Art Lab | DISCOVERY

Sergio Mora-Díaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and live performances through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

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Data Engineer: Claudio Galaz

Data Scientist: Andrés Medina

UX/UI Designer: Daniela Collarte

Sergio Mora-Diaz es un artista y arquitecto de nuevos medios de Santiago, Chile. Su trabajo se centra en el desarrollo de experiencias inmersivas, instalaciones y actuaciones en vivo mediante el uso de medios interactivos, proyecciones y luz, explorando la relación entre los espacios físicos, las tecnologías digitales y la percepción humana.

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DISCOVERY
Stgo, 2020
Sergio Mora-Díaz
Data displayed digitally

Does the universe have an order or are we just surrounded by random chaos? In this visual work developed from Discovery data, artist Sergio Mora-Díaz invites us to put our faith in order. The work shows us a set of cubic particles that are organized based on their own nature, thus reflecting the data collected during mining processes and their classification through advanced artificial intelligence systems. This allows us to embrace the beauty and complexity of human processes, to enjoy the transition of information from disorder to harmony.

“As human beings we always seek order, to give order to our universe. Everything seeks to help us to give a certain order to our life”.

Interview with Sergio Mora-Díaz
about the work for DISCOVERY.

"We could understand the universe in a chaotic way, where things sometimes seem to happen by chance. But then, if we look closely, we can find structures."

Interview with Sergio Mora-Díaz
about the work for DISCOVERY.

Francisca Olivares: To start I would like to ask you, as always, how was the process of converting universal intelligence data provided by Discovery into a work of art?

Sergio Mora-Díaz: Thank you very much. Well, unlike the others, this work thrives on verbal information. In that sense, this work was a challenge for me. This is a work that tells us about order and chaos. That is, how a set of information that appears to be totally chaotic, that seems to have no established order, is classified as time passes. That classification was given to me by the UNIT team. So we can see how certain words and concepts are categorized. In this case, the categories correspond to risk levels in an operational process in mining.

 

FO: It seems to me that this work has something therapeutic. We have previously spoken that art is capable of healing. Specifically in this work, we can observe how in chaos there are certain orders that begin to unfold on their own. We can even extrapolate this to life. In the work, the one that orders the particles is an algorithm. What role do you see for algorithms in ordering our lives?

 

SGM: Those kinds of things are what I imagine when creating these works. First of all, we are talking about super specific topics: algorithms focused on mining processes. But without a doubt, by taking it to graphic and artistic language, it seeks to take the discussion to certain concepts further. These ideas of chaos and order can be applied to all kinds of processes around us. It is a way of understanding nature and life, where things can be seen with the naked eye very messy, but deep down they have a structure. We could say that nature moves under patterns that are mathematical too, even algorithmic. It is interesting to recognize that to understand the world around us. Algorithms have to do with processes and they give us information about them. That precisely seeks to visually capture this work.

FO: Regarding order and chaos, I would like to know what you think about the universe, is it more order or chaos?

 

SGM: There is always a mixture of the two. As human beings we always seek order, to give order to our universe. How we organize cities, how we organize time, the objects we design. Everything seeks to help us to give a certain order to our life. We humans try to understand patterns and then work with them. It has to do with how we observe nature and are inspired by it.

We could understand the universe in a chaotic way, where all the rules are not understood very well, where things sometimes seem to happen by chance. But then, if we look closely, we can find structures. I am referring to the patterns that govern how living beings grow, how the climate is shared, the compositions of organisms. In all that, there is definitely an order.

 

FO: Then more order …

 

SGM: I believe that there is an order within all chaos. Although sometimes we can’t see it. Linked to the subject of art, much of this has to do with human perception, with ways of understanding what surrounds us. Without a doubt there is an order in the most chaotic elements of nature and I think that order begins to appear as we generate these creations, both from the artistic language and from the mathematical analysis carried out by UNIT. In a way, art and science allow us to reveal all that. This is how we classify and order phenomena that appear to be chaotic or complex.

FO: There is an order in every chaos and technology is a tool that allows us to discover it.

SGM: Exactly. It allows us to measure it, to observe it. Technology certainly allows us to broaden our perception. In this case, thanks to collection and analysis, we can begin to understand the world in new ways.

FO: Chaos is often not very pleasant for humans. We naturally prefer order. This work of art makes chaos super nice for the viewer. It allows you to observe the chaos and enjoy it, without judging it, letting it flow and order itself.

SGM: Of course, these works, as they have these movements and sequences, sometimes seem like living entities, which are being ordered and disordered. As a spectator, you can perfectly get carried away by that.

FO: Based on this liking that exists in the work, I would like to enter into specific aesthetic issues, specifically in the color decisions and the cubic shape of the particles.

SGM: These decisions are being made little by little. I am manipulating the data, I am understanding, reading and graphing it in different ways. Each of the things you see here correspond to real data. Each of these particles corresponds to a set of words, even a phrase. These phrases are ordered based on real logic. These are words that arise from communication in mining processes, which allow us to understand what is happening in the mine. Then, thanks to the algorithm that UNIT works, through artificial intelligence, this is managed. Thus each of these phrases and words assumes a certain classification.

FO: In this case, those classifications are risk levels …

SGM: Exactly. As you can see, different levels, different risk indicators are being generated. Finally, what is sought with this UNIT product is to understand and classify the risks associated with certain mining processes. For example, risks of falls or material detachment that can generate a catastrophe. Then there is a lower level, which has more elements, that is, it could have a better chance of happening.

I decided to do it in layers, so that a unitary figure can be configured, which unfolds in its vertical sense with all these colors. The idea of ​​using different colors is to identify them with a specific risk factor. Therefore, the items are ordered according to color. Then, once they get messy again and become part of the chaos again, they still have that color, that is, they always have that essence.

Regarding working with cubes, it is a decision linked to the final figure, which is a kind of parallelepiped. From there, I found it interesting to work with cubes, as if they were blocks of information. These blocks make up this almost architectural structure.

FO: Let us remember that UNIT’s purpose is to contribute to humanity with the development of all its universal intelligence products. In this work, the order that unfolds thanks to Discovery is not just any order. It is a classification of information that allows saving lives, by way of accident prevention.

SGM: Exactly. In addition, it is a way to sensitize people, even with processes that seem to be so complex.

FO: Thank you very much Sergio.

SGM: Thanks to you, we continue working.

Open call to artists interested in collaborations with data science and advanced mathematics.

If you want to know more about UNIT or Universal Intelligence, let's talk.

Write to us at info@weareunit.ai

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Art Lab | ISS

Sergio Mora-Díaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and live performances through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

More

Data Engineer: Claudio Galaz

Data Scientist: Andrés Medina

UX/UI Designer: Daniela Collarte

Sergio Mora-Diaz es un artista y arquitecto de nuevos medios de Santiago, Chile. Su trabajo se centra en el desarrollo de experiencias inmersivas, instalaciones y actuaciones en vivo mediante el uso de medios interactivos, proyecciones y luz, explorando la relación entre los espacios físicos, las tecnologías digitales y la percepción humana.

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ISS
Stgo, 2020
Sergio Mora-Díaz
Data displayed digitally

“Minerals also have cycles, because everything in nature works under that logic.” This is Sergio Mora-Díaz’s proposal in his work developed with data from our Digital Factory ISS. The work collects mineral composition data analyzed during different periods of time, to create a figure that is mutating, renewing its parts from within, just as a plant or even ourselves do permanently. Was nature kept that condition only for the living? Or is it that minerals are also secretly guided by that principle?

"The numbers that the UNIT Data Science team gave me, from real measurements, I translate into graphic information."

Interview with Sergio Mora-Díaz
about the work for ISS.

"The mineral is not alive, but it is also mutating. It is affected by the weather, the wind, the internal composition of the Earth causes it to change."

Interview with Sergio Mora-Díaz
about the work for ISS.

Francisca Olivares: Let’s talk about the work you developed based on the ISS data. The first thing I want to ask you is how was the process of turning universal intelligence data, from the world of mining, into a work of art?

Sergio Mora-Díaz: First, thank you very much for the invitation. For me it is a pleasure to be working on this cross between art and science. Well, in this ISS-based work, as in all the others that I have developed in this collaboration with UNIT, I take process data and translate it into graphic compositions. This gives us an account of the ways in which these processes work, and in this way, people can become a little more aware and understand the world around us in a different way. In this particular case, we worked with mining, with a series of qualities inherent to the composition of the minerals that reach a plant. They gave me a series of indicators, corresponding for example to the hardness of the mineral, the level of clay, the solubility, among others. These elements are used as tools when composing graphically.

FO: This work in particular makes me think about the concept of “cycle”. It is a work that, because of how the particles move from the inside out, seems to be mutating, but with the same permanent energy. Was that your intention?

SMD: Sure, being created from indicators of the mineral composition, that is generated. These indicators, having a number, qualify the mineral at a certain moment. From that, I discovered that the information was indeed cyclical. Each measurement generates a new set of compositional qualities. Then, with those elements, which are numerical patterns, I am generating the images. I wanted with this work precisely to account for the changes, and with that, to refer to cycles of nature. What I imagined here is how the Earth itself is changing and how its materials are mutating over time, it is transforming.

FO: In general the cycles are easy to visualize in the plant world. Given our time scale, one can observe how a plant is born, grows, withers and returns to earth. Here you approached the cycle from the mineral … tell me about that.

SMD: Indeed. You mention the issue of scale. We are used to detecting faster cycles. We can see the change of the plants you mention. However, the Earth, in its geological composition, works with cycles that are much slower, therefore we cannot perceive them in the same way or in the same magnitude. The challenge was how to translate that and I think it worked quite well. In this composition that I make, I propose a form that could refer to something alive that is mutating, but from a mineral bond. What interested me here was to reflect on certain scales and proportions of change of the Earth in a language, time and rhythm understandable by our perception

FO: In this sense, the work allows us to think about the cycles of nature in materials that are not alive ..

SMD: Sure, the mineral is not alive, but it is mutating as well. It is affected by the weather, the wind, the internal composition of the Earth causes the mineral to change. These processes invite you to think of the mineral as if it had a certain life.

FO: I would like to talk about the motion decision that you decided to use for these particles. I have seen some videos of moving plants and one can see that not all plants move the same. Not all flowers bloom the same, some do it once, others slowly. How did you develop this particular movement?

SMD: Here is the mathematical logic. Those numbers that the UNIT Data Science team gave me, from real measurements, I translate them into graphic information. This figure for example, which can be understood as consolidated, is made up of several rings. Each of these rings corresponds to one of the mineral composition dimensions and then these particles in each ring take different sizes and positions according to the numerical values. With that, the overall morphology of the image keeps changing, based on how the measurements change separately. The logic of the particle seems pertinent to me, to imply the complexity that exists in the measurement of elements separately, but which make up a totality, a unitary figure.

FO: One might think that the changes are turning the figure into another. But it remains the same.

SMD: Exactly, that was something I was looking for. That the qualities were defined in such a way that the figure could be understood as the same, as a unit that follows its own logic. It has the qualities of a unitary element, following its pattern. In each cycle it changes and transforms, with a new morphology. All these cycles are part of the same family, always in the same essence.

FO: Finally, this work helps us to reflect on the permanent and the impermanent …

SMD: It’s true, there are qualities in the work that change, but everything is always governed by the same pattern.

Open call to artists interested in collaborations with data science and advanced mathematics.

If you want to know more about UNIT or Universal Intelligence, let's talk.

Write to us at info@weareunit.ai

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Art Lab | VOYAGER

Sergio Mora-Diaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and performance through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

Know More

Data Engineer: Claudio Galaz

Data Scientist: Andrés Medina

Diseñadora UX/UI: Daniela Collarte

Sergio Mora-Diaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and performance through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

About the artist

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VOYAGER
Stgo, 2020
Sergio Mora-Díaz
Data visualizada digitalmente

In this work, the artist Sergio Mora-Díaz explores the data generated by more than 600 patients for 2 years to monitor the evolution of their blood based on the INR indicator. From data analysis, the artist developed spheres that activate and deactivate their light, sending cells or – even – living particles.

“It is as if we were looking at cells, similar to the aesthetic experience that one has through a microscope”.

Sergio Mora-Díaz interview
about his work in VOYAGER

“It is as if we were looking at cells, similar to the aesthetic experience that one has through a microscope”.

Sergio Mora-Díaz interview
about his work in VOYAGER

Francisca Olivares: Let’s talk about the work you generated from Voyager data, UNIT’s solution that produces early alerts in patients to control diseases. How was the process of working with this patient data and transforming it into a work?

Sergio Mora-Díaz: In this case, data from 600 patients and their progress during this year was analyzed to see how their status changed with respect to their disease. During 6 months the process and evolution of each patient was monitored based on the INR indicator, which is a component of blood. There were other complementary data such as geographic data, the place where the sample was taken, for example. However, we decided to use this indicator (INR) to visualize how it changes over time.

FO: This work is linked to blood so …

SMD: Yes, the INR indicator leads us to blood. However, the work is also very involved with biology and its relationship with health. The aesthetic decisions that were made sought to capture images that arise from biology, about the human body. Along these lines, this work is designed in such a way that the different spheres increase in size and color depending on how the INR evolves from month to month for each patient.

It is as if we are looking at cells, similar to the aesthetic experience one has through a microscope.

FO: One of the decisions that most caught my attention in this work was the theme of light. It is seen in the work that each sphere has an interior light that turns on or off. Tell me about the light resource in this work.

SMD: Exactly, it has a lot to do with what you say. In my works, I work a lot with light. It is an element that I am always interested in rescuing and valuing, mainly because it can refer to various ideas and concepts. Before, I mentioned the biological aspect, but somehow I wanted to give more ideas. In this case, this indicator that evolves from month to month has some ranges or thresholds that are considered normal and that after that range may indicate some kind of problem. Light is a visual tool that allows us to communicate a state of alertness, that is, as time goes by, the light varies according to how this indicator changes from month to month in patients. Every time this threshold is crossed, the light turns on to signal an alert and that creates a tension for the patient to be careful.

FO: From the viewer, in addition, light is perceived as a sign that something is alive, like when neurons synapse and energy is released.

SMD: Sure! It also has to do with this internal flame, the life that exists in each person.

FO: Another thing that caught my attention is the trajectory of the observer’s point of view. The viewer is not still, he is rotating. Tell me about this, was it a conscious decision?

SMD: He was totally aware. Unlike the video of Cosmos, where each element has a certain trajectory in space, in this case, it seeks to translate the information of the patients into a kind of universe, into something that can be observed from different points of view. It is the idea of ​​replicating a microbiological universe through a microscope and then adding the possibility to go through it or visualize it from different perspectives. In the end, the idea is to provoke the sensation that the viewer is the one who is moving, therefore, it feels like there is a large set of central objects where the viewer’s role is to move through them.

FO: I love that work is never literal. There are certain meanings and things that are inherited from the original UNIT product, but you always take it to an abstraction.

SMD: This has to do with a balance that is also sought between science and art. You have to give it an element that suggests certain ideas, that awakens the imagination and that allows us to visualize the world in a different way.

FO: What could you learn about VOYAGER working with his data in this translation / creation that is done with this work?

SMD: I think there are many interesting things that can be achieved in art working with scientific data and especially – in this case – working with medical data. Being able to analyze information that comes from different patients begins to reveal very suggestive ideas regarding human behavior, about how we take care of ourselves, how we feed ourselves, how it impacts our blood, is an important element to analyze. This sparked an interest in researching more about the patterns that guide life. Therefore, doing a play on this leads us to question how we learn about ourselves, about our health and our behavior.

FO: What you tell me makes me think about our natural intelligence, which is also capable of generating alerts, like when a child gets a fever. That intelligence evolves with VOYAGER, reinforcing those natural alerts.

SMD: Totally, in fact the genius of VOYAGER is that it uses data that we already have and manages to process it (with data science) to enhance these alerts. It is important to have this other way of seeing and understanding the information we have about ourselves.

Public announcement to any artist that wants to collaborate in works with data science and advanced mathematics.

If you want to learn more about UNIT or the Universal Intelligence, let's talk.

Find us at info@weareunit.ai

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Art Lab | COSMOS

Sergio Mora-Diaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and performance through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

Know More

Data Engineer: Claudio Galaz

Data Scientist: Andrés Medina

Diseñadora UX/UI: Daniela Collarte

Sergio Mora-Diaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and performance through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

Learn More

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COSMOS
Stgo, 2020
Sergio Mora-Díaz
Digital data visualization

Using the data generated by more than 5,000 mining trucks, Sergio Mora-Díaz defined the aspects of speed, load and motive power as key dimensions to visualize the data as metallic particles that disperse and converge. Thanks to this work, COSMOS can be seen like never before.

“This was one of the attractive elements to create, to make all these particles form as a complex organism that moves as one.”.

Sergio Mora-Díaz interview
about his work for COSMOS.

“This was one of the attractive elements to create, to make all these particles form as a complex organism that moves as one”.

Sergio Mora-Díaz interview
about his work: COSMOS.

Francisca Olivares: Tell me about the process of turning COSMOS data into art.

Sergio Mora-Díaz: In the case of COSMOS, the data given to me correspond to data on trucks that carry certain loads through the territory. Within this, different dimensions that have to do with the efficiency of this truck are analyzed: speed, how much load it carries, etc. What COSMOS does is process this data to make trips and fuel use more efficient.

In this case, I took all these data and prepared this work based on three aspects: the speed of the trucks, the load they carry, and finally their driving force. With these three elements I was able to visualize the trajectory of each of these trucks moving through space. So, I created this composition by translating that information from 5,000 trucks into visual qualities like size, color, and speed of different of the elements.

FO: The trajectories of these particles in space caught my attention, how do you go about choosing those trajectories?

SMD: In this case, the real trajectory of those trucks was not given to me, that is, the path that the elements are taking are determined by me based on other geometric factors. Certain parameters of spatial coordinates are defined and each of these particles is made to follow a path that converges. This was one of the attractive elements to create, to make all these particles form as a complex organism that moves as one. With this he sought to generate a sensation of something liquid, alluding to fuel or any organic thing that moves through geography.

FO: Were there any decisions that were particularly difficult in this process of translating the data into visual artistic language?

SMD: I think that the relationship that I managed to establish was quite direct from the beginning, since the numbers allowed me to establish certain parameters that could be easily visualized in graphic codes. The most difficult thing was selecting which were the key dimensions to visualize and how to do it in the end. These decisions had to represent the objective of COSMOS, but must also include a more abstract and metaphorical element. In any case, there was always a joint effort, in constant dialogue with UNIT analysts to clearly define the criteria to be followed.

FO: Do you feel that this work was more of a creation or a translation?

SMD: I think it has a bit of both, because there are some elements that translate directly into the visual, such as speed or amount of charge. However, there were other decisions that I had to make on my own, such as creating all the trajectories that the elements follow. The fact of achieving this confluence of elements, the color … all those decisions that are more plastic and aesthetic. In fact, I would dare to say that it is in this mixture where the grace of these works lies, the power to establish a parallel between the hard data and the aesthetic vision and authorship of the artist.

FO: The material decision of the particles is one of the interesting elements. There is a metallic decision in the work, what is your intention behind this materiality?

SMD: Although there are many decisions that I made from the aesthetic side, it does not mean that it came to me out of nowhere. Rather, they are things that arise from the conversations that we have had with the work team and how I am understanding the subject, the solutions offered by UNIT products and what they refer to in my memory.

In this case, the metallic component of the elements and the grayscale for me has a lot to do with metal as an element within the industry: minerals, earth, highways, the steel with which the trucks themselves are built, all of this is associated with the same element. Within that, I was exploring different ways of visualizing it and I came up with the solution of using this metallic gray scale pointing towards a mineral and stone effect, which I think was the best option to convey the main idea.

FO: During the translation and creation process, did you manage to learn anything new about COSMOS?

SMD: Yes, I think the interesting thing about analyzing these variables and creating these works makes sense when they are compared to each other. For example, we have a truck that has a certain trajectory, with a certain speed, carrying an amount of cargo X, and it moves through space. I think that data in itself has a value. What was added here was the opportunity to visualize all the information together, which allows finding certain patterns and understanding the data in a more comprehensive way to take opportunities that may not be detected by analyzing a single truck. For me, there is the great value of these works, allowing processes to be made more efficient from a more global view of the data.

Public announcement to any artist that wants to collaborate in works with data science and advanced mathematics.

If you want to learn more about UNIT or the Universal Intelligence, let's talk.

Find us at info@weareunit.ai

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