New media art is characterized by spanning practices ranging from conceptual and virtual art to performances and installations. Very often, it acts as a platform for communication and interaction rather than as a finished work. The term is often used to describe the sophisticated new technologies that have become available to artists since the late 1980s which can enable the digital creation, production, and distribution of art.

Nowadays, in this interconnected world we live in, the separation between physical and digital environments is a very thin line. As a development of this new context, artists now have endless access to ever-changing technologies, expanding the number of new subjects, perspectives, and ground-breaking experiences.

On this post, we selected 6 of these amazing new-media art experiences. Experience it below.

“Blooming” by Lisa Park

Blooming highlights the importance of human presence and physical connection in our lives. It is an audio-visual interactive installation that responds to physical contact between 2 or 3 participants. It takes the form of a life-size 3D cherry blossom tree, a common symbol of social ties and of the transience of life in East Asian culture.
As a response to participants’ heart rates, gestures, and skin-to-skin contact as they hold hands or embrace, the tree will flourish in peak bloom and will even release petals. When participants let go, the tree will return to its pre-bloom state. The colors of the cherry blossom flowers change based on participants’ heart rates as they interact each other (the faster the heartbeats, the redder the tonality; the slower the heartbeats, the whiter the tonality). In addition to the tree’s visual response, sounds are also modulated according to the tree’s different stages: pre-bloom, blooming, maturing (petals falling).

The beauty of the tree in full bloom is an illustration of how physical contact enhances and brightens the human spirit. When a cherry blossom tree flourishes, as it does in Blooming, it is a reminder of human relationships at their peak.

“Regenerative Quality” by Amy Karle

Artist Amy Karle creates artwork using the body to explore what it means to be human through a unique negotiation of art, design, science, and technology.
Leveraging the intelligence of human stem cells, she created “Regenerative Reliquary”, a bioprinted scaffold in the shape of a human hand design 3D printed in a biodegradable pegda hydrogel that disintegrates over time. The sculpture is installed in a bioreactor, with the intention that human Mesenchymal stem cells (hMSCs from an adult donor) seeded onto that design will eventually grow into tissue and mineralize into the bone along that scaffold.

“Driftwood” by Adam Simms

Driftwood (2018) is a kinetic sculpture that interprets live ocean data to animate a piece of driftwood as if it is still floating in the same place of the Atlantic ocean where it was found, on the coast of Newfoundland.
Real-time information from the area – such as tides and wave peaks – is sent to a Raspberry Pi which translates the collected data by moving motors and wires hung from the ceiling and attached to the log. These mechanical movements emulate the interaction of the object with water from its place of origin. The kinetic sculpture is complemented by a low-frequency soundscape, created from recordings of the wind from the same place. Together, the movement and sound have the ability to transpose the reality of that place of the island to anywhere in the world.

“Bitquid” by Jeroen Holthuis

Bitquid, by Jeroen Holthuis, is a complex system of about 800 meters of transparent hoses through which digital information will flow in the form of ‘analogue’ fluids.
In a really darkened and quiet surrounding, this information becomes visible and alive because of the use of a fluorescent component in the fluid. With black lights, this fluid lightens up in a green/yellow color. Every time one of the 32 valves open you hear a clicking sound and at that moment one bit becomes a collection of atoms. In the fluid, the digital information is still present, though it will be transformed by our analog environment leaving a stain on the information.

“Nemore” by Fishing for Complements

“Nemore“ is a garden, consisting of 36 bendable graphite poles. “Nemore” senses the visitor. Each pole has behavior and reacts to its neighbors only: and to the visitor, of course – the visitor acts an “alien neighbor”.
Does a system arise from the poles behavior, that we (the observers and the visitor) perceive as angst, curiosity, nervousness, etc.? Each pole has a distinct sound, that builds up a chord, fluctuating in resonance with the movement of the poles.

“Biocomputer Rhythms” by Eduardo Reck Miranda

Biocomputer Rhythms is a piece for prepared piano and percussion. It is a musical duet between a piano and a biocomputer: the biocomputer listens to the piano and produces musical responses during the performance.
The responses are played on percussion instruments and on the same piano played by the pianist. The piano is prepared with electromagnetic actuators positioned inside the instrument to vibrate its strings. Electromagnetic actuators are also used to vibrate percussion instruments. The biocomputer plays its musical responses by sending voltages to these actuators.

The musical responses produced by the biocomputer are based on music that it had listened to before. The system memorizes the sounds that it hears through a microphone and makes variations on them. In essence, the biocomputer works like an Artificial Intelligence musical system. However, there is no complicated Artificial Intelligence (AI) modeling or programming here. The biocomputer uses electronic components grown out of biological organisms, which produce intelligent behavior by default.