Through his transdisciplinary practice, Adam Gibney uses electronics, coding, sound and digital fabrication to examine how knowledge is produced and consumed across different epistemological frameworks. His work engages scientific, philosophical, spiritual and esoteric approaches to understanding reality, using live computational processes to create intra-active artworks that question and destabilise the assumptions underpinning these systems.
Projects
Commissioned Artist
Adam Gibney
Memoir 1: Trust We
Conceived to live in people’s homes rather than the gallery, the work is a distributed network of electro-fitted domestic vases, each built by its participant from a supplied kit. Each vase begins as an unused vessel from a Dublin charity shop, fitted with electronics left semi-exposed so the making stays visible. An external sensor reads outside temperature against historical records for that place and date. Only when all three vases independently confirm a daily heat record has been broken does the work activate: a scent is released, a sound marks the moment, and the participant is invited to respond to a single open-ended question. Each broken record prompts one question word, and the responses gather into a new kind of Ordnance Survey Memoir archive.
Met Éireann
Smell
Hear
Commissioned Artist
Cailean Finn
Cailean Finn (b. 1997) is a media artist, creative technologist and researcher from Waterford. His work examines our relationship with machines through dialogue with computational tools, shaped by computational histories and emerging digital cultures. His practice spans creative coding and electronics, game and web design, and artificial intelligence, currently focused on artificial life and the aesthetics of behaviour in agentic systems.
Power Creep
A sculptural work examining the relationship between Ireland’s energy landscapes and the expanding demands of digital infrastructure driven by AI. Borrowed from gaming culture, power creep describes the gradual escalation of power within a system, where continual growth is required to maintain relevance. Fragmented online digital vernacular is processed through a language model, its output distributing commands to an automated typewriter. The typewriter acts as both interface and historical artefact within the computational stack, materialising the resource-intensive infrastructures obscured by the metaphor of the cloud.
Digital vernacular video; real-time wind energy statistics from EirGrid
See
Hear
Commissioned Artist
Shane Finan
Shane Finan assembles artworks from interactive contemporary technologies, found objects and traditional artistic media. His practice is rooted in rural environments and examines the entanglements between human and nonhuman technologies.
CPR
An artwork considering the entanglement of life and technology in the ocean, drawn from the experiences of plankton. The Continuous Plankton Recorder has been counting plankton across the world since 1931, helping researchers understand climate change, ocean acidification and the spread of microplastics. The installation is collaborative: two people are needed to activate it. One blows into a cone, based on the cone atop a CPR device, which triggers audio and video for another visitor across the room. The work keeps playing only as long as the first person keeps breathing — plankton provide around half the oxygen in our atmosphere, and the piece asks one person to sustain another.
Continuous Plankton Recorder (100 years of data); Marine Institute of Ireland
Hear
See
Touch
Commissioned Artist
Clíona Harmey
Clíona Harmey is an artist and educator working primarily with media technologies and sculpture, at scales ranging from large public artworks using live data to small ephemeral modular systems for galleries. Her recent practice responds to contexts where the global and local intersect: climate, borders, transit, maps. She lectures in the Media Department at NCAD.
Gnomon V1
The research explores ecological awareness while considering light, its orientation, intermittency and distance in relation to sunlight. A gnomon is the shadow-casting element of a sundial, from the ancient Greek gignōskein, meaning to come to know. The touching of data using tactile experimentation and a frugal approach to imaging and power usage is integral to the work. Gnomon V1 employs a solar-powered miniature camera that usually sleeps, waking once a day to take an image, recording light data at a particular time to produce a long-term visual trace.
Met Éireann data alongside self-generated data from the solar device
See
Touch
Robert Collins — code, hardware and power management
Commissioned Artist
Fiona Mc Donald
Fiona Mc Donald (IE) is a media artist working at the intersection of art, ecology, and technology. She holds a BSc in Biological Chemistry from the University of Ulster, a BA and MA in Fine Art from NCAD, and an MSc in Multimedia Systems from TCD. Her current research explores carbon cycles and more-than-human temporalities through Ireland’s restored peatlands recovering from decades of peat extraction. Working across sculpture, installation, print, hardware, and code, her small-file methodology resists speed and scale, attuning instead to ecological time: slowness as resistance and care.
Inhale – Exhale Cloud Chamber Flux (868MHz)
This research explores the changing carbon dynamics of rewetted peatland ecosystems through the development of a low-power LoRa network, wearable devices and distributed performance. Floating and ground chambers measure CO₂ flux from still water and peatland ecology, with live environmental data transmitted via a low-power LoRa network to multiple performers, creating a distributed, embodied performance responding in real time to ecological processes. A transparent automated chamber houses a living sphagnum moss ecosystem under ultraviolet grow lights, absorbing carbon dioxide. Performers unfold rectangles of cloth in sequence over the chamber—white, transparent black, dark black—echoing climate-science protocols used to simulate light conditions and calculate net ecosystem carbon balance. Gestures of calibration and care become choreography.
Antennae operate as devices for listening to distant signals and unseen forces: simultaneously scientific instruments, sculptural forms and ritual objects, connecting bodies, machines, landscapes and atmospheric processes. Through low-power infrastructures, durational processes and embodied acts of attention, the performers become custodians of an enigmatic past-future in which ecological sensing, restoration and ritual action converge.
CO₂ flux data from floating and ground chambers, transmitted live over a LoRa network
See
Touch
Hear
SEED project DCU, The Arts Council of Ireland, National Parks and Wildlife Services (NPWS), Parity Studios UCD
Marks Jaliseve, Electrical Engineering, DCU
Director, producer and co-script Fiona Mc Donald; cinematography and editing Lynda Devenney; commissioned poems and co-script Jessica Foley
Stefan Hanly, Luke Casserly, Bryony Archer, Helen Flannagan, Fiona Crawley, Iseult Aiken
Commissioned Artist
István László
István László is an interdisciplinary artist working at the intersection of sculpture, extended reality and archival data. His practice examines how digital objects, once embedded in networks of extraction, infrastructure and computation, can be reconfigured as sites of reflection and public engagement. Rather than presenting data as abstract information, he treats it as material: sculptural, relational and responsive.
Bedeguar
Bedeguar completes Signal Ecologies, a three-year investigation using insects as models for thinking about technological power. The series moved from parasitism (Ormyrus nitidulus, 2024), the one-sided taking that mirrors how platforms extract value from those who supply it, through mutualism (Osmia caerulescens, 2025), to this generative case: the encounter between a gall wasp, Diplolepis rosae, and a branch of wild rose. In the video the camera circles the branch with the slow attention of a researcher at a bench. Out of the encounter grows the bedeguar gall, part wound and part architecture, a habitat in its own right. When the gall completes, the screen offers a code; scanning it lifts the gall into the room at the scale of a monument, so the visitor has to move around it to see it.
Scientific and citizen-science biodiversity data; specimen collections and taxonomic expertise
Touch
See