After John Enright’s introduction, Refik Anadol discusses what he calls “Early findings”, from his simultaneous discovery of “Blade Runner” and access to a first computer, through his work in photography stressing light as a material. The 2008 Media Facades Festival in Berlin suggested possibilities which Anadol explored in installations (“Quadrature,” 2009) and audio/visual performances (“Quadrangle,” 2010) and public art installations (“Augmented structures v.10,” 2011). In 2014 Anadol collaborated with the Los Angeles Philharmonic with an audio/visual performance to accompany a performance of Edgar Varèse’s “Amériques”.

Anadol discusses several explorations in data dramatization created after founding a studio in Los Angeles, including
•“Virtual depictions: San Francisco” (2015)
•“Interconnected” for the Charlotte Douglas International Airport (2018)
•“Bosphorus: data sculpture” (2018)
•“Wind of Boston: data paintings” (2017)
•“Infinity room” (2015)

Anadol concludes with discussions of several projects employing artificial intelligence, including
•“Archive dreaming” (2017)
•An interactive visual accompaniment to L.A. Philharmonic’s performance of Robert Schumann’s dramatic oratorio “Paradise and the Peri” (2018)
•“Machine hallucinations” for Chelsea Market (2019)
•“Latent being” with sound designer Kerim Karaoglu, in Berlin (2019)
•“WDCH Dreams synesthetic architecture” (2018)