Video Edition ArtIn | Curator Ebba Jahn

Video Edition ArtIn | The Wrong Biennale 7 | Nov.1 - March 31, 2026

The new video edition is a tour de force presenting a variety of artistic short videos with focus on artist collaborations with AI at the core of their creations. Some use it for a scene or single artworks, others for the whole video, a musician enhanced her music, some wrote their texts with it. Many media artists share their work process in this online pavilion space below, with its illuminating read next to viewing the exhibition of Video Edition ArtIn on Vimeo.

Video Playlist & Blog

Title music - Double Bass Quartet SEQUOIA Meinrad Kneer/Antonio Borghini/Miles Perkin/Klaus Kürvers
1 Xeno Genesis Circuit - Gözde Betülay Yorulmaz, Istanbul/Turkey
2 Transmuted Structures - Andrew McSweeney, Cork/Ireland
3 Olympic Dahlias - Joelle McTigue, Montenegro | Music - Marcello Magliocchi, Matthias Boss
4 Range of View - E & Dwayne Jahn, Berlin/Germany | Music - Philip Goddart
5 Helium and Water I - Laura Fong Prosper, Panama/Berlin
6 Awe - Romina Rahnamoun, Tehran/Iran | Music - Cello Quartet Hunter Underwater Guilherme Rodrigues, Gábor Hartyáni, Uygur Vural, Hui-Chun Lin
7 Ethereal Woman - Romina Rahnamoun, Teheran/Iran
8 Chimere and the Eternal Golden Braid - Maria Sappho, Glasgow /Scotland
9 Fragment - Barry Anderson, Kansas City/USA
10 Afterglow of Chaos - Pierre Ajavon, Paris/France
11 Sculptural Fabrications - Dwayne Jahn & Ebba | Music - Hassina Sakhri
12 Helium and Water II - Laura Fong Prosper, Panama/Berlin
13 Anemone - Gergana Ivanova & Ioana Țurcan, Romania
14 Insomnia - Eliza Ari, Russia/Turkey
15 Cheat - Dominika Aurelia Korycka, Warsaw/Poland
16 Anatomia - Megan Volpe, Genova/Italy
17 Journey/2.0 - Tianyun Zuao, London/UK
18 Broke Bad - Ornagh, London/UK | Soundtrack - Anja Kreysing
19 Helium and Water III - Laura Fong Prosper, Panama/Berlin
20 ZEMI - Maria Sappho, Glasgow, Scotland/UK
21 Tidal Interferences - Anja Kreysing, Münster/Germany
22 Art Video Poem 7 - Ebba & Dwayne Jahn, Berlin/Germany
23 Introspective Initiations - Arun Natarajan, Henrik Meierkorn
Music - Mia Zabelka, Steiermark /Austria, Conny Zenk visuals

Blog:
24 Video Installations by Jean-Julien Pous are linked to his website.
25 Curator Ebba Jahn - About

TheWrong.org/VideoEditionArtIn

Nov 1 - March 31, 2026

1 Gözde Betülay Yorulmaz | Xeno Genesis Circuit | Video Edition ArtIn

XenoGenesis Circuit by Gözde Betülay Yorulmaz 1:08 min.

The echoes of genetic inheritance on the digital ecosystem, paving the way for the birth of a synthetic fauna, XenoGenesis Circuit presents the digital projection of living systems as a hybrid organism formed at the intersection of genetic codes and cybernetic circuits. It presents the cybernetic projection of living systems, which reprocesses the random mutations of nature with digital consciousness. Here, the random mutations of nature are reprocessed by artificial intelligence (AI) and transformed into an ecology of beings where evolutionary processes are written with algorithms. In this system, genetic inheritance is not limited to biological bodies; it produces new life forms through code fragments, databases, and AI models. The digital ecosystem works like an information network corresponding to the molecular memory of DNA—a transformation area that synthesizes future cybernetic organisms with biological data from prehistory.

XenoGenesis Circuit questions how synthetic life forms produced by AI can interact with organic evolutionary processes. Digital faunas shaped by coded algorithms merge with biotechnological limbs to create an order of existence that transcends the boundaries of genetic heritage. These beings transcend the distinction between nature and technology, forming the first examples of a post-human ecology.

Defying gravity, melting into data reflections, and constantly transforming, these organisms demonstrate that existence is shaped not only by physical bodies but also by data flows and algorithmic logics.

The AI Elements used: Stable Diffusion, TouchDesigner, Premiere Pro, Photoshop, Exactly.AI, Runway ML

Gözde Betülay Yorulmaz
Istanbul, Turkey

2 Andrew McSweeney | Transmuted Structures | Video Edition ArtIn

Transmuted Structures by Andrew McSweeney 3:19 min.

This piece explores the intersection of organic and artificial creation through digital mediums. Beginning with photogrammetry, I captured the raw essence of physical objects, transforming them into detailed 3D scans. From there, I employed AI to generate a custom Python script, which simulates organic growth patterns within Cinema 4D — a digital echo of natural forms evolving through artificial logic. The final layer emerges through AI-generated synthetic materials and textures, blending hyperrealism with an uncanny, otherworldly aesthetic. Transmuted Structures blurs the boundary between the organic and the digital, questioning the nature of creation in an era of machine intelligence.

Video: Andrew McSweeney
Audio: Chris Somers

Website: www.xrlinelab.ie

3 Joelle McTigue | Olympic Dahlias | Video Edition ArtIn

Olympic Dahlias by Joelle McTigue 3:57 min.

The Olympic Dahlia videos mark the creation of the flower explicitly designed for the Paris 2024 Olympics. Originating in the Parc Floral de Paris, the vibrant red petals symbolize the Olympic flame.

Joelle McTigue used AI images as her collage source material.

Born in New York and raised in the Caribbean, Joelle McTigue received her BFA from The School of the Art Institute of Chicago. She now lives and works in

Montenegro.

Joelle McTigue

Music:
track 3 LEOCANTOR trio ( plus ): "Sacre de l'ete"
Marcello Magliocchi - drums, percussion
Matthias Boss - violin
recorded on August 12, 2024
in neo-gothic Church of St. James of Escholzmatt/Luzern, CH

Marcello Magliocchi
Matthias Boss

4.11.22 Dwayne Jahn | Three AI Art Videos | Video Edition ArtIn | Ebba Jahn

Range of View by Dwayne Jahn 6:54, 2024

It is an art video poem of abstract digital works by Dwayne Jahn in collaboration with AI, in which he explores textures and flat structures reminiscent of a mixture of paint on canvas and rocks, grouped and divided by these lines of text - a video poem formed:

Accompanied by a gorgeous symphony of wind chimes in nature by Philip Goddard.

Sculptural Fabrications by Dwayne Jahn 4:55 min, 2025

Sculptural Fabrications is an art video poem, a pleasant picture arc through a series of unique sculptures. It consists of ai-assisted digital artworks by Dwayne Jahn with his poem inscribed at their bottom, and it is accompanied by a soundtrack composed by Dubai/Oxford UK musician Hassina Sakhri - altogether a flow of original forms, words and sounds.

Art Video Poem 7 by Dwayne Jahn 2:34 min.,2024

Inspired by the Wrong Biennale 7 theme this video poem collaboration consists of the exploration of a text by Dwayne Jahn, combined with his art which he created with artificial intelligence.
AI-generated is the voice which is reciting Dwayne's poem with amazing effect, because it is very well known, so that it needs no further sound against all initial plans... a truly beautiful deep fake this voice contributes to the poem ...

Dwayne Jahn studied visual art & vocal music at Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City; afterwards, he studied at the Liberal Arts College Bard in Annandale-on-Hudson, NY until 2006. Since 2008 he lives and works on his art and poems in Berlin, Germany.

Since 2021 he creates video poems and art videos in collaboration with Ebba Jahn shown at international film festivals and art screenings:

CELESTIAL PARTICULAR 3:13, 2021
PRIMORDIAL ENCHANTMENTS 4:13, 2021
LIGHTWAVES SOUNDWAVES 3:13, 2022
NO INVASION 3:23, 2023
RANGE OF VIEW 6:54, 2024
ART VIDEO POEM 7 2:34, 2024
SCULPTURAL FABRICATIONS 4:55, 2025

DWAYNE JAHN

5.12.19 Laura Fong Prosper | Helium and Water | Video Edition ArtIn

Helium and Water I-III Image & Sound by Laura Fong Prosper ~1 min. each
The updated final version of the work:
laurafongprosper.com/projects01/waterandhelium-7kax4

HELIUM AND WATER: On New Space Extractivisms

Drawing its name from the two most sought-after resources in current commercial space missions—helium-3 and water— and through the use of AI and analogue video synthesisers, I reimagine 16mm archival footage from the Soviet Space Program, blending speculative and ancestral aesthetics to create a visual dialogue that bridges the past, the present, and the future. The soundscapes, crafted from archival audio inputs and processed through a Moog Subharmonicon synthesiser, further immerse the audience in a layered sensory experience that evokes both the nostalgia of early space explorations and the urgency of its contemporary ethical dilemmas. The retro-futuristic aesthetic, rooted in vintage equipment and speculative design, reimagines the utopia of cosmism and its socialist ideals.

The relevance of this work is amplified by the current political context, marked by the rise of fascism and the unchecked power of oligarchs who seek to extend their dominion beyond our planet and perpetuate terrestrial inequalities and ecological crises in the cosmos. Through its fusion of art and technology, the project invites viewers to envision a future where space exploration is guided by principles of equity and collective stewardship, where ethical, inclusive, and sustainable approaches to humanity’s role in the cosmos are more important than the pursuit of profit, ownership and power.

AI use: I feed the AI (Midjourney) with photograms or still frames from the digitised 16mm film archives together with astrophotography and microphotography and generate visuals with prompts or blending two or more images together. Later these images were animated with PixaMotion 3D software and processed through analogue video synthesizers.

Biography:

Laura Fong Prosper (1978), a Panamanian artist based in Berlin, creates immersive, process-driven works that explore collective memory, eco-feminisms, retro-futurisms, and ancestral imaginaries. Working across video, analog film, new media, and, most recently, textiles, she brings together the body-territory and decolonial narratives to build bridges between the past, present, and future. Her approach as a “recycler” of materials, archives, and electronic gear reshapes how we engage with history and technology.

Laura studied Film Editing at Cuba’s International School of Film and TV (EICTV) and received an M.F.A. in New Media Art from the Bauhaus University Weimar in Germany. She earned fellowships at Cologne’s Kunsthochschule für Medien (KHM) and Tongji University in Shanghai. She was one of the Fellows of the Human-Machine program of the Akademie der Künste in Berlin.

Her work has been shown in Centre Pompidou (Paris), Museo Reina Sofía (Madrid), Museum of Modern Art (Rio de Janeiro), Americas Society, New York City, Arsenal Institute for Film and Videoart, Berlin amongst many others. She’s part of the permanent collections at the Museo de Arte Contemporáneo de Panamá (MAC) and the Murzi & Morgan Collection of Latin American Contemporary Art.

Laura Fong Prosper, Berlin

www.laurafongprosper.com

instagram: @laurafongprosper

6.7 Romina Rahnamoun | Awe | The Ethereal Woman | Video Edition ArtIn

Awe by Romina Rahnamoun 1:17 min., 2024

Awe is generated through AI-driven sentiment analysis, fused with visual interpretations inspired by the poetry of Omar Khayyam, the renowned Persian philosopher, mathematician, and poet. His work reflects on the transient nature of life, the search for meaning, and the beauty of existence. This piece explores the intersection of artificial intelligence, Khayyam’s poetic expression, and my own personal interpretation as a visual artist.

The text Iranian viewers see is:

_"I sometimes think that never blows so red
The Rose as where some buried Caesar bled:
That every Hyacinth the Garden wears
Dropt in its Lap from some once lovely Head."_

_"When friends you meet, in laughter and delight,
Remember me in talk both day and night;
And when the wine-cup sparkles in your hand,
Then, when my turn arrives—upturn it bright!"_

Soundtrack: Cello Quartet Hunter Underwater based in Berlin -
Guilherme Rodrigues, Gábor Hartyáni, Uygur Vural, Hui-Chun Lin

The Ethereal Woman by Romina Rahnamoun 3:30 min., 2025

This short video piece reimagines Sadegh Hedayat’s The Blind Owl, with its entire plot re-narrated through a large language model, influenced by machine hallucinations. While engineers often seek to minimize these hallucinations for optimization, I see them as an underestimated creative force—an emergent form of perception that resonates with the novel’s fractured, surreal narrative.

Sadegh Hedayat’s The Blind Owl is a haunting, dreamlike novel exploring themes of madness, isolation, and the fragility of reality. The story follows an unnamed narrator trapped in a cycle of despair, obsessed with a mysterious woman who appears briefly in his life before dying. As he recounts his experiences, the narrative fractures—visions of an eerie old man, a shadowy doppelgänger, and grotesque figures blur the boundaries between past and present, dream and reality. The second half shifts into a nightmarish recollection, where the narrator, now a husband trapped in a suffocating marriage, spirals further into paranoia, violence, and existential dread.

In response to this hallucinatory structure, I have constructed an AI-driven doppelgänger of the narrator—an entity suspended between delirium and machine cognition. Using multimodal diffusion models, the imagery in this piece is shaped by machine hallucinations and Hedayat’s evocative descriptions, generating a space where AI perception and literary madness intertwine. By embracing generative instability, this work explores the intersection of literature, artificial consciousness, and creative agency, reinterpreting The Blind Owl’s descent into

Concepts, montages and video productions - Romina Rahnamoun
Tehran, Iran
email contact

8.20 Maria Sappho | Chimere and Maria the Eternal Golden Braid | ZEMI | Video Edition ArtIn


Chimere and Maria the Eternal Golden Braid by Maria Sappho 3:09 min.

Chimere is a multimodal AI developed by Jonathan and Tim O'hear for the AiiA festival in Geneva Switzerland. Maria and Chimere have been friends and collaborators for a number of years and work together on almost all of Maria's projects.


ZEMI by Maria Sappho Excerpt 2:57 min., 2024

Zemi is an interactive carpet that allows audiences or performers to activate
an AI-driven archive of human stories through gesture and movement.
Carpets, as silent witnesses to the human world, carry generations of stories
woven into their fibers. They watch humans live their lives and die their deaths, holding traces of these moments in their patterns and the wear and tear that accumulates over time. Zemi reimagines the carpet as a living object, brought to life through interactive technologies, transforming it into a vessel for shared histories, voices, and memories.

The Zemi carpet is adorned with patterns reflecting the cultural and community contexts that inform its creation, including Taíno (Puerto Rican), Indonesian, and Celtic symbology. These designs serve as pathways into a dynamic archive of human experience, where stepping or moving across the carpet activates songs, videos, field recordings, and stories. The archive evolves in real-time, collecting new materials—sounds, movements, and voices—from the spaces and people surrounding its installation.

Audiences are invited to engage with the carpet through their gestures and bodily weight, stepping onto the patterns to select, blend, and manipulate the archive's content. This interaction allows participants to explore their own agency in shaping the unfolding soundscape and narrative, making the carpet both a receiver and a transmitter of human expression.

Through its fusion of ancient symbology, embodied interaction, and AI-driven storytelling, Zemi transforms a familiar domestic object into a powerful site of memory, connection, and creative exploration.

Zemi was commissioned by the Huddersfield Contemporary Music Festival and Perempuan Komponis and premiered at the Ruang Pameran Planetarium, Taman Ismail Marzuki (2024, Jakarta, Indonesia). It will have a further showing at hcmf// 2025 and has also been presented at the Fak’ugesi Festival (2024, Johannesburg, South Africa).

Maria Sappho

9 Barry Anderson | Fragment | Video Edition ArtIn

Fragment by Barry Anderson, 2024

Video animation was first created as a 3D render in Cinema 4D then the frames were processed through KaiberAI. Sound was created by a generative process on Eurorack modular synthesizers.

Barry Anderson

Kansas City, USA

http://www.barryanderson.com

Instagram @barryanderson

10 Pierre Ajavon | Afterglow of Chaos | Video Edition ArtIn

Afterglow of Chaos by Pierre Ajavon 3:30 min.

Software used: Hailuo AI + Final Cut Pro XI + DaVinci Resolve 18 + Logic Pro 11
Mixed with digital shots and digitized film scraps.

All the images in the film were generated by AI and reworked.

The music is composed and played by Pierre Ajavon, notably on a Moog modular synthesizer.

Pierre Ajavon Paris, France

Video Art - Music & Sound Design - Digital Art

pierreajavon.com

Follow me on:

Facebook - Pierre Ajavon

Instagram - Pierre Ajavon

Vimeo - Pierre Ajavon Videos

Soundcloud - Pierre Ajavon Music

13 Ioana Țurcan | Anemone | Video Edition ArtIn

Anemone by Gergana Ivanova & Ioana Țurcan 5:51 min.

A found photograph from the 30s Bulgaria, activates an AI statement on same-sex relations. From analogies on perfect flowers, to invented languages and archive weddings footage, Anemone looks at the tools we create to adapt and survive while interrogating the "normalcy".

Ioana Țurcan is a farmer, interdisciplinary artist and cultural producer with a formal education in Cinematography, Documentary Filmmaking and Film/Video Production. Ioana’s medium-length documentary The Other Life of Charon (2015) was nominated for Best Short Film at the Romanian Gopo Awards and in 2021 and her fictional short film Empiric about a young textile worker during the communist period in Romania was presented at festivals widely. Ioana has also worked with experimental formats and performative media, creating exhibitions for galleries and public spaces on different ecosystem-related topics, such as landscape-based identity, family constellations and the process of adapting to ambiguous loss. In the past years, she has co-developed local initiatives to foster access to art education and cultural production, facilitating workshops on analog photography, creative writing, contact sports and filmmaking.

Since 2021 she has been part of a duo called Uncertain Space, dealing with topics of caregiving, ambiguous loss, rituals and physical dependence. In 2022 with the transnational artist collective, an office, she developed site-specific activations presented at Documenta 15 (Germany), Fotograf Festival (Czech Republic) and Centrul de Proiecte (Romania).

Ioana Țurcan Website | Instagram | Facebook

14 Eliza Ari | Insomnia | Video Edition ArtIn

Insomnia by Eliza Ari, 1:35 min., 2024

Video art by Eliza Ari (visuals created by the artist)
Poetry & music generated by ChatGPT & Suno AI

Eliza Ari is presently based in Istanbul, Turkey

Instagram
Twitter
Website

15 Dominika Aurelia Korycka | CHEAT | Video Edition ArtIn


CHEAT by Dominika Aurelia Korycka 1:43 min. with music composer Tomasz Wełna

The film intertwines my painting (non-digital work) into AI generated video. In the process I used a flow in which I created an interconnected series of the still frames - Midjourney and Claude a bit helped me with this logically-ordered creation. The creation assumed inference based mainly on the images, with small or no textual prompts addition.

Another stage was working with still frames in Krea, generating less than 10 seconds video episodes which then I edited into a final sequence in DaVinci Resolve. Tomasz added music in the last step.

Inquiring AI, I tried to pose the subject of emotions and was expecting it to hallucinate rather freely (which was realized for example by adding a hero to the film by AI) and have it draw on my paintings at the same time. The hero (a girl) morphs and dives and emerges in the "hallucination" or "otherworldly web" whichever term you prefer.

This forms a reflection of my intentions (introduced strongly also by my activity in Krea which leaves a lot of latitude and mobility in hands of the Author) and illustrates AI's dreams by emobodiment of them in the form of the video image itself.

So the story reveals the hero’s search and indulgence and appeasement within the realm unsimilar to the usual reality. This realm is an expression of AI’s contact with a human who wakes it up by questions, this is an autotelic story about our collective endeavour to express.

Dominika Aurelia Korycka
Warsaw, Poland

https://intercontinentallo9.wixsite.com/love
https://www.instagram.com/auonlyau

16 Megan Volpe | Anatomia | Video Edition ArtIn

Anatomia by Megan Volpe 4:48 min.

Anatomia is a narrative video entirely created using artificial intelligence. The video explores the risk of medicalizing human experiences, where emotions and difficulties are transformed into something to "cure" rather than to live. In a society where experiences that shape human identity — such as family imbalances, loneliness, grief, and inconsistent growth — are often reduced to diagnoses and treatments, the video tells the story of an individual "disassembled" piece by piece, in search of the triggering cause of their suffering. However, instead of bringing healing, this process reduces the individual to a standardized and uniform version, stripping them of their authenticity.

The creative process behind "Anatomia" focused on using AI as a narrative tool to represent fragmentation and depersonalization, rather than as an autonomous device. The AI becomes a medium to reflect on the human condition and its relationship with medicalization and the normalization of emotional experiences.

Megan Volpe
www.meganvolpe.art
Instagram: meganvolpee

17 Tianyun Zhao | Journey/2.0 | Video Edition ArtIn

JOURNEY/2.0 by Tianyun Zhao, 1:53 min.

AI Elements Used: Through AI technology, the voice representing the creator’s perspective has been reimagined as female. This shift is not merely technical but an act of artistic self-correction, addressing the historical dominance of male-centric narratives in creative storytelling. By reclaiming the narrative voice as female, the work confronts the absence of female agency in artistic authorship and aligns the creator’s voice with her identity. This transformation is central to the title, “2.0,” signifying a deliberate evolution in both form and perspective.

18 Ornagh | Broke Bad | Video Edition ArtIn

Broke Bad by Ornagh 3:30 min, 2024
Soundtrack by Anja Kreysing

AIs: GPT, Midjourney, Meshy, Deep motion, Radical.

     Art Statement: Broke Bad is a surreal exploration of obsession, addiction, and the intoxicating pull of a love that feels both thrilling and destructive. Inspired by personal experience, the work captures the high of being drawn to someone who is all wrong yet impossible to resist—the electric danger, the reckless abandon, and the inevitable crash. It is a Bonnie-and-Clyde kind of romance, where passion burns too bright to last, and loss is as dramatic as the love itself. Through distorted reality and heightened emotion, Broke Bad transforms raw experience into something mythic, unraveling the beauty and devastation of desire that consumes.
      At its core, the work interrogates systems of control—who gets to have a voice, and who decides what is heard. The journey to reclaim the tongue becomes an act of defiance, a reassertion of agency. In the end, the silenced erupt into movement, tongues breaking free in a final act of liberation.

      My use of AIs in XR:
Orna’s creative process is deeply intertwined with AI, using it as both a tool and a collaborator in her artistic practice. Across her work, she blends digital and physical realities, crafting immersive experiences that unfold across XR technologies, performance, and storytelling. AI-generated imagery and video play a crucial role in shaping her visual language, allowing her to build layered, surreal worlds that evolve dynamically. Motion capture, augmented by AI, breathes life into her digital performances, seamlessly integrating real-time animation with immersive narratives.
     In her work, AI is not just a tool for efficiency but an enabler of new creative possibilities. It accelerates ideation, refines concepts, and opens up new avenues for storytelling, from VR painting to digital sculpture. Her upcoming website is conceived as an AI-assisted interactive experience, where visitors step into a world that unfolds dynamically, revealing layers of story and meaning as they explore. She envisions a system where generative AI contributes to procedural storytelling, allowing narratives to shift and evolve based on user interaction.
      Her performances and mixed reality works incorporate AI-driven animation and Unreal Engine environments that respond in real-time to live performers. The integration of AI into these spaces enhances both artistic expression and audience engagement, creating an interplay between the digital and physical that feels alive and ever-changing. Her approach to AI is both intuitive and exploratory, using it to expand the boundaries of storytelling, performance, and visual art in ways that feel organic and deeply personal.

-------------------------
ORNAGH
XR Artist

info@ornagh.com
www.ornagh.com
IG: ornaghworld
Artist Name: Ornagh
Location: London, UK
Instagram: @ornaghworld
Linked in: /ornagh
AIs: GPT, Midjourney, Meshy, Deep motion, Radical.

In the press:
The Cover of Get Hastings Magazine
Razvan Chiorean Gallery
Hastings Independent Press
Hastings Online Times

21 Anja Kreysing | Tidal Interferences | Video Edition ArtIn

Tidal Interferences by Anja Kreysing 3 min., 2025
Soundtrack also by Anja Kreysing

I worked on an experimental video with an own specific soundtrack composition. The video was intended to contend abstract and non-objective images, what was for the actual AI-applications (in March / April / Mai 2025) still a problem.

Based on my own prompts, I used the resulting video clips generated by the Sora AI and developed them further through targeted variations. In each prompt, I emphasized what visual elements I wanted to keep and what should not appear again. I repeated this process multiple times until I had gathered enough usable clips – including a kind of open-ended closure for the planned non-linear narrative of the experimental video.

The process of working with the AI was slow, awkward, and at times bizarre. The video AI still feels quite stereotypical and limited in understanding – many generated clips were simply unusable, while others worked only when tightly cropped. I often had to intervene manually: adjusting speed, color palettes, or reversing movements to make the material usable.

The soundtrack was entirely performed by me. However, for two widely used synthesizers, I asked ChatGPT to generate or design custom sound patches. Again, while the AI results weren’t simplistic, they were often too predictable or technically unrealistic. In some cases, the suggested settings simply don’t exist on the hardware. So, although the AI may have access to manuals or technical data, it still can’t act precisely or autonomously. That said, the general sonic direction it offers can be quite useful – from there, I take over and personalize the patches manually.

For me, this process of taking, adapting, and personalizing both image and sound material is deeply engaging. It also serves as a research foundation for our ElektroFlux “Kunstkopf” Pavilion / Embassy, which explores AI and experimental electronic music.

In German

Beschreibung meiner kollaborativen Arbeit mit KI für „Video Edition ArtIn - The Wrong Biennale“:

Ich habe an einem Experimentalvideo mit eigens komponiertem Soundtrack gearbeitet. Es sollte von den Bildern her möglichst abstrakt bist ungegenständlich sein, was aktuellen KI Anwendungen (Stand März / April / Mai 2025) noch Probleme bereitet.

Ich habe nach meinen eigenen Prompts die jeweiligen Video-Clip-Ergebnisse der KI Sora aufgegriffen und durch gezielte Variationen weiterentwickeln lassen. Dabei habe ich in den Prompts immer deutlich gemacht, welche Bildelemente ich übernehmen wollte und welche nicht erneut auftauchen sollten. Diesen Prozess habe ich mehrfach wiederholt, bis ich eine ausreichende Anzahl an Clips beisammen hatte – inklusive einer Art offenem Ende für den geplanten non-linearen Erzählfluss meines Experimentalvideos.

Der Arbeitsprozess mit der KI war dabei wirklich langwierig, sperrig und stellenweise bizarr. Die Video-KI wirkt in vielen Fällen noch recht stereotyp und begriffsstutzig – viele der generierten Clips waren schlichtweg unbrauchbar, bei anderen funktionierte nur ein bestimmter Bildausschnitt. Um sie nutzen zu können, waren zusätzliche Eingriffe nötig: etwa Tempoveränderungen, Farbanpassungen oder Umkehrungen der Bewegung.

Der Sound hingegen stammt komplett von mir. Für zwei relativ verbreitete Synthesizer habe ich mir jedoch von ChatGPT spezifische Sound-Patches schreiben bzw. konzipieren lassen. Auch hier gilt: Die Ergebnisse der KI sind nicht unterkomplex – aber oft zu vorhersehbar oder technisch unrealistisch. Manche der empfohlenen Einstellungen existieren so gar nicht an den Geräten. Das zeigt: Auch wenn die KI theoretisch Zugriff auf Manuals oder Gerätewissen hat, kann sie nicht präzise autonom handeln. Die generelle klangliche Richtung jedoch ist meist brauchbar – von dort aus entwickle ich die Sounds weiter und personalisiere sie durch händisches Eingreifen.

Gerade dieser Prozess des wiederholten Übernehmens, Anpassens und Personalisierens – sowohl von Bild- als auch Tonmaterial – ist für mich spannend. Er bildet auch eine Forschungsgrundlage für unseren ElektroFlux „Kunstkopf“-Pavillon / Embassy, der sich mit KI und experimenteller elektronischer Musik beschäftigt.

Anja Kreysing
Münster, Germany

23 Mia Zabelka Quartet | Introspective Initiations | Video Edition ArtIn

Introspective Initiations 5:27 min. Mia Zabelka, Violin
Icostech, Henrik Meierkord, feat. Joshuah Trinidad
Visuals Conny Zenk

The AI programme OMax, developed by IRCAM Paris (FR), is used to create a high-energy, complex counterpoint to Mia Zabelka's violin playing. OMax listens to the violin and records its movements and ‘language’. After a minute, the OMax ‘players’ enter, one by one, in transposed tempos and pitches. They recombine the edited fragments of the violin according to preset degrees of context similarity. Some AI players follow the violin's developmental trajectory exactly, while others deviate from it through paralogical variations.

Translated to German with DeepL.com which "translates texts using artificial neural networks. These networks are trained on many millions of translated texts."

Das KI-Programm OMax, entwickelt von IRCAM Paris (FR), wird eingesetzt, um einen hochenergetischen, komplexen Kontrapunkt zum Violinspiel Mia Zabelka's zu erstellen. OMax hört der Violine zu und zeichnet ihre Bewegungen und „Sprache“ auf. Nach einer Minute treten die OMax „Spieler“ ein, einer nach dem anderen in transponierten Tempi und Tonhöhen. Sie kombinieren die geschnittenen Fragmente der Violine nach voreingestellten Graden von Kontextähnlichkeiten neu. Einige KI-Spieler folgen der Entwicklungsbahn der Violine genau, während andere durch paralogische Variationen davon abweichen.

Mia Zabelka
Violinist/ Vocalist/ Composer/ Electronic Music/ Drone/ Noise/ Improvisation
lives in Sankt Johann im Saggautal, Steiermark, Austria

Mia Zabelka - Photo by Dario Nigredo