Sebastiaan Zwezerijnen

the Legend of Planet K42


Wat gebeurt er met een game wanneer je alles overlaat aan een algoritme? Met oneindig veel mogelijkheden qua level layouts, vijanden, wapens en spelregels speel je de meest onvoorspelbare game ooit!
Vecht met een procedural generated tank tegen een boosaardige buitenaardse A.I. die alles in de game veranderd om het jou zo moeilijk mogelijk te maken. Heb jij het in je om de onvoorspelbaarheid te trotseren van ‘the Legend of Planet K42’?





What happens to a game when you let an algorithm decide everything? With an endless variety  of level layouts, enemies, weaponry and game rules this is the most unpredictable game you will ever play!
Fight in your procedural generated tank with an evil alien A.I. that tries to change anything in the game to make it as hard as possible. Have you got what it takes to conquer the unpredictability of ‘the Legend of Planet K42’?


Willem Kempers

Methods of Learning



Artificiële intelligentie, computer systemen die kunnen leren en op hun bevindingen reageren, is in opkomst. De stijging in interesse komt door verbeteringen aan neurale netwerken, statistische modellen die zijn gemaakt naar het evenbeeld van biologische breinen. Vrijwel iedereen is dagelijks in contact met neurale netwerken, ze worden bijvoorbeeld gebruikt in je smartphone, verzorgen je Facebook feed en voorspellen welk product je online zou willen kopen.
In het werk ben ik op zoek gegaan naar het verschil in leren tussen mens en neuraal netwerk. Waar een neuraal netwerk leert door zo vaak mogelijk over de data te gaan, leren mensen vaak door associaties te bedenken en door het leggen van ezelsbruggetjes. Dat mens en machine op twee verschillende manieren leren betekend echter niet dat de een beter is dan de ander. Juist door samenwerking kunnen nieuwe inzichten ontstaan, dit is wat Methods of Learning probeert te laten zien. De ene kant van elk canvas staat voor het leerproces van de mens, de andere kant wordt bestuurd door een neuraal netwerk. Door samenwerking, waar de laser lijnen elkaar kruisen, ontstaat langzaam een cirkel.





The field of artificial intelligence, computer systems that can learn and act based on their findings, is gaining in popularity lately. The upsurge in interest is due to improvements to neural networks, statistical models created after the image of neurons in biological brains. Almost everyone interacts with neural networks on a daily basis: they can be found in your phone, control your Facebook feed and predict what product you might want to buy online.


Methods of Learning is an investigation into the the differences in learning between humans and neural networks. Whereas a neural network learns by crunching as much data as possible, humans tend to learn by associations and use tools to help them learn material faster. This difference doesn’t necessarily make one method of learning better than the other, both have advantages and disadvantages. A more collaborative approach towards artificial intelligence might bring new insights and possibilities in almost every subject.


Methods of Learning displays the benefits of a collaboration between humans and neural networks by learning to draw a circle. The left side of each canvas represents a more human type of learning: using mathematics to think around the problem of drawing a circle. The right side of each canvas is controlled by a neural network, which learns how to draw a circle from data.



Why don’t humans have patterned texture? Humans will be able to get it.

Kouhei Nakama over his work:

This work begins with my encounter with mathematical formulas, Reaction-Diffusion Systems. It is reported that patterns generated by the systems have similarities to natural patterns of animals, insects and plants. It is also pointed out that this pattern could be the basis of the morphogenesis of an organism. Just after the encounter with the formulas, I had a question in my mind. Why isn’t human skin covered with patterns? As I researched, I found that human skin is also covered with the pattern, Blaschko’s lines. The stripes are ordinarily invisible with the naked eye, because they are very vague.

I consider that there is the possibility that people could obtain patterns like animals in the future. We have found solutions for the environment, medical treatment and food by using biotechnologies such as cell fusion and genetic recombination. In the future, if we have a drastic environmental change – for example, radioactive contamination or strong UV radiation due to the ozone depletion – we would need to recombine our DNA with different species’ for protection. Consequently, human skin could gain patterns. People have a long history of tattooing on the body for religious, cultural and decorative purposes from ancient times. If it were possible to wear tattoos with no hurt, people would do that by genetic recombination.

I didn’t use any photographs or any hand-drawn illustration in the video at all on purpose. Patterns and the skin texture were generated by programming and the human model was made not by using 3D human body scanning but by completely using a computer. I demonstrated the theme “to artificially modify the human bodies” by following the rules. In the video, you’ll see human beings having DNA transferred from other natural organisms such as luminescent coral and a shell absorbing metal into its body. In the end, I explored the possibility further and humans formed a colony of individuals, which represents the end of individuals. To what extent will we transform ourselves? Then what will be the definition of human beings?

Vladimir Grafov


Lichtkunstenaar en natuurkundige Vladimir Grafov brengt nieuw werk mee naar GOGBOT. Grafov werkte in het verleden met veel bekende kunstenaars samen, zoals bijvoorbeeld met Dick Raaijmakers, Erik Hobijn en Shu Lea Chang. De laatste jaren werkt Grafov steeds meer als autonoom kunstenaar.



Light artist and physicist Vladimir Grafov brings new work to GOGBOT. In the past Grafov worked with many well-known artists, such as Dick Raaijmakers, Erik Hobijn and Shu Lea Chang. In recent years Grafov works more and more on his own oeuvre.


Abacus trekt met Timecruisers en Wastelanders in een parade door de stad. Een theater van reusachtige fantasievoertuigen en steltlopende creaties die lijken te zijn ontsnapt uit de toekomst, of.. het verleden? Met grote wielen, vleugels en straalmotoren bedwingen ze de Tijd! De Wastelandpiraten van de toekomst bouwen voertuigen van het afval van onze beschaving in een postapocalyptische zoekzocht naar de toekomst..



VJIT³ was born in 2010 from the encounter between Francesco Iezzi, Dalila D’Amico and Maria Costanza Barberio. The project derives from different suggestions: philosophy, cinema, music, and dance. The main aim is creating a language that combines these different ways to see the reality. The live performances are the result of an aleatoric method that blends the interest for the minimal geometry and the empty space with the interaction between video and music. Sound frequencies interrupt the geometric order, confering a part of randomness to the studied visual creation.
The collective works with the most representative producers of the electronic scene as Alva Noto, Dasha Rush, Kangding Ray, Jon Hopkins, And, Christian Fennesz, Minilogue and many others.
The constant research in the field of performing arts and visual art has gave birth to different video mapping  performance in the urban space, (some of these are visible on the you tube canal of the group) and in theater like “Amen” (2011), performance dedicated to Pier Paolo Pasolini, “Per Caos” (2014) an interaction between sound, body and video. Lastly, part of the VJIT³’s work is dedicated to video art. The videos highlight a little aspect of the reality that isolated becomes a universe and a key of acces to the world.
Recently VJIT³ has started the fruitful collaboration with the electronic musicians Outpostlive. The research that both collectives are doing currently focuses on the connection between the inner movement of the nature (the macrocosmos and the microcosmos) and the dark movement of the sound. The video Physalis, (Ariam records, 2016) represents the starting point of this research.
Currently VJIT³ and Outpostlive are working on the concepts of singularity and the phenomenon of the gravitational wave.

Maartje Dijkstra


Modeontwerpster Maartje Dijkstra maakt barokke futuristische kleding met behulp van 3D printing technieken. In de video Brain Drain zien we hoe ze speelt met verleden, heden en toekomst door klederdracht van het Groningse platteland te vertalen naar een futuristische vormgeving.



Fashion designer Maartje Dijkstra creates Baroque futuristic clothing by employing 3D printing techniques. In the video Brain Drain we see how plays with past, present and future by translating Dutch folk costumes from the Groningen area to futuristic design.

Jelle de Graaf

Jelle de Graaf is een kunstenaar uit de bloeiende creatieve broedplaats Studio Complex te Enschede. Aan de lopende band creëert hij grote sculpturen uit gerecycled materiaal, zoals robots, reuzepony’s, punkrobots en skulls met laserogen. Ook is hij steeds meer gevraagde gast voor het optuigen van internationale festivals zoals Defcon en Extrema Outdoor. Dit jaar geeft hij op GOGBOT vorm aan de beruchte Zombie Arena, met daarin een echte zombie proof vehicle van zijn hand.


Arno Coenen


Al vele jaren ontwerpt kunstenaar Arno Coenen een mascotte voor de poster van GOGBOT. Dit jaar creëerde Coenen, inmiddels bij velen bekend vanwege het prachtige ontwerp dat hij in samenwerking met Iris Roskam voor de Markthal in Rotterdam maakte, een typisch GOGBOTiaanse cyborg. Arno Coenen’s werk is niet te missen en onmiskenbaar GOGBOT!




Artist Arno Coenen has been creating mascots for the GOGBOT poster for many years now. This year Coenen, famous for the beautiful design he made in collaboration with Iris Roscam for the Rotterdam Markthal, a typical GOGBOTian cyborg. Arno Coenen’s work is not to be missed and unmistakably GOGBOT!