Krauth, Under-Mine, interactive video installation, still
from animation (detail), 2017
Saturday 25 February, 2017. 8PM
Artist talk: 26 February, 2017 at 3PM
Exhibition runs 26 February- 2 April, 2017, Fri -Sun 2-6PM and by
The exhibition project investigates the problematics and possibilities
of communicating nonhuman perception through the interface of artistic
practice and new technologies. By means of interactive and non-interactive
video that use generative and time-based techniques the Australian
artist Alinta Krauth considers potential narratives of animals
under threat from climate change.
Australian artist Alinta Krauth 's new project Under-Mine
(2017) was specially developed for Art Laboratory Berlin. She has
used video, generative art, data visualisation and an intensive
study into the science of animal perception and cognition to propose
narrative paths towards a meeting point of the human and nonhuman.
Taking into account that each species' way of sensing the world
is unique, and often beyond the ken of human experience, Krauth
makes use of a diverse technological toolbox to navigate and translate
The video installation Under-Mine on the right wall invites
the viewers to reflect on four creatures and their attempt to survive
a species die-off - the microbat, the rock lizard,
the woodlouse and the wild horse. This narrative is
set out as a timeline: from acceptable climate levels to catastrophic.
The viewer navigates the world as the creature undergoing sensory
change. The higher the level goes, the more the world becomes confusing,
faster or slower, more abstracted. The artist created these computer
animations by means of data generated video and sound, hand drawn
animation, and digital interactive elements, introducing abstract
visual and aural perception as language, interaction with an immersive
environment, and a sense-oriented, rather than linear narrative.
The four computer animations on the left wall aesthetically reflect
the issues of climate change for each of the four chosen species
and their particular types of perception: specifically chosen are
echo-locating micro-bats; rock lizards who use chemoreception
to identify territories and suitable mates; woodlice, who use their
ability to sense humidity as a decision marker for movement and
location - this hygroreception is not the only sense they
use to control movement, thigmokinesis and phototaxis
also play roles; and proprioception in the case of the Kaimanawa
wild horse of New Zealand.
Another digital sketch reflects about further species. There are
many other creatures whose senses will be, and are being, affected
by the human-made changing climate. Some examples are sea turtles
with their ability to return home using magnetoreception.
Some species of fish are losing olfactory cues that allow
them to forage and sense predators.
the computer animations Alinta Krauth used a mixture of frame-by-frame
animation, time-based code-generated animation, and digital drawing.
Due to their computer-generated nature, the original interactive
versions will never play the same way twice. They are a conversation
between the artist who creates the imagery and sets the parameters,
and the computer, which executes those parameters. Accompanying
sound is also created by the artist, using a mixture of field recordings,
data-generated sound, and postmodern notation techniques for composition.
project makes use of a tradition of interactive and game related
electronic art, which connects the human body to storytelling, but
proposes using this to explore the possibilities of inter-species
empathy. Through interaction the audience wavers between being a
character, a creator, and a viewer. While the artist is well aware
that narrative is itself a very human construct, and that any attempt
to experience animal perception is bound to be inherently anthropocentric,
Under-Mine seeks to push at the boundaries between the human
and animal, and dislodge us from our usual subject-object relation
to the nonhuman.
Rapp & Christian de Lutz (curators)
More on the Nonhuman
going wrong, turning back, inflexible - Kommunikation mit der nichtmenschlichen
Berlin News, Nonhuman Subjetivities: Under-Mine. Alinta Krauth (p.38)
by Keren Cherry
2017 (l. Rock Lizard; m. wood louse; r. wild horse)