Key Concepts & Initial Thoughts

In essence, my ambition is to create art that illuminate, question and alter (hack) the cognitive process of defining self in relation to our embedment in culture and environment. I believe that this could provoke new insights in the relationship between the individual, and the environment, and in turn the way we interact with our shared space, as well as think about our effect-ability as a part of the human species and the natural systems that compose our environment.

“My aim was to make you feel out of your minds” (Noé, No Date).

Enter the Void by Gaspar Noe (2009)

As an artist, I am interested in the relationship between the digital and the physical, in the translation and mediation between these spaces and how they affect our perception and diffuse boundaries between the imaginary and the real. What is considered as “real” in the digital age? How do we relate to “being in” and “being with” virtual environments (Luciani, 2014) and how does the virtual affect our understanding of ourselves and of our physical world?

Atmospheric chemist Paul J. Crutzen has proposed the concept of the Anthropocene to characterise the contemporary geological era. It signifies the dominating geological force of human agency having a major impact on global ecology (Crutzen/ Stoermer, 2000). Due to the industrialisation and its consequential processes in energy production and consumption, the Anthropocene is active at least since the 18th century. Stating human agency as a geological force conceptualises humanity as a species and dissolves the nature culture dichotomy; boundary constructions between the natural and social sciences; and poses questions concerning global identity and individual responsibility (Chakrabarty, 2008). Which role does the individual have in the creation of the environment? (Latour, 2014) Can we make a separation between identity and environment, when we generate our understanding of self through a constant negotiation with our environment?

Observing Next Nature from

“virtual worlds show us how, under our very noses, our “real” lives have been “virtual” all along. It is in being virtual that we are human: since it is human “nature” to experience life through the prism of culture, human being has always been virtual being. Culture is our “killer app”: we are virtually human” (Boellstorff, 2008).

The author in VR great for a presentation of the Machine To be Another by beAnotherLab

In order to engage with these questions I intend to experiment with immersive virtual environments, composed of digital objects created with a combination of different techniques such as; 1) real-time generation from user input (using for example Movement Sensors, Electro Encephalo Gram (EEG) or Biometrics), 2) 3D video (captured with 360 degree cameras or depth sensors (RGBD)), 3) 3D and 2D animation.

I imagine these virtual environments to be viewed through Head Mounted Displays (HMDs), and be created with tools such as Unity 3D, Unreal Engine and openFrameworks, as I would like to develop my limited knowledge of the medium(s). They could however also be presented as immersive installations integrated in shared physical space using techniques for spatial placement of digital content (e.g. a combination of Projection Mapping and Augmented Reality) as this also is something that I am very interested in.

My work is inspired by; 1) artistic influences (e.g. the works of Chris Salter, Kyle McDonnald and BeAnother Lab), 2) the social sciences such as Anthropology, Cognitive Science and Psychology (most notably Edward Said, Tom Boellstorff and Andy Clark), 3) the hard sciences e.g. Biology and Quantum Physics as well as 4) Science Fiction (most notably William Gibson and Niel Stephenson).

Neuromancer by William Gibson


Boellstrorff, T., 2008. Coming to age in Second Life, Princeton University Press. New Jersey.

Chakrabarty, D., 2008. The Climate of History: Four Theses. Critical Inquiry, vol. 35, Winter.

Crutzen P. J., Stoermer, E. F., 2000. The Anthropocene, IGBP [International Geosphere- Biosphere Programme] Newsletter 41: 17; hereafter abbreviated “A.”

Latour, B., 2014. Anthropology at the Time of the Anthropocene – a personal view of what is to be studied. Distinguished lecture, American Association of Anthropologists. Washington.

Luciani, A., Georgaki, A., Kouroupetroglou, G., 2014. Being There & Being With: The Philosophical and Cognitive Notions of Presence and Embodiment in Virtual Instruments. 40th International Computer Music Conference / 11th Sound and Music Computing Conference, Athènes, Greece. pp.605-612, Proceedings of the ICMC / SMC 2014.

Noé, G., Pendriegh, B. (Interviewer), (No Date). Irreversible Director “Delighted” By Audience Response. IOFilm.

Published by Hannes Andersson (Lhynkx)

Hannes Andersson is an artist, filmmaker and researcher, born in Gothenburg (Sweden) and currently based in the Netherlands where he is undertaking a MFA in Media, Art, Design and Technology at the Frank Mohr Institute, Minerva Art Academy. Hannes is co-founder of the art collective Chinos International CC, director and co-founder of the independent film group Andersson Rodriguez Films. His artistic work focuses on the relationships between humanity, technology culture and narrative.