2021 | Uzu013ai

The REA track produced seminal work on the ethical assessment of unsupervised models:

In the landscape of contemporary digital art, the year 2021 stood as a pivotal moment of reflection. As the world remained locked in a state of digital dependency due to the global pandemic, artists were forced to confront the limitations and possibilities of the "virtual." It was in this atmosphere that the art collective MSHR—composed of artists Brenna Murphy and Birch Cooper—reinvigorated the discourse around technology and ritual through works widely associated with their 2021 cycle, often referenced under the moniker "Uzu" (Whirlpool). Through a complex layering of analog synthesis, 3D modeling, and sonic architecture, MSHR’s work in 2021 did not merely depict a digital future; it unearthed the ancient, mystical undercurrents buried within the circuit board.

The term "Uzu," translating to "whirlpool," serves as the perfect metaphor for MSHR’s artistic philosophy. A whirlpool is a structure defined by movement and absorption; it is a natural phenomenon that resembles the manufactured spirals found in Murphy’s digital sculptures. In their 2021 exhibitions and digital releases, the viewer is not treated as a passive observer but is instead sucked into a vortex of light and sound. Unlike much of the "post-internet" art of the preceding decade, which often focused on the cold, detached irony of screen culture, MSHR’s work is hot, immersive, and intensely organic.

Central to the impact of MSHR’s 2021 output is the duo’s unique approach to technology: the "system." They do not view their hardware and software as neutral tools, but rather as living entities. Their installations often feature custom-built analog synthesizers housed within sculptural totems. These are not static objects; they are breathing machines that generate a constant, evolving drone. In the context of the "Uzu" works, this sonic layer acts as the current driving the whirlpool. The sounds are raw and electronic, yet they mimic the rhythms of biology—the pulse of a heart, the rush of water, the firing of synapses.

Visually, Brenna Murphy’s contribution to the work creates a stark contrast to the analog grit of the sound. Her 3D renders are pristine, hallucinatory temples constructed from repeating geometric primitives. In 2021, these virtual spaces became sanctuaries. As physical galleries remained difficult to access, Murphy’s intricate digital environments—often presented as walkthroughs or still images—offered a meditative escape. However, these were not escapist fantasies; they were maps of a consciousness expanding to fill the digital void. The "Uzu" spiral appears here as a recurring motif, a labyrinthine path that twists in on itself, suggesting that the way out of the digital maze is to go deeper inward.

What makes the 2021 "Uzu" cycle significant is its blurring of the boundary between the artifact and the instrument. In MSHR’s world, the sculpture is the synthesizer, and the video is the score. This integration hearkens back to the utopian visions of the 1960s and 70s, where artists like the Vasulkas or organizations like Experiments in Art and Technology (E.A.T.) sought to create a cybernetic feedback loop between human creativity and machine logic. MSHR updates this for the 21st century, stripping away the corporate sheen of modern tech and replacing it with a DIY, almost shamanic aesthetic. uzu013ai 2021

Ultimately, the "Uzu" works of 2021 serve as a reminder of the potency of the "hybrid." In a year where the distinction between "real" and "virtual" was aggressively eroded, MSHR offered a third path: the mythological. They transformed the anxiety of the digital age into a form of techno-paganism. By entering the whirlpool—the "Uzu"—the audience is not consumed by the machine, but rather finds within it a new kind of spirit. The work suggests that even in the most sterile digital geometries, there is a heartbeat waiting to be amplified, and that the vortex, rather than a trap, might actually be a portal.

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The name “Uzu013AI” reflects the conference’s interdisciplinary roots:

The inaugural planning committee convened in late 2020, motivated by two overarching questions:

These questions guided the call for papers, the design of shared evaluation suites (the UzuBench), and the inclusion of a dedicated Responsible AI track. The inaugural planning committee convened in late 2020,

The CLIP‑Style architecture (Radford et al., 2021) inspired a new generation of joint embedding models:

If you hold this identifier from a transaction record:

For years, the prevailing narrative around AI was defined by "narrow intelligence"—systems brilliant at one specific task (like recognizing a face or playing Go) but useless at everything else. 2021 was the year this paradigm began to fracture.

This was the year of the "Foundation Model." The release and rapid proliferation of models like CLIP and DALL-E by OpenAI signaled a seismic shift. Suddenly, AI wasn't just categorizing data; it was understanding concepts. It was the moment machines demonstrated they could grasp the relationship between text and image, not by brute force, but through a form of digital intuition. When an AI can generate an image of "an armchair in the shape of an avocado," it is no longer just computing pixels; it is hallucinating creativity.

By 2021, the "black box" of neural networks began to show glimmers of reasoning. The technology moved from recognizing patterns to synthesizing new realities. It was the year the "Generative Era" truly began, setting the stage for the explosion of ChatGPT and Midjourney that would follow shortly after.