Deep Assignments #03

• Human Movie by Eryk Salvaggio
• Diffeomorphism (Submerged) by Tim Murray-Browne

• Matt Spendlove - live multichannel a/v work

• Artist panel discussion and audience Q&A.

7 - 11pm on 4th December 2025 at Apiary Studios, Hackney Road, London.

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Eryk Salvaggio’s award-winning 35-minute video essay contrasts computational processes of AI with the human metaphors used to describe them. An expressionistic blend of live performance, glitched AI-generated sound and video, archival and found footage, and digital compression artifacts. Human Movie is not about machines at all, but asserts a humanist counterfactual to comparisons between human thought and generative AI. In this presentation, the film is presented as intended, with a live narration of the film by the artist followed by an open audience discussion.

has been a digital artist since discovering the world wide web as a teenager in the late 1990s. Working “with and against AI,” his practice is grounded in a humanist critique of AI. He has presented work and ideas at The Photographer’s Gallery and The Turing Institute in London, the Jeu de Paume and Centre Pompidou in Paris, at the New Museum in New York City, Unsound Festival (Krakow), South by Southwest, and at the Australian Centre for the Moving Image and National Communications Museum in Melbourne.

Diffeomorphism is a half-decade long journey contemplating what the proto-perception of AI has to reveal about how intelligence emerges in the universe. Beginning in 2021 having overloaded a StyleGAN3 model with my whole lifetime’s catalogue of photos, I’ve been exploring its nature through its flaws and imperfections. Presented here is unfinished work-in-progress, an audio-visual meditation, an attempt to share something of this medium of emergent perception, flawed yet eerie, and a mirror through which we might catch a glimpse of one of the building blocks of our intelligent universe.

computational art foregrounds the moving body, embodied thinking and the wild messy chaos of being human. He studied maths and computer science at Oxford and completed a PhD about interactive sound installations at Queen Mary University of London. In the 13 years since, he’s collaborated with dancers, sculptors, musicians and researchers to create interactive installations and performances. These include training AI models to interpret live dance into sound, installations inviting people to explore algorithmic worlds of light, image and sound through movement of their body, and an award-winning ensemble of bespoke musical instruments played exclusively by the audience (still touring after 12 years). He’s hustled work into the atriums (atria?) of Tate Modern, Barbican, the V&A, and into the galleries of Arbyte, the Centre for Contemporary Art Glasgow, and the Leonardo da Vinci Museum of Science and Technology in Milan. He’s a slow thinker, he spends too much time in the studio and not enough time on social media.

is an artist from London who creates installations, audiovisual performances and sonic artefacts. Across these situations he explores spatial ambiguity, structural form, waveform materiality and the illusory contours of psychophysics.

His work channels the dynamics of sound system culture by incorporating low frequency vibration alongside hacked code and optisonic experiments. He combines a preoccupation with emergent behaviour, rule based repetition and chaotic systems to generate enlivened visual stimuli and shape dubbed out, cracked and reductive sonics into audible geometric form. Through textured intricate production, his shows bring corporeal presence carved out with a minimalist’s scalpel.

International commissions, recordings and performances have included Mutek, Montreal; High Zero, Baltimore; Unsound Festival, NYC/Krakow; Club Transmediale, Berlin; Filmwinter, Stuttgart; Algorithmic Art Assembly; San Francisco; E-FEST, Tunisia; MoTA Gallery, Ljubljana; Cafe OTO, London; Melbourne International Film Festival; Metro Arts, Brisbane; and Serralves Museum, Porto.

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