Exhibitions and Editing activities with the aim of ambitiously toying with the future realisations of such transdisciplinary collaborations because it engages with relatively recent and still nebulous fields of “the digital” and “the organic”. Indeed, while these terms have permeated fields like the humanities (“digital humanities”) and the arts (“generative art”) and are subjects of titles of numerous exhibitions and academic papers and talks, an element of reluctance can still be observed in the Western ideas about such collaborations.
Literature, for example, abounds with apocalyptic and other dystopian narratives, and it is possible to trace the ambivalence with respect to technological advancement all the way back to Greek mythology. Even when scientific discourse came to replace the religious one in the Western world, stories of machines haunted the European imaginary well since Mary Shelley’s Victor Frankenstein took over from Pygmalion’s sculpting.
More specifically, the association aims to challenge the apparent dichotomy that commonly separates “the digital” and “the organic”, by exploring digitalization as a way of understanding nature but not being opposed to it. There is no reason to oppose nature and technology as the two can cohabit and collaborate, forming through these various interactions worlds of the future.
Another aspect of the supported activities looks at moments when technology and art generate forms of synesthetic experience. Synesthesia as a neurological condition is only observed in a very small number of individuals, but, at the same time, experiencing a synesthetic phenomena happens to everyone when reading a novel or to the few who have had any experience with immersive artistic media. The human brain and the neurological system connect these various perceptions and give them coherence. The various exhibition activities rely on multiple senses and the works are amplified by the spectators, who themselves partake in the digital-organic connection.