Luke W. Robson "2030" 
Cross-discipline, interactive and immersive experiences, incorporating new technology alongside traditional scenography. My practice often explores the didactic nature of utopia and dystopia and exists in the intersection between science fiction and science fact. Drawin on the history of surrealism, cinema, dystopian and the role technology plays in our contemporary society. I am particularly interested in the progress of artificial intelligence and role of virtual assistants in a fully automated world. I am committed to making work that is complex and challenging, exploring an intense sensory experience. 
‘2030’ will be exhibited in Cambridge in April 2019 as part of a major public showcase. This project is a collaboration with Crowded Room, a formally inventive theatre company based in London, whose previous shows include; ‘The Heart of Adrian Lovett’ and ‘The Listening Room’. ‘2030’ was commissioned by Collusion as the culmination of their three year in collusion programme aiming to explore the intersection of art, technology and human interaction. The project will manifest in an immersive installation with live performance that introduces an audience at the party of a young professional in the near-future. The show has been researched by drawing on opinions from around the world about the advancement of Artificial Intelligence and Virtual Assistants. More broadly the work explores wealth disparity and the housing crisis in the UK and is a direct response to the United Nations’ Sustainable Development Goal that aims to ensure 'no-one is left behind'. My ideas for the project have been Influenced by the ‘Parlour’ in Fahrenheit 451 by Ray Bradbury and the spatial instillations of Do Ho Such, James Turrell and Massimo Uberti. Moreover, the work draws on contemporary visual artists including Alan Kwan, Benedict Drew and many of the instillations at last year’s Ars Electronica Festival in Linz, Austria. In its final form, the piece should provide a surreal, (yet realistic) look at our increasing reliance upon technology, in particular virtual assistants. By combining a large sculptural instillation with live performance and highly-rendered video projection the work will blur the boundaries between art, theatre and technology. 
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