istanbul, Turkey

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2013 Prix Ars Electronica Computer Animation/Film/Vfx Honorary Mention

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Under An Alias is the big new fairytale of Nerdworking, a digital historical expression. This time our story takes place in the small German town of Weimar. Weimar is a meeting and creation point for eminent intellectuals of our times. This is the town where Goethe wrote his masterpieces, where the music of Franz Liszt could be heard. This is where the German Republic was founded in 1919, whose legacy was subsequently marred by the establishment of a Nazi concentration camp here in 1937. Weimar, a city that currently merges art and architecture in the Bauhaus university, has many untold stories. 

Although difficult, telling Weimar’s story was incredibly educational for an Istanbul-based group of artists. It gave an opportunity for Nerdworking to illustrate a story from another perspective. Dozens of people spent long hours immersing themselves the rich cultural background, while taking into consideration the opinions of previous researchers.

Under An Alias, created through the collaboration of international artists and working completely in cyberspace, made its debut as the main act of the Genius Loci Festival. Under An Alias was exhibited from 10 to 12 August at the Fürstenhaus, Franz Liszt Conservatory, every night several times a night from 8 p.m. until the early hours. We decided that there could be nothing more appropriate, than projecting the analogy onto this iconic building. The initial section of this tribute to the legacy of Weimar is the spirit, then the muscles then the skin. The story was based on the linear history of the city.


2013 Kernel Festival Cinematic Mapping Competition 1st Prize

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In Mentalis Structuram, Villa Tittoni Traversi’s history as his past, present and future would be represented by audiovisual mapping performance. Our starting point was architecture and philosophy’s pertinent points of overlap. Architecture like philosophy is a mode of solving problems and theorising multiplicities. They are perpetually verging on, irresistibly drawn to, its own virtualities, to the ever-increasing loops of uncertainty and immanence that its own practices, engage and produce. Architecture has tended to conceive of itself as an art, a science, or a mechanics for the manipulation of space, indeed probably the largest, most systematic and most powerful mode for spatial organization and modification. That space itself, the very stuff of architectural reflection and production, requires and entails a mode of time, timeliness or duration. The time of history, of historicity, the time of reflection, the time of knowledge, a time we are accustomed to in the history of architecture and of philosophy, in the very idea of history, of orderly progression, of the segmentation and linear continuity of time and space. Architecture has tended to face time and temporality through the questions posed by history, and through its response to the ravages of that history, its orientation towards monumentality. Architecture has thought time, with notable exceptions, through history rather than through duration, as that to be preserved, as that which somehow or provisionally overcomes time by transcending or freezing it, as that which is memorialized by time, honoured and respected through immortality. But through the concept of virtuality, there is also represented a concept which not only requires a time before time, but also a time after time, a time bound up not only with the past, with history and historicity, but also with futurity. This idea of the virtual, a concept prevalent if undeveloped in philosophy since at least the time of Plato, introduces a series of questions to both architecture and philosophy (with different effects in each case) which may force them to change quite fundamental assumptions they make about space, time, movement, futurity and becoming. The time before and after time are the loci of emergence, of unfolding, of eruption, the spaces/ times of the new, the unthought, the virtuality of a past that has not exhausted itself in activity, and a future that cannot be exhausted or anticipated by the present. This past, which layers and resonates the present, refuses to allow the present the stability of the given or the inevitable. It is the past which enables duration as a mode of continuity as well as heterogeneity.


05/10/2010 - 09/10/2014



visual identity designer



Since 2001, the annual exhibition has brought together students’ work and displayed them using an inhouse developed user interface under themes such as network, flying, depth, rocket science, compression, implant, taction and data fragmentation, this year opting for the new theme, Error.


The dream of being human








Lateral Inhibition:
In neurobiology, Lateral Inhibition is the capacity of an excited neuron to reduce the activity of its neighbors. Lateral inhibition sharpens the spatial profile of excitation in response to a localized stimulus.

Lateral Inhibition is inspired by György Kepes' light art.
He was a strong proponent for unifying art, science and technology with respect to visual patterns. His interest in the visual representation of motion and the technological potential to depict the visible world,in particular the effects of light fascinate us.

The light art in Kepes' work is a good example to show how the optoelectronic revolution has made the light a real and unique artistic medium in recent decades.
His artistic, visionary thinking spanned and at times dominated much of the spirit and intellect of the integrative arts for over two-thirds of the 20th century. His suggestions and projections remain alive and forceful at the onset of the new millennium. Our inspiration comes from the idea to represent that intersection of art, science and technology in a place that mediates contemporary visual art like Mucsarnok.

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