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Year: 2024
Medium: Realtime/Interactive Installation, Sculpture, Video Art, Robotic Performance
Venue: RAD Lab | Kent State University

Year: 2024
Medium: Realtime/Interactive Installation, Sculpture, Video Art, Robotic Performance
Venue: RAD Lab | Kent State University

Hyperion

Year: 2024
Medium | Category: Realtime/Interactive Installation, Sculpture, Video Art, Robotic Performance, Digital Art, 3D-printing, AI
Venue: RAD Lab | Kent State University

Brief Description:

Hyperion installation is a curated time-based spatial experience in a space designed for/by humans and non-humans. It employs real-time generative AI, real-time robotics performances, digital and physical sculpting, video mapping, digital art, and interaction design—amongst other mediums and platforms—to visually reinterpret physical space and the audience through shared visual memory.

Through the real-time AI-augmented lens of the non-human creature—the Hyperion object/sculpture—everything, including the audience, physical space, and other non-humans, becomes a curated visual aesthetic machine's hallucination where ordinary setups unexpectedly propose magical moments.

While rooted in Greek mythology, Hyperion aims to be borderless and free. It imagines/sees the physical world—equally—through the lens of visual memories. It aims to use technological lenses to spatially/experientially reveal some of our shared memories, atmospheres, and aesthetics as a collection of different human and non-human beings to inspire a new perspective on our shared past, present, and future. 

Full Description:
 

As an emigrant/immigrant multimedia artist and designer—exposed to the diverse collectiveness of what "us" can mean—my work involves constant back-and-forth to reimagine and reinvent the lost aesthetics of my/our memories and reframe them through the new lens of cutting-edge technology. My work continuously negotiates between humans' and non-humans' aesthetical, atmospheric, and spatial experiences through the lens of Animism, where everything—humans, animals, plants, rocks, machines, AI models, concepts, and many others—is alive, has a spiritual soul and experiential capacity, and is part of the artistic creation/experience.

 

The 2024 Hyperion installation—named after the titan of observing and watching in Greek mythology—is a curated spatial experience in a space designed to be inhabited by humans and non-humans—such as machines and cyborgs. It employs some of the most recent advancements in real-time generative AI, robotics, and interaction design and is centered around the conceptual framework of spatial aesthetics, physio-spatial/visu-spatial immersions, and reversed spatial object/subject and human/non-human relationships, where it employs AI to simultaneously visually reinterpret physical space and the audience, looking back at them in real-time through a shared visual memory of space. 

 

Through the real-time AI-augmented lens of the non-human creature—the Hyperion object/sculpture—everything, including the audience, physical space, and other non-humans, becomes a curated visual aesthetic machine's hallucination where ordinary setups unexpectedly propose magical moments.

 

While rooted in Greek mythology, Hyperion aims to be borderless and free. It imagines/sees the physical world—equally—through the lens of visual memories. It aims to use technological lenses to spatially/experientially reveal some of our shared memories, atmospheres, and aesthetics as a collection of different human and non-human beings to inspire a new perspective on our shared past, present, and future. 

Note:

The project is made possible through the kind and generous financial/equipment support and grants by:

The Knight Foundation, Kent State University | CAED, Studio EP, and Robotically Augmented Design (RAD) Lab.
 

The project—design, fabrication, digital/software development, etc.— and its media package—logotype, poster, videos, etc.—have been done individually by Ebrahim Poustinchi.

​© 2024 Designed by  Ebrahim Poustinchi (Studio EP L.L.C.). All rights reserved. Unless otherwise indicated, all materials on these pages are copyrighted.

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