NATALIE JEREMIJENKO AND PHIL TAYLOR OF THE BUREAU OF INVERSE TECHNOLOGY with Laura Kurgan, Daniel Perlin, Eric Schuldenfrei, Howard Huang, Aaron Forrest and Diego Rotalde and other intelligent creatures
Jeremijenko: Born 1966, Mackay, Australia; lives in New York, New York, and San Diego, California; Bureau of Inverse Technology: Founded 1991 Natalie Jeremijenko uses new technologies in her art to develop alternative possibilities for the technological future and an institutional critique aimed at demonstrating the powerful role of technology in contemporary life: scripting our actions, directing our attention, and dramatizing our lives. In large-scale public experiments, "spectacles of participation," and video and media installations, she employs robotics, genetic engineering, and digital, electromechanical, and interactive systems to visualize data and facilitate natural systems (rather than virtual ones). Her devices are characterized by an "architecture of reciprocity," in contrast to technologies that further surveillance and asymmetrical power and control.
Natalie Jeremijenko and Phil Taylor's For the Birds is the second part of her ongoing Ooz projects (Zoo spelled backwards). Through Ooz, Jeremijenko "reverse-engineers" zoos producing new interactions between animals and humans. For the Birds will consist of a series of electronic perches placed in MASS MoCA's courtyards for birds to land on. When a bird lands, it triggers an accompanying audio track that will invite human interaction. Through the day-to-day use of the perches, Jeremijenko believes that the birds (predominantly pigeons) will learn to use the perches to rudimentarily communicate with MASS MoCA visitors.?
Natalie Jeremijenko developed for LOOK & FEEL a special animal: the goose Leda (the name refers to the Greek myth of Leda and the Swan). Leda is interactive and, as a sort of mediator, gives people the opportunity to communicate with the living geese that can be found around the De Verbeelding pavilion. Leda ?swims? in the lake and can be steered from the pavilion. By sitting on the goose-chair and playing a shadow game with your hands, the goose?s neck starts to move. Via a webcam in Leda?s head and the monitor indoors, you can see immediately how the living geese react to and anticipate Leda?s movements.