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

Watch

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

Linkedin

Instagram
YouTube

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

Watch

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

Linkedin

Instagram
YouTube