Mediation As World Condition
Nature, archive, body, memory, and sound are encountered through devices, models, cameras, prompts, interfaces, compression, and partial recollection.
computational arts duo
founded 2018
Valdivia, Chile
audiovisual systems
ecological archives
AI as instrument
Hypereikon is the artistic duo of María Constanza Lobos and Sebastián Rojas.
Founded in 2018 and currently based in Valdivia, Chile, the collaboration emerges from sound arts, live systems, digital culture, scene-based experimentation, and autonomous technical research. That root continues to shape their work across image synthesis, immersive installation, web interfaces, and AI-driven audiovisual systems.
Their practice moves across generative audiovisual performance, immersive installation, moving image, and web-based systems. They build computational environments where sound, authored image and video synthesis, creative coding, data workflows, custom interfaces, and real-time processing behave as one compositional field.
Working with ecological datasets, field material, archives, and generative models, they approach AI as an instrument for navigation, selection, transformation, and recomposition. From a southern Latin American perspective, their work investigates how ecology, memory, perception, and technical infrastructures shape one another.
mediation as ecology
archive as living matter
sound as temporal root
system as instrument
The work is held together by recurring forces.
Archive As Living Matter
The archive does not preserve the past intact; it mutates, decays, returns, recombines, and becomes environment.
System As Instrument
Technical systems are touched, tuned, pressured, listened to, bent, and recomposed as instruments of perception.
Threshold Forms
Organisms, images, datasets, and landscapes appear in states of latency, emergence, contamination, and transformation.
A living map of works, systems, materials, and contexts.
Hypereikon moves through installation, performance, moving image, web systems, teaching, and studio-based audiovisual pipelines. Across those forms, continuity appears through methods, source materials, technical behaviors, and circulation conditions that keep each work connected to the wider practice.
Sound, scene, live systems
Early work forms around sound, live coding, collective learning, performance, and affective technical experimentation.
Artificial imagination
Latent-space navigation, cryptoart, digital materiality, platforms, and metadata become part of the work's ontology.
Bodies of work and scale
Generative image systems expand into immersive environments, multi-screen installation, expanded cinema, and live A/V performance.
Living archives and web organisms
Current research folds ecology, archive ingestion, AI workflows, custom interfaces, and audiovisual worldbuilding into networked systems.
Works move through formats.
A project may surface as installation, performance, moving image, web interface, dossier, workshop, or archive. The public form changes while the underlying system logic persists.
Materials behave as active matter.
Ecological datasets, field images, sonic residues, archive fragments, model outputs, code, documents, and circulation traces are treated as compositional substances.
Technique is part of the authorship.
Pipelines, interfaces, live synthesis, data workflows, and AI systems are tuned as instruments of perception, shaped by their limits, rhythms, and opacities.
Worldbuilding is situated.
Valdivia, southern Latin America, rainforest ecologies, precarious infrastructures, platform circulation, and institutional contexts shape how the work understands technology.
sound as temporal root
archive as living matter
AI as critical instrument
post-natural ecology
digital circulation
situated technique
Exhibited, performed, taught, and developed across art, music, technology, and institutional contexts.
Hypereikon's public presence moves between expanded cinema, live audiovisual performance, immersive installation, workshops, experimental music, creative AI, web-based systems, and commissioned worldbuilding. Its record follows works as they are performed, installed, taught, circulated, documented, and rebuilt through changing technical conditions.
Teatro Biobío / Toda la Teoría del Universo
Festival inauguration / audiovisual concert, Concepción.
Palacio Libertad + Magma Futura
oOteca presented across Buenos Aires and Montevideo.
MUTEK Buenos Aires / Artlab
Live A/V performance within an international electronic arts context.
FICValdivia Expanded Cinema
Installation and performance contexts in Valdivia.
NAVE / Conexiones Transitorias
Stage collaboration and program context in Santiago.
NeurIPS, Refraction Festival, NFT Paris
Talks, screenings, exhibitions, and early digital-art circulation.
Generative audiovisual performance, immersive installation, moving image, web-based organisms, and speculative digital ecologies.
Workshops and talks around AI image/video, creative coding, black-box critique, live systems, and technical agency.
Commissioned worldbuilding, web motion graphics, audiovisual identities, production pipelines, and computational visual systems.
selected works
01Interconexión::DataStreamGenerative web observatory / ecological archive organism.
02Our Mediated NatureImmersive installation / live coding / mediated ecology.
03oOtecaLive A/V performance around latency, pressure, and emergence.
04Unearthing Latent ArtifactsGenerative A/V work on nonhuman perception and synthetic archive.
05NiCTINASTiADome-oriented moving image / algorithmic terrarium.
06<checkpoint/ Latencias<<Generative moving image and live A/V around memory drift.
INTERCONEXIÓN::DATASTREAM (2024-ongoing)
Interconexión::DataStream is a generative web observatory built from ecological datasets, field material, and archive-based transformation. Drawing on localized material from the Valdivian rainforest and southern Latin America, the project reorganizes image, sound, and textual traces into unstable forms that evolve through interaction, treating ecological memory as an active audiovisual system.
The project combines localized multimedia datasets, biodiversity archives, field textures, sound, and archival material with custom AI workflows and a responsive web interface. Interaction continuously reshapes the system’s visual, sonic, and behavioral states in real time.
archive ingestion
AI workflows
web organism
interactive mutation
Format and technique
A generative web platform and possible installation environment that brings ecological datasets, field images, sound, text, archive ingestion, AI processes, and real-time web visualization into one navigable system.
Research threads
The project activates archive as living matter, post-natural ecology, situated technique from the south, and system as instrument. Ecological memory appears here as mutable matter, held in movement through interface, image, sound, and interaction.
Circulation
Interconexión::DataStream unfolds between web observatory and installation environment, where browser interaction, exhibition architecture, and live audiovisual situations keep ecological archives in motion as mutable image, sound, text, and interface.
Our Mediated Nature (2024)
Our Mediated Nature is an immersive audiovisual installation that examines how technical systems shape the perception of ecological phenomena. Through generated imagery, live coding, real-time video synthesis, and responsive sound, the work constructs a spatial environment in which image and sound operate as a single evolving perceptual field.
Developed from research within the residues of the 1960 Valdivia earthquake, the work uses analog noise, signal fragments, and installation-based spatial memory to produce a visual archaeology of geological persistence.
field residue
live code
video synthesis
immersive encounter
Format and technique
An immersive audiovisual installation and multi-screen environment built through generated imagery, visible live coding, real-time video synthesis, responsive sound, and exhibition surfaces that behave as one changing perceptual field.
Research threads
The work is central to Hypereikon's language around mediation as world condition, sound as temporal root, post-natural ecologies, and technical systems as instruments of perception.
Presentation context
Presented in 2024 at Palacio Libertad (ex CCK), Buenos Aires, and FICValdivia Expanded Cinema, Valdivia.
oOteca (2025)
oOteca is a live audiovisual performance organized around latency, containment, pressure, and emergence. Structured through real-time generative systems, the work moves from minimal and suspended states toward unstable hatching processes, treating image and sound as coupled materials under tension.
The piece approaches life and agency as threshold conditions shaped by pressure, adaptation, and transformation.
containment
latency
pressure
emergence
Format and technique
A live A/V performance composed through live coding, image synthesis, real-time audiovisual transformation, and sonic composition. Its technical system performs incubation, pressure, latency, and emergence as live behaviors.
Research threads
oOteca connects metamorphosis, latency, threshold forms, sound as temporal root, post-natural ecology, and system as instrument through the figure of the insect egg case.
Presentation context
Presented in 2025 at Palacio Libertad, Buenos Aires, and Magma Futura, Montevideo.
UNEARTHING LATENT ARTIFACTS (2024)
path: signal -> drift -> disintegration -> mutation -> rebirth
Unearthing Latent Artifacts is an immersive live audiovisual performance investigating multispecies perception through generative image and sound. Inspired by the visual systems of mammals, birds, reptiles, and insects, the work builds altered environments that displace anthropocentric vision and propose perception as a mutable, cross-species construction.
The work opens a space where information flow, erosion, mutation, and return can be staged through synthetic archival matter, nonhuman visual systems, and live audiovisual modulation.
nonhuman vision
synthetic archive
signal drift
altered sensorium
Format and technique
A generative A/V performance combining image synthesis, live sound processing, synthetic archival matter, and immersive projection. Signal, drift, disintegration, mutation, and return organize its audiovisual route.
Research threads
The work moves through nonhuman perception, machine imagination as excavation, post-natural technical ecologies, altered sensorium, and the displacement of anthropocentric vision.
Circulation
Developed through generative A/V and image-synthesis materials, Unearthing Latent Artifacts remains an open research space around technical vision, multispecies perception, and synthetic archive. It can circulate as performance, moving-image environment, or installation-oriented audiovisual work.
NiCTINASTiA (2025)
NiCTINASTiA is a moving-image work conceived for dome presentation. It stages a synthetic terrarium in continuous transformation, where plant-like forms, coded atmospheres, and unstable morphologies unfold within a single sensory field.
The work uses dome projection as a spatial container for an algorithmic ecology that behaves less like a scene and more like an atmosphere under mutation.
terrarium logic
plant mutation
coded atmosphere
dome field
Format and technique
Composed for dome projection, NiCTINASTiA uses the circular image field as a spatial condition: plant mutation, coded atmosphere, and celestial scale unfold around the viewer, carrying the work toward immersive and installation-oriented presentations.
Research threads
NiCTINASTiA works as an algorithmic terrarium: plant mutation, encoded organic matter, coded atmosphere, celestial scale, and AI as imaginative prosthesis converge in one sensory field.
Spatial context
Conceived for dome and planetarium environments, NiCTINASTiA treats projection architecture as a terrarium: a shared sensory chamber where organic forms, algorithmic pulses, and artificial atmosphere circulate.
<checkpoint/ Latencias<< (2024)
<checkpoint/ Latencias<< is a generative audiovisual performance that works with latency as both temporal structure and material condition. Through sequence-based synthesis, recursive variation, and audiovisual feedback, the piece reorganizes remnants of digital life into unstable fields of image and sound, where memory appears as transition, drift, and return.
The project opens one of Hypereikon’s recurring concerns with temporal moving-image systems built through modulation, recomposition, and live control.
checkpoint
recursive sequence
feedback
return
Format and technique
A generative moving-image and live A/V work built through sequence-based synthesis, recursive variation, audiovisual feedback, and performance control.
Research threads
Latency operates as a temporal and material condition: memory appears through transition, drift, suspension, checkpoint, recursive return, and audiovisual modulation.
Context and trajectory
<checkpoint/ Latencias<< is a live A/V manifestation of an ongoing concern with temporal moving-image systems. The work can reopen through performance, screen-based composition, or installation, with latency, feedback, and recursive variation operating as compositional matter.
HYPEREIKON — ART DUO BY MARÍA CONSTANZA LOBOS & SEBASTIÁN ROJAS
Based in Valdivia and working internationally, Hypereikon is available for exhibitions, live audiovisual performances, immersive installations, workshops, talks, critical AI practice, and commissioned audiovisual systems. Extended documentation, technical riders, image/video material, and project-specific dossiers are available upon request.
hypereikonlab@gmail.com | @hypereikon | hypereikon.online | Valdivia — 2026