As well as being a beautiful insect, the term ‘butterfly’ is used to describe how small changes in the starting conditions of a system can lead to large, unpredictable differences in outcomes (Palmer, Döring & Seregin, 2014). That is, even tiny modifications to one part of a system, may mean exponential, chaotic effects in other parts. ‘Butterfly effect’ was coined by Ed Lorenz, a meteorologist in the 1960s, but rather than referring to small changes creating unpredictable results, Lorenz actually meant that we could accurately predict the future in certain complex systems such as the atmosphere. Here, we adopt the term to both refer to sensitive dependencies on initial conditions as per Chaos Theory (Yorke & Li, 1975), to both describe how discrete differences in the starting state of a system can lead to radically different outcomes, as well as to describe how these radically different outcomes can somehow be predicted through artistic exploration. What Lorenz deemed as the “real butterfly effect” refers to the fact that there are limitations to the combinations of future unravelling that we may observe. In the case of the natural environment and globality, while we might find effects surprising, we can still predict alternative realities.
The concept behind the exhibition is to showcase the latest work and AI-driven possibilities of a group of multidisciplinary international artists (Finland, Australia, Sweden, Latvia, UK, Germany, Italy, Estonia) in an exhibition that will take place at the Wasa Future Festival, 2025.This diverse selection of artists from Finland, Australia, Sweden, Greece, Estonia, Latvia, Italy and the UK reflects a transnational dialogue where distinct cultural, environmental, and technological perspectives converge, embodying the very essence of the Wasa Future Festival 2025—a space where interdisciplinary experimentation and interactive engagement challenge conventional narratives, fostering new understandings of global interconnectivity and artistic innovation in an era of accelerating change. The art represents a media fusion of interactive artificial intelligence (AI) and virtual reality (VR) driven-pieces, video installations, textiles and performance.
With emphasis on digital technology and data-driven systems (i.e., AI), we aim to illuminate the omnipresence and physical implications of data and its potential for creative appropriation. The exhibition will reveal the untapped possibilities of digital realms to reflect and enhance our ecological sensibilities, while converging the artists, their artworks, scholars and practitioners from across disciplines (including engineering, energy, computer science, business and communication). By exploring how human interaction with digital infrastructure can serve as a conduit for critical and creative practices that honour and advance ecological harmony, the exhibition begs audiences to contemplate the role of technology in a sustainable and equitable future. It is a call to action – a reminder that in the quest for ecological balance, creativity and innovation can lead the way in transforming our collective consciousness and societal structures.
Butterfly: Glo-cal effects of data, energy and industry will be an AI-driven interaction new media and performance art exhibition co-curated by Associate Professor Rebekah Rousi (VME Interaction Design Environment, University of Vaasa, Finland), Associate Professor Toija Cinque (Critical Digital Infrastructures and Interfaces (CDII) research group, Deakin University, Melbourne, Australia), Aska Mayer (University of Tampere, Finland), and Associate Professor Esteban Guerrero Rosero (University of Umeå, Sweden). We additionally have the assistance of Interior Designer Lyndsey Morley (UK and Finland).
References
Naess, A. (1973/1990). Ecology, community and lifestyle: Outline of an ecosophy. Cambridge University Press.
Palmer, T. N., Döring, A., & Seregin, G. (2014). The real butterfly effect. Nonlinearity, 27(9), R123.
Yorke, J. A., & Li, T. Y. (1975). Period Three Implies Chaos. American Mathematical Monthly, 82(10), 985-992.