Culturas, Chile. She is also a sought-after speaker and educator, sharing insights worldwide. Links from the podcast   Learn more about ⁠Tectonic Lingering: a microPolitics of Time⁠   Visit Camila Colussi’s ⁠website Follow Camila Colussi on Instagram

Seph Li discusses the generative installation called "Phase". The piece combines interaction and computational logic to create a unique and immersive experience for participants. Seph merges algorithms from the Wolfram Physics Project with traditional Chinese ink painting simulations, creating an interactive universe where visitors' actions influence the artwork's evolution. Some of the other things discussed include a simple taxonomy of different types of interactions, coding, and what Seph is currently working on. Highlights (0:02:14) Experience of the interactive piece "Phase'" and its abstractness (0:04:13) The tension between providing instructions and allowing discovery in interactive installations (0:07:41) The collapse of the universe in the piece and its significance (0:09:44) The conceptual idea behind the piece and its connection to Daoism (0:12:29) The use of ink painting in the artwork  (0:14:01) The importance of preserving poetic qualities in digital renderings (0:17:02) Robin asks about the influence of computer science on Seph’s art (0:20:30) Seph prefers working with bespoke code rather than tools like TouchDesigner (0:23:03) Robin asks about the process of making the artwork "Phase" (0:26:28) Seph discusses the challenges of fabricating the physical controller (0:28:16) Seph shares his current project involving artificial life and ink painting (0:30:43) Seph envisions an intimate gallery experience for his new piece About Seph Li Seph Li, originally from Beijing and now based in London, has a bachelor's degree in Computer Science and Entertainment Design from Tsinghua University, and an M.F.A. from UCLA. His work has gained international recognition, with exhibitions across Japan, the U.S., Spain, Brazil, and more. He has worked with Tokyo's renowned teamLab and received commissions from global brands such as Google. His achievements include a Jury Selection in the Entertainment Division at the Japan Media Arts Festival 2012, and a nomination for the prestigious 2023 3D/Interactive Award.   Links from the podcast   Watch a video of PhaseExplore the web version of Phase Visit Seph Li’s website    Follow Seph Li on Instagram   Read an interview with Seph L on Al-Tiba9 Read an interview with Seph Li on Art Connect

Asaco and Toyoshi Morioka of SPEKTRA discuss the creation of 'Vectorize(Prototype)' an audiovisual installation prototype in a performing arts theatre. SPEKTRA, based in Kyoto, is a group known for its experimental and expressive work. Their primary focus is on installations involving lights and audio. 'Vectorize(Prototype)' represents a shift, using flat beam lights in a performance context rather than as an installation. The interview explores Speckra’s approach to prototyping, which includes 3D modelling and simulations in TouchDesigner. Additionally, the collective’s dynamic team structure and other themes are explored. Highlights (0:00:00) Creating something we’re interested in (0:00:00) Introduction to the podcast and the interviewees (0:01:19) Description of the artwork “Vectorize(Prototype)” (0:01:51) Discussion on Spectra’s shift from installation work to performance (0:03:00) Experimentation and new techniques in “Vectorize(Prototype)” (0:04:00) Challenges of working with a wide space and lights (0:05:31) Inspiration for “Vectorize(Prototype)” came from a new device (0:07:05) Use of 3D simulations in planning the piece (0:09:22) Simulation and modelling now used in most of their works (0:12:13) Learning to create performance works was a challenge (0:13:56) Current projects involve mirror installations and merchandise (0:16:36) Collaboration involves specific skills rather than specific roles (0:17:16) Advice for working with light installations (0:17:57) Three points: creating something we’re interested in, site specificity, new techniques (0:19:50) Importance of being interested in new ideas and techniques (0:20:18) Collaborative approach to creating artwork (0:21:15) Collecting ideas from members and valuing persona experiences About Spektra Studio  SPEKTRA is a Kyoto-based group that engages in experimentation and expression. Members change dynamically according to projects and venues as they search for new ways to describe ideas.  Links from the podcast Watch the videos of Vectorize(Prototype) Visit the SPEKTRA website    Follow SPEKTRA on Instagram Follow asaco on Instagram  Follow Toyoshi Morioka on Instagram

Harvey Moon from Spectra Studio discusses creating 'Zephyr,' an interactive origami object that responds to visitors' breath and movement. Spectra Studio is a multidisciplinary collective based in Los Angeles. They create multi-sensory experiences meant to be shared. They work on experimental projects like 'Zephyr' and also provide services to clients. In the interview, we explore the Spectra Studio process and uncover some insightful reflections on how they might have approached prototyping differently in this project. We examine the nature of the interactions in the piece and how they contribute to shared experiences for the viewers. We also discuss the difference between Harvey's solo work and the collaborative work at Spectra Studio. Highlights (0:00:00) Dialogue with the audience vs. one-to-one interaction (0:01:40) Description of Zephyr (0:03:30) Connection between breath, reflection, and natural rhythms (0:05:32) Sensing breath and CO2 levels (0:06:07) Meditative response from visitors (0:07:45) Consideration of sound in future prototypes (0:08:38) Origami and breath as inspiration for Zephyr (0:10:30) Focus on physical, kinetic, and sculptural experiences (0:11:53) More unfinished projects than finished ones (0:12:59) Challenges of scaling up and iterating the design (0:13:38) Description of Spectra Studio and its collaborative process (0:15:27) Balancing commercial work with artistic and creative work (0:16:41) Everyone in the team wears multiple hats (0:18:24) Working alone vs working collaboratively (0:19:42) Lessons learned from the Zephyr project (0:20:21) Balancing project complexity and constraints (0:21:47) Current projects: travelling exhibit, projection dome, kinetic works (0:22:20) Advice for those interested in kinetic work About Harvey Moon Harvey Moon is a new media artist who explores the intersection of technology and perception. He creates custom software, electronics, and kinetic systems to extend our understanding of the world and how technology influences our lives. Moon's art challenges audiences to question their perceptions and reflect on the role of technology in shaping our future. Harvey Moon holds an MFA from DMA at UCLA and a BFA from the School of the Art Institute of Chicago. His work has been showcased internationally, including exhibitions at the National Taiwan Museum of Fine Arts and the Nuit Blanche Festival in Toronto. Currently, he resides and works in Los Angeles, California. About Spectra Studio Spectra Studio is a multidisciplinary collective based in Los Angeles, California. Spectra Studio combines art with the possibilities of technology to transform ideas into tangible, multisensory experiences meant for sharing. Experimental by nature, their practice is fueled by research, collaboration, and discovery. Spectra Studio's goal is to evoke emotions, express the inexplicable, and reflect on how we relate to the physical, the digital, and the Links from the podcast   Learn more about ⁠Zephyr⁠Visit the ⁠Spectra Studio’⁠s website  Follow ⁠Spectra Studio⁠ on Instagram Visit ⁠Harvey Moon’s⁠ website   Follow ⁠Harvey Moon⁠ on Instagram Follow ⁠Dave Hull⁠ on Instagram

In this interview, Nora Gibson discusses her interactive installation called 'the dream'. Participants in 'the dream' wear EEG headsets to animate a particle system that is projected onto translucent screens in a room bathed in pale blue light. Nora’s background is in contemporary ballet and choreography. During the conversation some of the topics that are explored are interactive works as a way of  providing feedback to participants,  the interconnectedness between audience members, as well as how interactive works are systems for people to experience. 'the dream' has recently been featured in Ars Electronica.   Highlights (0:00:00) Choreography vs interactive installations (0:02:20) Description of ‘the dream’ installation (0:06:25) Audience response to ‘the dream’ (0:08:29) Core ideas explored in the piece (0:11:00) Personal reflection and enrichment in creating the installation (0:14:03) Art as a tool for learning and growth (0:15:00) Transition from ballet to installation practice (0:17:49) Using participants' bodies in the installation (0:18:07) Shifting focus from the performer to the experience (0:18:49) Redefining virtuosity in coding and conveying messages effectively (0:20:32) Process of creating ‘the dream’ piece and experimenting with visuals (0:22:25) Using organic and natural visuals in the piece (0:23:58) Embracing recycled ideas and having a unique message (0:24:37) Differences between creating an interactive installation and choreographing (0:27:30) Finding freedom and a different perspective through interactive work (0:27:33) Augmenting the experience with sound and live experimentation (0:30:19) Advice for others: Use tools to communicate your message effectively About Nora Gibson   Nora Gibson trained in ballet at the Baltimore School for the Arts, where she studied under renowned mentors including Sylvester Campbell of the DutchNational Ballet. Nora further honed her skills at Chautauqua and NCSA, and earned a BFA from Tisch at NYU. She has danced for multiple companies including the Ellicott City Ballet Guild, PATH Dance Company, ClancyWorks Dance, and Andrew Marcus Dance, and has collaborated with iconic choreographer Lucinda Childs.  Fora decade, Nora led the Nora Gibson Contemporary Ballet, a Philadelphia-basedcontemporary ballet company. She gained critical acclaim and presented her workat prestigious venues such as the Franklin Institute. This included discussingher groundbreaking dome ballet, MANDALA, at the TouchDesigner summit at MUTEK in Montreal in 2018. Asan educator, Nora has designed courses that range from ballet to digital art,and has taught at institutions such as Temple University and the University ofthe Arts. She received the Outstanding Teaching Award in 2018 for her work atTemple University.  Norahas transitioned from choreography to digital practice. Her digital creationshave been featured at international platforms such as Ars Electronica and the Hexagram Network,  Online Global Gallery, Contemporary & Digital ArtFair, Lightbox, and Urban Screens Production.     Links from the podcast Learn more about 'the dream'Follow Nora Gibson on InstagramVisit Nora Gibson website

In this interview, Christian Skjødt Hasselstrøm is talking about the creation of a site-specific installation called The Receiver. His works explore our sensory perception and the limitations of our senses. His pieces are often site-specific. Highlights  (0:00:00) Prototyping site-specific work  (0:00:51 ) Description of the "The Receiver" installation and its sensory experience  (0:03:12)  How the space for the installation was chosen  (0:06:25)  The process of levelling up and down the frequencies in the silo  (0:07:08)  Collaboration with Bang Olufsen (0:09:18)  Challenges of planning and prototyping the installation  (0:11:48) The messy process of refining the concept and technology  (0:15:55)  Overcoming safety and logistical challenges  (0:18:21) Advice for working with site-specific art  About Christian Skjødt Hasselstrøm Christian Skjødt Hasselstrøn is an artist and composer from Copenhagen. Christian has presented his works at galleries, museums, festivals, and concert spaces throughout the world, including Ars Electronica Festival in Linz, Mois Multi in Quebec Canada, A plus A Gallery in Venice, Műcsarnok Kunsthalle Budapest, Sound Reasons in New Delhi, Skan II / Skanu Mežs in Riga, Üle Heli in Tallinn, Ostrava Days in Czech Republic, Ultima in Oslo, Overgaden - Institute of Contemporary Art in Copenhagen and Museum of Contemporary Art Denmark.   Christian’s work has been awarded by Prix Ars Electronica, Japan Media Arts Festival, Edigma Semibreve and Carl Nielsen and Anne Marie Carl-Nielsen’s Foundation, and he holds a Master's degree from the Royal Academy of Music in Denmark.   Links from the podcast   Learn more about The Receiver Visit Christian Skjødt Hasselstrøn’s website Learn more about Struer Tracks – Biennial for Sound and Listening

In this interview Louise Devenish and Stuart James are talking about making 'Alluvial Gold,’ which exists both as an art installation and as a concert performance. It’s created by Louise Devenish and percussionist, visual artist Erin Coates and composer Stuart James. Erin was not available to join in the conversation. The interview explores collaboration and the challenges of remote collaboration.   Highlights  (0:00:00) Making creative collaboration work  (0:02:01) Explanation of Alluvial Gold and its themes (0:05:52) Integration of themes into the sound and visuals (0:09:46) The collaborative process and challenges of remote collaboration (0:12:56) Physicality and spatial aspects of the performance (0:19:25) Challenges faced during the project (0:23:50) Playing the space as a percussionist (0:28:27) Advice for creatives embarking on a similar journey About Erin Coates Erin Coates is a visual artist and creative producer based in Perth, Australia. Her work, spanning drawing, sculpture and film, explores the limits of the human body in various environments, influenced by her background in rock climbing and freediving. Erin’s recent work presents hybrid forms merging human elements with Australia's unique marine and estuarine life forms, speculating on potential post-human futures. Her work has been displayed in galleries and film festivals, both locally and internationally, including the 23rd Biennale of Sydney, the Adelaide Biennial, the Hiroshima Museum of Contemporary Art , and The National: New Australian Art. Erin is represented by Moore Contemporary; she holds a masters in fine arts from the University of British Columbia, Vancouver, Canada​.  Visit Erin’s website About Louise Devenish Louise Devenish is a percussionist based in Australia. Her creative work merges performance, artistic research and collaborative interactions. Louise is a champion of new music; she has commissioned over 50 works for percussion and has performed extensively in ensembles like Decibel and The Sound Collectors Lab. Currently, she is a senior research fellow undertaking an Australian Research Council Discovery Early Career Researcher Award (DECRA) fellowship at Monash University, where she also directs The Sound Collectors Lab and serves as percussion coordinator. Louise’s performances, recognised for their virtuosity, are featured on international labels such as HatArt and Immediata. She has been honoured with a Churchill fellowship and multiple APRA AMCOS Art Music Awards, and holds a doctorate in music.   Visit Louise’s website About Stuart James  Stuart James is a composer, sound artist, and producer based in Australia. He is a founding member of the Decibel New Music ensemble, and a lecturer in the Composition and Music Technology Program at the Western Australian Academy of Performing Arts. Stuart’s interests include spatial audio, spectral synthesis, and wave terrain synthesis. His recent work, supported by an Edith Cowan research grant, explores the potential uses of 3D sound to aid human navigation and the opportunities that emerging technologies present for exploring virtual environments​​. Stuart completed his doctoral research in the field of music technology.  Visit Stuart’s website   Links from the podcast  Learn more about Alluvial GoldWatch a recording of Alluvial GoldRead Louise’s article on Instrumental infrastructure, instrumental sculpture and instrumental scores: a post-instrumental practice

In this interview Michael Sedbon is talking about the making of Cryptographic Beings installation. The conversation explores the difference between working with biology and engineered digital technology, prototyping and learning.  Highlights (0:00:00) The control you have over biology (0:01:08) Introduction to the Crypto Being installation (0:02:51) The slow movement of the algae in the installation (0:04:35) The idea for the piece and the behaviour of the algae (0:06:23) Michael shifting perceptions through studying life science (0:08:26) The process of creating the installation (0:11:59) The challenges of working with living organisms (0:14:51) The prototype nature of the installation (0:16:26) Comparing commercial design work to artistic work (0:19:21) Getting started in living computation or computation About Michael Sedbon Michael Sedbon is a Paris-based artist, and life science researcher. Michael’s work investigates the convergence of digital technologies with non-human intelligence, exploring the impact on societies and environments. He constructs bio-computers, investigating the interface between biology and computer science. Michael has received notable recognition, including the Bio Arts and Design Award, the Falling Walls Art and Science Breakthrough, and was shortlisted for the Lumen Prize​. His work has been exhibited globally, and he has participated in esteemed residencies​​. Michael holds a masters in interaction design and is studying synthetic and system biology​​. Links from the podcast Learn more about CryptographicVisit Michael Sedbon’s websiteConnect with Michael Sedbon on Instagram

In this interview Daniele Hopkins and Kyle Duffield are talking about the making of a physical game called Schwister. The conversation explores the cross over between branding work  and experimental work, constraints and prototyping.  Highlights (0:00:00) Play testing (0:01:21) Introduction to the game Schwister and its experience for players. (0:02:24) The idea for Schwister came from a commission for Absolut Vodka. (0:04:02 )The process of exploring ideas and tinkering with the game. (0:05:49) The collaboration process and the use of iPad prototypes. (0:08:09) Building a prototype on the iPad using Max MSP and Mira. (0:09:45) Streamlining the technical solution for efficiency and portability. (0:11:51) Observing how people interact with the game and learning from it. (0:14:00) Adjusting sensitivity and logistics for smoother presentations. About Kyle Duffield Kyle Duffield is a Toronto-based interactive experience design professional who creates immersive interactive installations and brand activations. Kyle’s expertise spans audio, video, creative coding, electronics, and interaction design with the intent of bringing play and multi-sensory spectacle to public spaces. As an educator, Kyle has facilitated interactive media courses and workshops with various institutions, galleries, and universities across North America, the UK, Shanghai and online. Currently, Kyle is a Cycling '74 Max Certified Trainer, and is focusing on creating unforgettable technological experiences. About Daniele Hopkins Daniele Hopkins is a Toronto-based intermedia artist and the Executive Director of Electric Perfume, an experiential arts hub. She curates showcases, facilitates learning opportunities, and develops interactive projects for various events and clients. Her work explores intersections of nature, technology, sound, and interactivity. Daniele is passionate about teaching and mentorship and has served on the board of directors for Musicworks Magazine, The Hand-Eye Society, and Gallery X Scarborough. About Electric Perfume Electric Perfume artists, Daniele Hopkins and Kyle Duffield, have worked together for over a decade making immersive projects in a variety of mediums. Through Electric Perfume, they create and curate multisensory interactive social experiences in the form of events, activations, public art, gamified solutions, technical consultancy, and workshops. Electric Perfume has functioned as a creative studio and gallery space located in Toronto, curating over 150 public events consisting of exhibitions, festivals, performances, screenings, workshops, socials, and meetups. Hopkins and Duffield are always excited to be taking on new challenges, learning and merging new technologies, and love creating and showcasing alongside cool new friends!   Links from the podcast Learn more about SchwisterVisit Kyle Duffield’s websiteConnect with Daniele Hopkins on InstagramVisit the Electric Perfume website