Amelie

The omission of self awareness, 2025 Interactive installation, coded in p5.js with ml5.js body tracking presented at RMIT Open Day, 2025 Please read below for more information about my research (sorry about the mini essay :P) In developing this work, I investigated body-tracking applications in virtual reality and translated behavioural analysis outputs into symbolic poses that appear above participants’ heads. The glitchy aesthetic tied with the removal of the audience’s reflection from the work reflects digital realities. The Omission of Self Awareness is situated within a broader research project, What is it that it is (2024–ongoing). This iteration of research was focused on the application of play through digital media artworks to facilitate critical reflection on an issue. The work tracks the user’s body to generate skeletal outlines and pose estimations, revealing the imperfect yet authoritative ways technology interprets human form. The work explores perceived privacy and self-perception, acting as a playful reminder of the faults and capabilities of technology when capturing data. Thus, it is able to tie in discussions surrounding the manipulation of perspectives of the self and the impacts of erasure of body. Thus, it positions error as both a site of humour and critical awareness surrounding capitalist-driven digital realities. Glitched, faceless and interactive. The work ties together narratives surrounding surveillance, body, the flattening of intersectional identities and connection. The work is designed to interact with multiple users, with the maximum tested capacity currently sitting at 12 bodies.

Visuals from RESPITE 2.0 Made with touch designer and a focus on parametric equations Was so privileged to work with @fozza.presents and many wonderful artists 👾 Checkout my set in fozza’s youtube or keep an eye out on Soundcloud More project documentation coming soon 💻

Algorythmic Mediatations, 2025 Is a projected installation that visualises and generates sound akin to a meditation using a program coded in p5.js. The audience is invited to trace the projections using charcoal, becoming a tool that transforms something digital into physicality. The interactive nature of the work allows the audience to consider the impact of algorithmic systems on personal subjectivities. What this work revealed was unexpected. In 2025, Algorithmic Meditations was installed at RMIT Fine Arts Graduate exhibition, and there was an invitation for viewers to trace the projection. Even with this clear instruction, human instinct in the form of ‘rebellion’ shone through. What we see here is that without prompt, the audience has created a collaborative artwork that symbolically rejects the notion that we are tools or can be manipulated and controlled by an algorithm. Slide 3 shows the work after 5 days of installation

C. Me 2025 Can the digital world be repurposed to become a space for community building and idea sharing through understanding the systems that control it? c ME, 2025, explores how self-identity, shaped by digital infrastructures, affects our ability to connect with others and engage critically with the world. Revealing the code behind webcam filters is an act of transparency that seeks to make visible the mechanisms shaping our sense of self, and thus re-humanising our digital existence. The work envisions a form of love that extends toward the cyborg self: the fragmented, networked identity that exists beyond the body. In doing so, c ME, 2025, asks how love might survive and even flourish within systems built to divide and quantify it. Slide 1 - C. Me, 2025, video 0:15-1:00 Slide 2 - C. Me, 2025 at Counihan gallery summer show Slide 3 - C. Me, 2025, RMIT Graduate exhibition 2025

My work earlier this year @ pop pop From Glen Waverley 01, 2025 - Feelings of dissociation are often associated with personal experiences of disengagement from experiences.This is exactly what I was seeing around me when travelling on public transport. How do we understand spaces we are in, if we don’t take time to appreciate the contexts in which we exist. These works layer phone footage from journeys on a series of ptv lines, layering them into abstraction until nothing is recognisable, a replication of the dissociation from experience.

The more I interact with you online, the less able I am to form a meaningful conversation... Tangled interface inputs (1/3) (2025)

Shorts

Curated and brought to you by: Amelie Vorchheimer and Hannah Ogawa Professional Business present to you an initial happening: `A fragment’ A night of art, DJs, visuals and interactive installations. �An art exhibit, house party and rave.... To crack. Naturally or forcefully. The end and a beginning. A rebuild. Fragment as the beginning of a breaking, a going against. Pointing out the flaws of a built component. A section that has been placed under pressure as the tension causes it to crack… Questioning meaning and meaninglessness through fostering dialogue around value and commodity within the capitalist society. Asking questions through expressions, through removing self and questioning the self in context. Destructing and rebelling against systems that limit us, and creating a space to thrive, dance, share fostering community and diversity. Using our art to cultivate a refusal to binary’s within institutions and society. A happening to manifest dismantling and rebuild through a fragment of society. Artists Ash Dor-Schiffer @cherrypepper_1 Dhishni De Silva @Dhishni_art Emma Salmon @pussbah Hannah Ogawa @Hannah.ogawa Neve Robinson @neveviolet Poppy Skipper @whileiwaitforthepainttodry Sophie Johnson @ratman_639 Tallulah Ainsworth @artkidtallulah Ash @_.01.00.00.01._ Babette Emery @gutt33r Kilian Höppner @KilianHoppner Lia Mills @slimmail Amelie Vorchheimer @amelie_vorsh Willow @w.llowx DJ’s Soviet K @keviinkhan Rafi Gordon x Dr. Ooway @rafi.gordon @hannah.ogawa Làn x Ethan @ethan._.tsang VJs Dr. Oogway /a-fragment

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