Liisi Soroush

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<channel>
	<title>Liisi Soroush</title>
	<link>https://aryaliisi.cargo.site</link>
	<description>Liisi Soroush</description>
	<pubDate>Thu, 20 Nov 2025 14:51:09 +0000</pubDate>
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	<language>en</language>
	
		
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		<title>liisisoroush copy</title>
				
		<link>https://aryaliisi.cargo.site/liisisoroush-copy</link>

		<pubDate>Sun, 07 Nov 2021 19:42:38 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

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		<description>
LIISI SOROUSH [ ARYA SO ]&#38;nbsp;

AD &#38;amp; ARTIST &#38;amp; ACTIVIST
#Ethical &#38;amp; Sustainable AI
	
	
 &#38;amp; Technology #EmbodiedInteraction #Somadesign #Multisensorial #Post-Phenomenological #Digital &#38;amp; Procedural Writing &#38;amp;
	
	
 Poetry #RhythmAnalysis #Site-Specific #Data #Audioscape design #Multisensorial #InvestigativeJournalism #PlacesSpacesEnviroments #Human-MaterialInteraction #Activism #OpenSocietyAdvocacy #Surveillance &#38;amp; WarTechnology #HybridWar #Old Power vs New Power #TechOligarcs #Transhuman #TheSpace #OpenGLAM #MyData #culturalheritageatrisk #Bats&#38;lt;3

FINLAND FINLAND YOU CAN´T HIDE YOU’RE SUPPORTING GENOCIDE&#38;nbsp;
&#38;nbsp;


︎︎︎</description>
		
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		<title>WORKS</title>
				
		<link>https://aryaliisi.cargo.site/WORKS</link>

		<pubDate>Thu, 29 Aug 2019 09:40:19 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

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		<description>recent /&#38;nbsp; some of the selected&#38;nbsp; projects
2017-2025
201
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		<title>Right to (Яɘ)Turn, Traces exhibition @ Ars Pori, AI discussion panel W/ Taike</title>
				
		<link>https://aryaliisi.cargo.site/Right-to-Y-Turn-Traces-exhibition-Ars-Pori-AI-discussion-panel-W-Taike</link>

		<pubDate>Tue, 21 Oct 2025 12:02:24 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

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Right to (Яɘ)Turninteractive installation, glass design, video, generative sound, code, light

@ Ars Pori

Team: [[]], Kaappo Lähdesmäki/Lasismi, Jenna Jauhiainen, Kareem Ibrahim


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Right to (Яɘ)Turn is an interactive installation combining glass design, video, spatial sound and code. Fragile surfaces refract light and image, creating an unstable architecture where the visitor becomes both participant and witness. The title invokes the Right of Return, the principle of justice denied to Palestinians, and expands it to a planetary scale: the right of all species, human and more-than-human, to remain, to return, to persist in place.

The work emerges against the backdrop of a collapsing rule-based order, where pandemic, war and ecological destruction have accelerated infrastructures of surveillance and control. The polycrisis provides fertile soil for predictive profiling, algorithmic hate speech amplification, far-right mobilisation and digital colonialism. Both intimate and national borders are crossed daily: biometric data is stored, health records harvested, individual lives mapped into predictive policing regimes.

By using consumer services, we are also participating in the creation of the infrastructures of smart genocide, caught in a post-phenomenological feedback loop of witnessing ourselves through the very tools that monitor and sort us. For the past two decades, consumer and military technologies have been developed together, their architectures inseparable. The same algorithms that power Amazon’s recommendation engines are deployed in Gaza, where automated targeting systems convert behavioural prediction into kill lists. The program Gospel scans vast pools of surveillance data to recommend bombing targets. Lavender reduces tens of thousands of people to data points tagged as "militants". Where’s Daddy? tracks Palestinians through their phones, timing strikes to their return home, often murdering entire families. These systems demonstrate the intimate link between civilian and combat technology, between the everyday infrastructures of convenience and the automated architectures of war.

Through Zionist and especially Christian Zionist capital flows, through crypto speculation, NATO pipelines and the start-up scene, these technologies are folded into techno-eschatologies of bunkers and Mars colonies, visions where eugenics and holy war converge and only the chosen are imagined to survive. Right to (Яɘ)Turn references these convergences, staging a refusal to continue down the path of an AI-driven genocide machine spreading outward from Gaza into the scale of planetary destruction.

Yet, Right to (Яɘ)Turn is not only dystopian, but an ritual of resistance. It gestures toward sumud—steadfastness, sisu—as a manifesto for life. Evolution is not reducible to the survival of the fittest but reveals itself in creative avoidance, evasion, collaboration. Roots reroute around stone, seaweed proliferates in poisoned waters, children and other species insist on their right to remain. In the interplay of glass and video, light and resonance, Right to (Яɘ)Turn affirms that true resistance is sustainable, intersectional and planetary. The act of return, here, is not backward into devastation but toward the possibility of life.

حق العودة (Haq al-Awda).

Right to (Яɘ)Turninteraktiivinen installaatio, lasimuotoilu, video, generatiivinen ääni, koodi, valo@ Ars PoriTiimi: [[]], Kaappo Lähdesmäki/Lasismi, Jenna Jauhiainen, Kareem Ibrahim

Right to (Яɘ)Turn on interaktiivinen installaatio, joka yhdistää lasimuotoilun, videon, tilallisen äänen ja koodin. Hauraat pinnat taittavat valoa ja kuvaa, luoden epävakaan arkkitehtuurin, jossa kävijästä tulee sekä osallistuja että todistaja. Teoksen nimi viittaa paluuoikeuteen, palestiinalaisilta evättyyn oikeudenmukaisuuden periaatteeseen, ja laajentaa sen planetaariselle tasolle: kaikkien lajien, inhimillisten ja enemmän-kuin-inhimillisten, oikeuteen jäädä, palata ja pysyä paikassa.

Teos asettuu romahtavan sääntöpohjaisen järjestyksen taustaa vasten, jossa pandemia, sota ja ekologinen tuho ovat kiihdyttäneet valvonnan ja kontrollin infrastruktuurien kehitystä. Monikriisi luo otollisen maaperän ennakoivalle profiloinnille, algoritmiselle vihapuheen vahvistamiselle, äärioikeiston mobilisaatiolle ja digitaaliselle kolonialismille. Sekä intiimejä että kansallisia rajoja ylitetään päivittäin: biometrisiä tietoja tallennetaan, terveystietoja kerätään, yksilöiden elämät kartoitetaan ennakoivan poliisitoiminnan järjestelmiin.

Käyttämällä kuluttajapalveluja osallistumme myös älykkään kansanmurhan infrastruktuurien luomiseen, jääden post-fenomenologiseen palautesilmukkaan, jossa todistamme itseämme niiden samojen työkalujen kautta, jotka seuraavat ja lajittelevat meitä. Kahden viime vuosikymmenen aikana kuluttaja- ja sotilasteknologiaa on kehitetty rinnakkain, niiden arkkitehtuurit erottamattomina. Samat algoritmit, jotka pyörittävät Amazonin suosittelujärjestelmiä, otetaan käyttöön Gazassa, missä automatisoidut kohdennusjärjestelmät muuntavat käyttäytymisen ennustamisen tappolistaksi. Gospel -ohjelma seuloo valtavia valvontadatojen massoja ehdottaakseen pommituskohteita. Lavender pelkistää kymmeniä tuhansia ihmisiä datapisteiksi, jotka merkitään “taistelijoiksi”. Where’s Daddy? seuraa palestiinalaisia heidän puhelimiensa kautta, ajoittaen iskut heidän paluuseensa kotiin – usein tappaen kokonaisia perheitä. Nämä järjestelmät paljastavat intiimin yhteyden siviili- ja taisteluteknologian välillä, arjen mukavuuden infrastruktuurien ja sodan automatisoitujen arkkitehtuurien välillä.

Sionististen ja erityisesti kristillissionististen pääomavirtojen, kryptospekulaation, Naton putkilinjojen ja startup-kentän kautta nämä teknologiat sulautuvat tekno-eskatologioihin: bunkkereiden ja Mars-siirtokuntien visioihin, joissa eugeniikka ja pyhä sota yhtyvät ja vain valittujen kuvitellaan selviävän. Right to (Яɘ)Turn viittaa näihin konvergensseihin, lavastaen kieltäytymisen jatkaa kohti tekoälyvetoisen kansanmurhakoneen polkua, joka leviää Gazasta planetaarisen tuhon mittakaavaan.

Silti Right to (Яɘ)Turn ei ole vain dystopia, vaan myös vastarinnan rituaali. Se viittaa sumudiin – lannistumattomuuteen, sisuun – elämän manifestina. Evoluutio ei ole pelkistettävissä vain “vahvimman selviytymiseen”, vaan paljastaa itsensä luovana kiertämisenä, väistämisenä, yhteistyönä. Juuret kiertävät kiven, merilevä lisääntyy saastuneissa vesissä, lapset ja muut lajit pitävät kiinni oikeudestaan pysyä. Lasiin ja videoon, valoon ja resonanssiin kietoutuvassa vuorovaikutuksessa Right to (Яɘ)Turn vahvistaa, että todellinen vastarinta on kestävää, risteävää ja planetaarista. Paluun teko ei tässä merkitse kulkua taaksepäin tuhoon, vaan kohti elämän mahdollisuutta.

حق العودة (Haq al-Awda).


WORDS ON INTERACTIVE GENERATIVE EXPERIENCE 

AND 

GLASS DESIGN WORK

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 
by &#38;nbsp; [[]]


[[]] collective has spent over a decade scrutinizing power structures within the frameworks of surveillance capitalism, sousveillance, far-right and alt-right movements, hate speech, tech oligarchs, hypewar, and militarization, among others. Their research employs a lens of emerging technologies, social media, human-computer interaction (HCI), and post-phenomenology.

Their interactive, often participatory, installations combine sociopolitical narratives with generative spatial soundscapes and light, alongside raw materials such as glass. The glass design was created in collaboration with Kaappo Lähdesmäki / Lasismi. In thematic artistic dialogues, they have collaborated here&#38;nbsp; with artist-researcher Jenna Jauhiainen and sound designer Kareem Ibrahim.


INTERACTIVE GENERATIVE DESIGN AND SOUNDSCAPE 

#datasovereignity #dulatech #bigtech #hybridwar #AIgenocidesystems #digitalopression #indegeniousdigitalrights #indegenioushumanrights #culturalheritage

Data sovereignty essentially means that generated data must follow the laws and regulatory frameworks of each nation. It has two primary interpretations: first, as a geopolitical principle where data is subject to the laws of the country where it is collected and processed; and second, within Indigenous rights frameworks, which advocate for Indigenous communities' control over their own data.

While the MyData initiative promotes digital human rights, the human rights violations faced by Palestinians represent a digital rights issue, violated through censorship and tech industry complicity. The ethical and legal implications are highly questionable, highlighted by the hypocrisy of big tech companies operating in both spheres. This underscores a broader ethical failure: they benefit from "my data" markets in regulated regions while simultaneously profiting from active involvement in enabling genocide.

International legal frameworks, such as the UN Guiding Principles on Business and Human Rights, are routinely ignored. Digital oppression is practiced, and corporate complicity with Israel's violations is documented by the UN. All of this culminates in a system of colonial racial capitalism.

The severity of the issues of moral philosophical and human rights perspectives remain.

Through dual-use technology implementations, an ongoing “smart genocide” is enabled, such as Israel’s weaponized water deprivation, which is controlled by owning the water related data on Jordan River basin: the Costal and Mountain aquifer. The so-called digital autonomy is lost, extending to the total demolishing of indigenous nations and their people.

 Among other authoritarian actions practised both in national governance and Big Tech ecosystems as forms of surveillance capitalism, the lack of data sovereignty enables this erasure and silencing. Israel restricts internet access, destroys telecommunications infrastructure, and deploys surveillance systems, stripping away the basics of digital autonomy. By shutting down infrastructure and communication during military operations, they disrupt the ability to document the genocide and access life-saving information. Dual-tech standards are commodified and applied to achieve total destruction. Tech companies work in both spheres benefiting from my data markets in regulated regions simultaneously profiting from the autonomy in the military industry. International legal frameworks, UN guiding principles on business and human rights are routinely ignored. Digital oppression is practised beyond any limitations and corporate complicity with such as Israel and turned into racial capitalism.

The sound, light, and projection of the interactive generative installation are in a constant state of flux. This work translates stock value datasets of the Big Five Tech companies from the 1980s to the present. Fluctuations in the stock market values drive changes in the soundscape, laser light, and construction lights, creating a tense experience.

The ecosystem of large tech corporations has grown over the last two decades, and their rising stock values translate into increasing tension within the installation. On one side of the gallery, datasets of people killed in Gaza and extinct species are interchanged, representing how big tech concurrently collaborates in genocide and the destruction of our planet. The sounds of space and other planets synchronize to present a reality of total desolation, where racial erasure extends toward the elimination of the whole human race and other species.

The acceleration of surveillance and military hybrid zones has sped up stock market values in the last decade. However, these monetary assets are not implemented for social or planetary wellbeing. The generative soundscape weaves between the slow, continuous pace of apartheid and the fast genocide enabled by AI military systems. Echo chambers amplified by social media platforms like Instagram are part of information manipulation and propaganda, disseminating disinformation. A synthetic computer voice vocalizes hashtags scraped from Zionist religious Instagram accounts.

As a consequence of the rise of Christian Zionist movements, the ultra-religious "Holy Land" project is rapidly advancing, destroying the people, land, and heritage of Palestinians in ongoing genocide the whole word is witnessing real-time. To illustrate that fact in the soundscape, religious pro-Israel hashtags are transformed a "satanic low growl" when played backwards, following the aesthetic of the heavy metal genre and anecdotes around it, and as tension releases all of it synchronized with planetary humming from NASA. Tech oligarchs keep expanding their future scenarios beyond planetary scales, while Zionists or ultra-Christians seek salvation within the Promised Land. In many countries, taxation policies enable money laundering through donations to Zionist and Christian communities for their pro-Israel activities. This reflects the rise of the Zionist religious movement and billionaire money laundering through donations, whether in crypto or other formats. Neither group of them, which both of them empower conservative, racistwhite supremacist, extreme right wing landscapes, create peace or take care of the “others”, -whatever human or other species. 

Additionally, elements of marching band music, Dabke (Levantine folk music)&#38;nbsp; and church organ music connect the interactive composition to the themes of militarism, and to both Pori and Palestinian cultural heritage.

GLASS DESIGN 

Equally, the glass art contemplates genocide and destruction in war zones. The designs are based on demolished sites, whose dystopian landscapes serve as an excruciating motif.

The assemblage of each glass work relates to the others by following the coordinates of the gates in Checkpoint 300, known as the Bethlehem checkpoint. It utilizes spatial political technologies targeting the occupied Palestinian territories. On one side of the room, black glass pieces follow the aesthetics of entertainment technology that participates in hybrid war platforms, whilst distorted facts mediated through them bending the truth. The other side of the gallery room contemplates the narratives of the genocide more in depth.

Meanwhile, as technological systems extend their killer machinery beyond mass destruction, algal organisms expand and overtake the seven seas and all water areas as a sign of eutrophication. Therefore, the glass work incorporates portions of seaweed intertwined with the raw element of glass, which is fundamentally made of silica sand. Cladophora glomerata (Viherahdinparta) is a fast-growing species dominant in the Baltic Sea, while Fucus vesiculosus (Rakkolevä/Rakkohauru) overtakes the North Sea, Baltic Sea, and Atlantic and Pacific Oceans. As a material Algae works as a bio-additive; specific types consisting of diatoms have skeletons made of silica, playing a natural part in the glass process. Algae acts as a flux, aiming to lower the high temperatures of the procedures.

The burned algae black gray dust reminds us of the dust clouds above the Gaza Strip and other ruins of war sites and natural disasters. When white light meets the glass piece, the reflections join the narrative in a visual form embedded in the gallery walls, seeking for&#38;nbsp; its viewer to translate and contemplate. 

FINAL WORDS

Although some experts argue that visions of an AI utopia often serve the interests of powerful corporations and investors seeking to consolidate control, the rapid influx of capital into AI can create unrealistic expectations that overlook deeper systemic problems. AI requires ethical frameworks, international cooperation, and must remain a tool under human control within a transparent ecosystem.

Religious and ideological visions ignore law and order by following "the magic of Zionism," which operates beyond logical reasoning. Their aggressive agenda to erase other races while trying to seed the land with their own is synchronized with the missions of tech oligarchs filling space shuttles with their eugenic genetic plans and continuing for planet-hopping. Neither group considers the wellbeing of human civilization or planet Earth; their exit plan is their only goal.

The work culminates in an etymological and philosophical question around the words genesis and genocideIn this context&#38;nbsp; the etymology of genocide versus genesis is fascinating and brings everything to the root of the question. Both share the root genos (race, kind)
genesis: an origin, creation, or beginning. First recorded in 1595–1605; from Latin "generation, birth," from Greek genesis "origin, source."genocide: a modern term, contrasting with genesis, focusing on destruction rather than creation.. Genesis signifies an origin, a creation, a beginning. Genocide is the destruction of a people.
This root confrontation forces an essential question: What is being seeded? The aggressive agenda to erase another race, synchronized with tech oligarchs dystopian visions, perverts the concept of genesis. Their exit strategy ignores the wellbeing of human civilization and the planet, pursuing a genesis for the few that necessitates genocide for the many. The installation asks whether our technologies are tools of creation or instruments of destruction, framing this within a disturbing narrative where ideological visions override law and logic, - and asks people to turn their resistance to create nurture, hope, and peace. 

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		<title>Shahed // WITNESS @ Lux &#38; Umbra, WAM Turku City Art Museum</title>
				
		<link>https://aryaliisi.cargo.site/Shahed-WITNESS-Lux-Umbra-WAM-Turku-City-Art-Museum</link>

		<pubDate>Tue, 21 Oct 2025 12:22:57 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

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https://shahed-86deef.gitlab.io/&#38;nbsp;</description>
		
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		<title>HAMISTAGAN 2 @Ars Electronica, Linz,AT</title>
				
		<link>https://aryaliisi.cargo.site/HAMISTAGAN-2-Ars-Electronica-Linz-AT</link>

		<pubDate>Sat, 12 Dec 2020 10:08:43 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

		<guid isPermaLink="true">https://aryaliisi.cargo.site/HAMISTAGAN-2-Ars-Electronica-Linz-AT</guid>

		<description>Hamistagan @Ars Electronica / WILD STATE
https://konvolv.com/hamistagan-at-ars-electronica

https://ars.electronica.art/keplersgardens/en/wildstate-networked/

https://ausstellungen.ufg.at/wildstate/project/hamistagan/


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		<title>UNCERTAINITY electronic poetry, publication print&#38;online</title>
				
		<link>https://aryaliisi.cargo.site/UNCERTAINITY-electronic-poetry-publication-print-online</link>

		<pubDate>Sat, 12 Dec 2020 10:10:39 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

		<guid isPermaLink="true">https://aryaliisi.cargo.site/UNCERTAINITY-electronic-poetry-publication-print-online</guid>

		<description>Electronic poetry &#38;amp; process writing as multimedia mash-up&#38;nbsp;
fall 2019- February 2020

Publication in print
Publication online&#38;nbsp;
Links upcominghttps://docs.google.com/presentation/d/10MJEkDO4I9p6hOjHUIhMGVAjR9py4CLJ/edit?slide=id.p1#slide=id.p1


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		<title>RADICI /poetry 360 dome,Urban Travel Machines EU, Tarto, EST &#38; Brussels,BEL </title>
				
		<link>https://aryaliisi.cargo.site/RADICI-poetry-360-dome-Urban-Travel-Machines-EU-Tarto-EST-Brussels-BEL</link>

		<pubDate>Thu, 20 Nov 2025 14:51:09 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

		<guid isPermaLink="true">https://aryaliisi.cargo.site/RADICI-poetry-360-dome-Urban-Travel-Machines-EU-Tarto-EST-Brussels-BEL</guid>

		<description>
	The European project Urban Travel Machines brought together three art universities, forty-five visual arts students and fifteen poetry performers from across Europe, with the visionary aim of renewing the literary sector through immersive technology. By merging slam poetry with 360° video-mapping inside planetariums, the project explored new ways of engaging audiences and expanding the possibilities of poetic performance.


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The performance was built on Radici, a poem by Eleonora Fisco, which explores the fragile boundary between dialogue and conflict in the choices of those who remain in marginal or depopulating places—such as her native Sicilian town—and those who leave in search of opportunity, while facing the practical and emotional weight of voluntary exile.

“This immersive sound design explores the evolving nature of society and the global rising mentality of individualism in the context of a neighborhood in Sicily.This immersive soundscape traces the transformation and shift of the urban space from industrialization to digitalization, - through changing frequencies and tonalities . 
By using sonifications of migration patterns and unemployment data from Sicily (1950–2020), it discusses the paradigm shift between tradition and contemporary times.The narrative follows two central figures: an old woman who embodies heritage, and a young woman who symbolizes self-fulfillment. Their sonic identities are distinguished through leitmotifs that reveal their existential beings within their respective eras. Through waves of soundsfrom rhythmic sewing machines to the whispered hashtags of social media used by globetrotting influencer, this piece confronts themes of loneliness and the cyclical nature of human existence. In the final moments, silence prevails, leaving the audience with lingering questions about time, progress, and the cost of self-reinvention.”
- Liisi
In collaboration with students from Aalto University in Helsinki, Radici was translated into an immersive environment.For the performances at the Tartu Planetarium (Estonia) as part of the Prima Vista Festival and at the Brussels Planetarium during the Brussels Poetry Festival, the work evolved into a 360° animation projected inside the dome, enhanced by a generative soundscape created from migration data, adding an autonomous yet thematically resonant layer to the performance.

An accompanying zine/poster combined riso-printed stills from the animation with the bilingual text of Radici, offering audiences a tangible extension of the immersive poetic journey.https://www.aalto.fi/en/news/urban-travel-machines-cosmos-met-poetryProject initiators
Janna Beck, The Royal Academy of Fine Arts Antwerp — AP University College of Applied Sciences and Arts

Philip Meersman, The Royal Academy of Fine Arts Antwerp — AP University College of Applied Sciences and Arts

Olga Wroniewicz, Polish-Japanese Academy of Information Technology in Warsaw, Poland

Tarja Nieminen, Aalto University / School of Arts, Design and Architecture
Artists 
Eleonora Fisco, – text and performance

Milja Komulainen – concept, zine, animation

Noa Joulin – animation

Liisi Soroush – soundscape


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		<title>HYBRIDWAR lecture&#38; Installation, MozFest@Amsterdam, 2022</title>
				
		<link>https://aryaliisi.cargo.site/HYBRIDWAR-lecture-Installation-MozFest-Amsterdam-2022</link>

		<pubDate>Wed, 22 Oct 2025 11:46:18 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

		<guid isPermaLink="true">https://aryaliisi.cargo.site/HYBRIDWAR-lecture-Installation-MozFest-Amsterdam-2022</guid>

		<description>
	2 works presented at MozFest Amsterdam on March, 2022, --------------------my lecture was looking into future hybrid war scenarios from the perspective of technology, surveillance, data, mediated warscapes from film to social media ...


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		<title>"IoL" - FinEst Bay concept </title>
				
		<link>https://aryaliisi.cargo.site/IoL-FinEst-Bay-concept</link>

		<pubDate>Sat, 12 Dec 2020 18:49:28 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

		<guid isPermaLink="true">https://aryaliisi.cargo.site/IoL-FinEst-Bay-concept</guid>

		<description>IoL ( Island of Life) was a concept using new media art, creativity and imagination for FinEstBay Island concept.&#38;nbsp;

We introduced participatory and collective platforms combining old handcraft knowledge, senior citizens unemployed youth,&#38;nbsp;people with disabilities by utilising the advantages that 5G will provide to telepresence and mid-air haptic technologies. 

In our concept we strive for s circular economy to self-sustain FinEstBay Island and take a stance on environmental challenges especially regarding Baltic Sea. These actions are powered by algotrading and algotransparency, and motivated by features such as low latency. Furthermore, contrary to exploiting the island as casino and unsustainable tourism resort, our vision is to make FinEstBay an example platform for promoting values on equality, transparency and environmental issues. 
Our concept 

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;“IoL”
was much appreciated by the investor and mentor Kustaa Valtonen.


Team:Avner Peled, Liisi Soroush &#38;amp; Camilo Sánchez
Avatar animation: Hanna-Sisko Onnela
Mentoring: Erwin Badlwin


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		<title>WWW @Vuotalo</title>
				
		<link>https://aryaliisi.cargo.site/WWW-Vuotalo</link>

		<pubDate>Mon, 04 May 2020 11:51:03 +0000</pubDate>

		<dc:creator>Liisi Soroush</dc:creator>

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		<description>WWW
︎Artists: Liisi Soroush, J. Camilo Sanchez Carranco, enue, John Lee
︎@ Flux Island Vuotalo︎2020

︎World Wide Wave is an interactive installation and immersive experience. Lights and sound are triggered by the audience entering the space. If the visitor is the size of a toddler or tall, together or apart, or just alone, - the experience will evolve regarding the mentioned. The subtle wave-like movement of the nets is derived from the frequency hashtags in IG feeds following the thematic.The oceans cover three quarters of the Earth’s surface, ”The World Ocean or Global Ocean (colloquially the sea or the ocean) is the interconnected system of Earth's oceanic waters, and comprises the bulk of the hydrosphere, covering 361,132,000 square kilometres or 139,434,000 square miles (70.8%) of Earth's surface, with a total volume of roughly 1,332,000,000 cubic kilometres (320,000,000 cubic miles) ” Life would not exist without water, - in fact our evolutionary history began in the vast oceanic cradle. Ocean and seas provide nourishment, methods for voyage, and places for leisure by the beaches they manifest. They have been sought to be conquered and to be explored, - yet so much remaining unexplored: In sublime manner yet simultaneously; they sustain life, they drown lifeThe understanding of oceans and seas come along our ancestors and is to be continued among us collectively with the scientists in order to fight the devastating consequences by The Era of Anthropocene.  Ocean and seas are superpowers both untamed and mesmerizing. Meanwhile all the mentioned: They are connecting everyone and everything on this planet. As said, the ocean and seas around point to something beyond its elemental aspect and waves that take their turn; it acts like a network connecting and spanning between physical reality to symbolic surreality. Just like in mythical stories and people´s believes, the universe; whereas the waves and the wind of these great waters, are made of stories that spread around over the seas. .WWW. gathers around the stories depicting the identity of people, all and each one them keen to maritime lifestyles. It´s physical structures invite the visitor to immerse oneself within the installation. The metaphoric and embodied presence of these salty waters are synchronized with gestures of the audience, those weaving into a form of light and sound portraying the life around and among these giant waters. &#38;nbsp; While the wind whispers, - the reflections from the inhabitants of Vuosaari to the individuals along The Arabian Sea are generated to the air in Arabic, English, Hindi, Finnish, Hebrew, Farsi, Finnish… Together, as unified, in harmony, we as one. -  are weaved into a greater existence of being within the universe; .WWW. celebrates the diversity of life. .WWW. observes the identity, connection and networks of life. .WWW. playfully flirts with 80’s-90’s aesthetics where the colorful beach life is best known from disco and club scenes sided with it, all of those depicted into images in numerous post cards, posters and private and public collections of photographs.  The subtle movement of the fishing net is derived from scraping of Instagram posts, where at the contemporary visual shared experience gathers the memories of the ocean and seas around forming a collective memory of the maritime lifestyles of the time, -today. The repetitive and pattern-like media flow mimics the same arbitrary manners of the waves of the waters the images they are representing. As the eternal and immortal, the oceans and seas are metaphoric for life, they also contain destruction and death. .WWW. discusses the painful and current reality of our fellow-beings in our Media Lab and Arts community, - stretching into wider issue on hand. At this given moment, the controversial role what the nature reservation area as the Playa de la Hierbabuena and its forestry hills somewhere at the tip of Europe facing Africa experiences: the daytime it facilitates the outdoor activities for many, meanwhile under the darkest midnight skies it serves as a platform for refugee boats to touch a solid ground in our continent. .WWW. is an interactive immersive installation that incorporate thoughts by the individuals, who are still living in a constant uncertainty, (resembling kind of a life at and by the sea that might occur) - being it a homeless as a citizen in our beloved homeland by the sea or a citizen- of- our country- wanting-to-be.  Thanks to: Matti Niinimäki, Janne Ojala, Jyri Lahelma, Reishab Kailey, Ameya Chikramane and all the people who contributed to this work. .WWW. is owned to the people in our hearts that are living in constant ambiguity and feeling of anxiety among us for the shake of complexed issues concerning citizenship and residency. They spend life being apart from their family yet not accepted fully here either. As said, it was said somewhere in a text from the homeless around Vuosaari: “There is no place as home.” Special thoughts to Mahnaz Kh, a dear friend from Aalto ARTS circles, living temporarily in Italy, Iranian, waiting to come back. We miss her too… &#38;nbsp; </description>
		
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