Liminal Performance Space    
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  Liminal Performance Space is an arena for remote performance creation and exhibition created by video installation artist and creative coder Fernanda D'Agostino using the coding platform Isadora. Live video feeds via SKYPE allow collaborators prevented from meeting IRL to create new work together that pushes the boundaries of remote work spaces. In some cases, collaborators were separated by oceans and days of the week. The intention is to use the restrictions of quarantine to open up and explore new ways of working together that cross boundaries of time, space and cultures. Liminal Performance Space is a “house with many rooms,” a digital performance/installation space that is at once a studio for making things, a theater of memories, an instrument that is played by movement performers, and a dream space that is nowhere and everywhere. The rooms are empty and black until they are occupied and set in motion by performers visiting it via SKYPE
Nossas Aguas    
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  Nossas Aguas (2020) is a multi-faceted series of interactive audio video installations. Originally developed for the 2020 Environmental Biennial at the Museum of Water in Lisbon Portugal. Nossas Aguas continues work initiated in the Borderline series of installations placing viewers inside a liminal space as active participants. Nossa Aguas investigates the life giving aspects of water in all its form through both a scientific lens but more importantly through its properties as a universally recognized agent of healing and renewal.  New with Nossas Aguas is an interactive interface for sound. Along with prerecorded sound two microphones are placed within the installation and viewers are invited to vocalize, sing, read a poem or express a thought. The audio program both puts audio effects onto their voices in real time and creates a long-lasting undertone or echo which remains audible as a coda to prerecorded sound until the next intervention by a viewer.  
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Borderline is a series of installations and performances, sited in different locations in Portland, and San Francisco and spanning eighteen months between December 2017 and May 2019. Borderline investigates the intersection of climate change, mass migration and government surveillance. In each incarnation, creative coding combines surveillance video, scientific images tracing climate change, and live feeds of viewers within the installation. At each site a different vantage point is assumed, making the larger project time based and territorial at an expanded scale.  At the Portland Art Museum, Borderline/the map is not the territory uses monumental transparent projection scrims mounted on curving supports to carve pathways in the museum atrium. Borderline/Mapping’s software synchs a dystopian collage to the columns and walls of OpenSignal’s busy lobby/gallery. Borderline/Decameron included the telling of viewer/diners’ own migration stories as part of Disjecta’s Culinaria, which paired artists with chefs in a three-month long exploration of food’s place in culture. The performance series, Borderline/InBody investigates embodied trauma and intergenerational memory. PeaceMovements embeds the imagery and programming language of Borderline into the matrix of the profoundly collaborative work and world view of Collective Action Studio’s social practices series in San Francisco’s Chinatown.   According to Izeta Gradevic, of Sarajevo's Obala Art Centre,” art is more effective than journalism in drawing attention to the plight of ordinary people….” By immersing viewers in responsive environments, through Borderline’s installation series and performance collaborations I hope to provoke reflection on how our seemingly disparate emergencies are both completely intertwined and all enveloping.

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  In Psychology “generativity” is a focus on future generations. In biology it refers to structures of proliferation.  For Linguists it means “using rules to generate varying meaning from underlying, abstract forms.”  A generative work of New Media art is one that uses coding to create varied, evolving meaning outside the creator’s direct control. The precarious state of the natural world was on my mind as I began work on Generativity last year. Environmentalist John Reuter introduced me to a palette of “generative” forms that appear again and again, as nature shapes itself. These “architectural” structures suggested a vocabulary and syntax with which to approach the installation space. In searching for a way to make work about the generativity of nature that didn’t contribute to its destruction, restoration and archiving became key studio processes. Ivy vines with their dentritic growth patterns (characteristic throughout nature) are big, beautiful and destructive. Properly removing them extends a tree’s life for many years. Vines I harvested and cleaned by hand, along with monumental projections, became the big landmark gestures shaping space. Collecting native seeds and sounds, vital activities in preserving diversity, brought me into a physical intimacy with nature I hadn’t experienced since childhood.  Archives of these seeds and sounds are housed in glass vials in a plethora of generative forms that hopefully evoke some of the astonishment I felt collecting them. More than anything I want viewers to experience a connection to nature in their bodies. Sensual performance footage from choreographers Isabelle Choiniere and Linda K Johnson, suggest the animating principal “Eros,” and our inescapable entanglement with life’s proliferating forms. Entwined bodies fade in and out of imagery drawn from nature, at times mirroring the physical structures of the installation. A transparent scrim bisecting the gallery varies layers of moving images as they are visible from different points in the space. Projections both appear on the scrim and pass through it, painting the floor and one end of the gallery with distorted echoes of the main scenes. This transparency, along with creative coding mixing the video in real time, produces an endless unpredictably, mirroring both nature’s generativity and the layering our minds produce in dreams. A sound installation using three parabolic speakers that focus sound in specific regions of the gallery and a fourth “colony” of hand blown glass speakers reinforces the sense of entering ever more fully into our own biology and its entwinement with the natural world. Although Generativity was created in response to a particular installation space, I made the components with the idea that they could be reconfigured and reconceived to fit a range of exhibition conditions. I own all the equipment I used in the project.
video: Generativity
Generativity; Phase 5 Performance    
  Live performance with Isabelle Choiniere at Suyama Space. On November 19th, 2016 the installation Generativity was brought to life with a live performance of Phase5 with creator Isabelle Choiniere, performers Tahni Holt, Juju and Lisa Kusanagi, Eliza Larsen and Lu Yim. Live programming by Kevin McDonald and Karim Lahkdar. Video projections by Fernanda D'Agostino. Producer Fernanda D’Agostino and suyama Space
video: Generativity;Phase5 Performance - 5 minutes
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The Method of Loci    
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  The Method of Loci is an example of how my installation work draws on different disciplines for its impact. The project takes the ancient mnemonic system “Ars Memoriae” as the inspiration to create an interactive environment about memory. My interest in creating a physical analogy for memory began with the study of Giulio Camillo’s Theater of Memory, famous during the Renaissance but an ephemeral work now faded from public awareness. That interest is paralleled by a recent revival of interest in “Ars Memoriae” among computer engineers studying memory. In the installation were three separate channels of interactive video running from three MacPro computers, and several other channels of video running as loops on media players that animated the entire 2,700-square-foot gallery space of The Art Gym near Portland, Oregon. The portable walls of the Gym and specially fabricated dual sided screen walls were used to divide the gallery into several distinct spaces that flowed into each other. Like the inner architecture of the “Ars Memoriae,” The Method of Loci had passageways, alcoves, rooms, hidden peepholes and niches. As viewers moved through darkened corridors into a series of rooms with various-scaled projections, the mood and scale changed. Programming in Max MSP Jitter and Arduino allowed the projections to respond differently to the presence of an attentive viewer than to a hurried passerby. As more attention was given, more layers of time were revealed. Some viewers spent hours exploring the space, reading the texts, climbing into a “Life Guard’s chair” for a different vantage point in one room, or listening to a recorded voice on an old fashioned dial telephone in another. The ancients found that the more dramatic the image the more lasting the memory. The video imagery chosen for The Method of Loci  underscored the dramatic albeit fragile and flickering qualities of memory and reality. Years of field recording and recent work commissioned from dancer/choreographer Linda K. Johnson formed an archive of dramatic loops to mix and remix, placed strategically in the different rooms of the multi-chambered space. Underwater recordings, ancient texts, centuries old fire rituals in the Italian countryside, faces in attitudes of contemplation, migrating cranes, and a burning house are examples of the dreamlike imagery of “The Method of Loci.” The Method of Loci investigates ideas that have driven Western culture for millennia using cutting-edge 21st century technologies.
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Mixed Media Installation with Interactive Video, 12’ x 14’ x 20’

Pool sets out to pair memory to place, drawing on the ancient mnemonic devices of the “Method of Loci.” A central image is choreographer, Linda Johnson, submerged underwater, looking directly back at the viewer as she contracts, glides, tumbles, and hovers in a watery amnion of blue. Interspersed are images of a full moon; a book that has caught fire; salmon swimming upstream; a burning house; botanical frescoes from the House of Livia ; and the words \"Ars Memoriae.\" The five channels of video combine and change in response to viewers presence and movement resulting in an open ended and shifting meaning. A viewer’s entry into the room initiates the program. Two motion sensors and two distance sensors select, mix and control four of the channels of video using custom software. The idea is to create an analogue for the idiosyncratic layering and juxtaposition that occurs in dreams, memories and stream of consciousness. Projection onto a seven foot in diameter aluminum pool creates an additional layer of depth. Viewers can get a different perspective on the installation from a five foot tall life guard chair. Pool investigates ancient ideas using 21st century technologies.

Intellectual Ecosystem    
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  Portland State University Environmental Studies Professor John Reuter has called for the creation of new metaphors and the identification of characteristic patterns that will allow people to grasp the immensity of natural processes. In “Intellectual Ecosystem” the metaphor of the ecosystem is adapted as a way of capturing the intertwining strands of research and thought that characterize the modern university and its relationship to the city.
Video projections on the glass façade of the University Academic and Student Recreation Center reinforce the University’s identity as an institution at the cutting edge of contemporary computer science and digital communication. The moving images animate the plaza, engaging both students and the public that passes through campus on the streetcar or that come to PSU for events, reinforcing the identity of PSU as a source of energy and activity in the city.
A high powered projector controlled by a dual-graphic processor allows content to recombine in an endlessly variable program. One hundred preset transformations are available with the dual processor. Combined with creative video editing in Adobe Premiere and After Effects, the result is a constantly changing ephemeral display that both reflects the PSU community and juxtaposes images in a way that stimulates the creative connection of ideas. Reflecting the way ideas inform each other in a university community is a primary goal of “Intellectual Ecosystem”
The University chose to focus all project resources on creating the largest possible Da-Lite Holoscreen display, on developing content and on providing the most possible variation in how the content combines and recombines. The projections rely only on editing and content for their effects. The overall look of the video has been crafted to fit the University’s desire to work with a large unified projection surface.
Celestial Navigation    

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  By Day a monumental sculpture of an abstracted navigational instrument acts as a landmark for the plaza uniting Sound Transit’s Airport Lightrail Station. At night the frosted glass surface of the sculpture becomes a projection screen for non narrative video, that includes segments on the science of bird flight, the cultures of the region and aerial cinematography retracing the journey of the “Wind Beings” recounted in a Native American creation myth.
Motion Studies    
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  The desire to see beneath the surface of things that artists and scientists share has led to parallel developments between the two disciplines throughout history. Observation and experimentation are at the heart of both fields, and because of that artists and scientists are natural allies. Recent developments in specialized digital imaging systems in both fields have created an unprecedented ability to unravel the codes underlying the beauty and mystery of nature. Video installation artist Fernanda D’Agostino and Biomechanist Dr. Bret Tobalske have formed an alliance to create work which exposes new developments in our understanding of the physics of flight to a wider audience.
Motion Studies, investigates the intersection of Art and Science. The core of the project are actual motion studies from Dr. Bret Tobalske’s wind tunnel at the flight lab at the University of Portland. These flight studies are then translated into video at the lab and in D’Agostino’s studio. Motion Studies uses a fluid imaging system known as digital particle image velocimetry to examine the structure of the wake of flying birds. The power the flying bird puts into the air is revealed as a moving picture. The fluid dynamics of the air currents around the bird are made visible by the application of colors and grids that respond to the flow of air generated by the bird’s flight. At times this footage is a moving abstract painting, at other times the bird’s flight is more explicit. Combined with these images, is footage of bird mating dances & flights, shot during the migration of cranes along the Columbia River., and of Vaux Swifts returning to their roosts during their annual migration. This footage, which was shot on location with a slow motion, high definition camera, has also been altered by digital particle velocimetry. An interesting development in the collaboration came about as a result of experimenting with the possibility of altering footage shot in the wild using digital particle image velocimetry. When the footage of the flocking swifts was processed we discovered that some of the same principals of Fluid Dynamics apply to the patterns of movement within the flock as apply to the air currents produced by individual birds. This is an area of inquiry we hope to pursue in the future. The possibility of new areas of scientific inquiry emerging from artistic experimentation is very exiting.
A sound tract of digitally manipulated bird song accompanies the video.
Motion Studies is also a video installation projected on sculptural screens. The footage is projected on a series of stainless steel and hand painted mylar “wings” suspended in the air. The wings respond to the slightest air current creating an analogue experience to Dr. Tobalske’s investigations of the role of air currents in birds’ flight. The video projections on translucent surfaces create an activated space that viewers can move around and through, giving them a physical experience of being “within the flock”.
Motion Studies:Glass    
Enter here   Motion Studies also included a second installation of blown glass sculptures evoking the fluid dynamic forms being investigated by many contemporary physicists, as well as scientific instruments and internal organs. These pieces were created in collaboration with scientific glass blower Carl Weiss of Weiss Scientific.
Magpie Thoughts    
Enter here   Single channel video combines moving exray video footage of a bird in flight with footage evoking threat.
Theater of Memory    
Enter here   “Theater Of Memory/Secret of Shadows”. Cast and fabricated bronze, cast, fused and silk-screened glass, architectural elements (doors, benches, windows) video projections and electronics. 16’x16’x16’ This project was based on the “Ars Memoriae” a system of mental architecture that allowed the ancients to create epic literary works, before the invention of writing. The system involved creating an ordered mental place such as a house or garden and storing memories within the architectural details of the place. Theater of Memory combines sculpture, artist’s books, architectural elements and video projections to enfold the viewer in a layered and constantly changing environment Viewers were encouraged to move about the space.
Imagining the Other Side    
Enter here   Imaging the Other Side: 1996 Mixed Media Installation, Wood, wax. Trees, horns, telephone, electronic sound system, salt, linen, steel, light. 17'x51'x16' A quote from Sigmund Freud inspired this project, "It is indeed impossible to imagine our own death, and whenever we attempt to do so we find we are still present as spectators." The project is a series of interconnected rooms each embodying another concept of the afterlife.

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  (From the Flintridge Fellowship Catalog)"Fate, a 1994 collaboration with filmmaker Kristy Edmunds, dealt with life-changing events, taking the Holocaust as a focus.At the heart of this installation was the diary of D’Agostino’s
husband’s grandfather, in which the family’s experience of Kristallnacht was described. The diary, veiled in wax, was placed on a stand-up writing desk beside a wax-covered suitcase,an arrangement mutely expressive of fear and flight,and of the human urge to bear witness to life’s most terrible moments."
Festival of Flowers    

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  Pioneer Courthouse Square, Portland, 1995 Oregon. 30,000 flowers, 65 birch trees and 3000 Portland school children's wishes, hopes and dreams written in their own hand on acetate strips hung from the trees. 250’x250’x20’high
Abundance and Scarcity    

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  "Abundance and Scarcity" was a half acre corn field with "Granary" wood, copper, bronze screen , glass , and a copper clad meditation house with grain floor. "Abundance and Scarcity also incorporated 35 copper stepping stones printed with sayings about food and hunger from cultures around the world, and other sculptural elements. Temporary project April 1993-April 1994
In Bocca al Lupo    

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  I began working with interactivity as as early as 1986. In Bocca Al Lupo combined sculpture and interactive sound.
Performance art from the 80s    

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  Early work in Performance Art as \"Irene.\"
© 2020 Fernanda D'Agostino