# Baron Lanteigne

> Baron Lanteigne hijacks technologies to reveal the friction where the physical meets the digital.

Baron Lanteigne lives and works in Quebec City, Canada. His practice emerges from infiltrations and collaborations with web-native communities. His works have been presented globally at institutions including the Ludwig Museum (HU), Modern Art Museum Lyon (FR), Canadian Cultural Centre in Paris (FR), Centre des Arts d'Enghien-les-Bains (FR), Seoul Arts Center (KR), Gwangju Media Platform (KR), and Kunstmuseum Bonn (DE). His work has been featured at digital art events such as ISEA, Mapping Festival (CH), Mirage Festival (FR), MUTEK (CA; JP), Dutch Design Week (NL), Lunchmeat (CZ), Sónar+D (ES), CPH:DOX (DK), and the BIAN by ELEKTRA (CA).

This is the archive of the artist's work: every public page, with its dates, place and description. Each page also describes itself in schema.org JSON-LD. The complete text of every page and statement, in French and English, is in [llms-full.txt](https://baronlanteigne.zip/llms-full.txt).

## Series and research

- [nouvelles vanités](https://baronlanteigne.zip/nouvelles-vanites/) (2025, Galerie Charlot, Paris, FR): A solo exhibition at galerie Charlot and a residency at Le Cube Garges gave me the context to create a series of printed works drawn from a performance with a virtual environment built for it.
- [maintenir la matière](https://baronlanteigne.zip/maintenir-la-matiere/) (2024–2026): Unreal Engine on-going research serving as a playground to further develop the relationship between the artist and its interface.
- [touch grass](https://baronlanteigne.zip/touch-grass/) (2023): Multi-screen work using remote microprocessors to program the gesture of touching vegetation, reflecting on the internet expression "touch grass".
- [cinematography of virtual matter](https://baronlanteigne.zip/cinematography-of-virtual-matter/) (2022–2023): Unreal Engine on-going research to better define the cine camera as the main character of my virtual playground.
- [manipulations](https://baronlanteigne.zip/manipulations/) (2021–2022): manipulations is a series of seamlessly looping animations in which each work presents a hand in contact with a simulated or generative virtual material. The series focuses on gestures, their expressiveness and imperfections. This research is made possible by the use of gloves fitted with movement sensors that connect me to the virtual and enable me to stimulate a simulation system with a real impulse: my hand. Gloves transpose my intentions spontaneously to a virtual hand that serves both as an interface for transmitting gesture, and as the material affected by that gestures. As the sensors and their processing are imperfect, the intention is filtered and distorted. Through the screen, the feedback of this influence is perceived live, and invites me to negotiate between the body's posture and the desired effect on the virtual. This contact with virtual matter addresses both the ergonomics of the technology, and the contortion we undergo as a result of the experience. This series has helped me to prototype ideas and interoperable systems that can then be integrated into other works. These explorations allow me to rapidly prototype various simulations and procedural systems using motion capture data. In this sense, the series acts as both a sketchbook and a collection of works, or rather, traces left by ongoing research.
- [perfect suburb](https://baronlanteigne.zip/perfect-suburb/) (2021): perfect suburb refers to futurology and green architecture as developed in a context of surveillance capitalism. The work is inspired by Amazon Sidewalk, which aims to connect entire suburban neighborhoods via a low-speed wireless network dedicated to smart cameras and microphones, all connected to Amazon servers. Amazon Echo devices have Sidewalk enabled by default and do not inform their owner about it. The project focuses on the relationship between seclusion and our control over private environments in parallel with the total abandonment of this privacy when we adhere to the services of Tech Giants. The last piece of the series was made in reference to the crypto art speculative bubble and the overall simplicity of the works presented on the nft markets: A tulip is wrapped in protective plastic. I then minted and sent an edition of this work to each of my collectors at the time.
- [#metaworks](https://baronlanteigne.zip/metaworks/) (2020): The metaworks subseries present artworks from the Tangible Data series materialized in a VR gallery. As the name suggests, they depict the context surrounding the Tangible Data NFTs release back in 2020 with screen captures from the cryptoart community of that time. This subseries served a dual purpose as both artworks and prototypes to adapt the series for an IRL exhibition context. The first sketches for the Augmented Protective Pouch sculpture are also part of this series.
- [tangible data](https://baronlanteigne.zip/tangible-data/) (2020–2021): Multi-modal NFT and digital art project born during the pandemic, observing and infiltrating NFT platforms and their collector communities.
- [in extremis](https://baronlanteigne.zip/in-extremis/) (2019, Mapping Festival, Geneva, CH): in extremis, by Dominique Sirois & Baron Lanteigne, is the result of a brand-new collaboration between the two artists. Both a sculptural and video installation - with passages from one to the other - the work raises questions about the liminal space between the virtual and the real, the materiality of the digital and obsolescence. Through a proliferating assemblage of screens - functional and dysfunctional - cabling and textile structures, the whole suggests a certain disorder where connection and disconnection dialogue in discontinuity. In a virtuality that eludes us, could the Internet survive its own death? This question, which of course remains unanswered, fuels a reflection on how the web's infrastructure extends beyond the screen. Between the hardware, the screen device and the indeterminate space of the digital, lies the gesture - that of activating this system. Different zones are revealed: first, the screen-portal of data reception and transmission; the touch screen and its activation by the hand, which extends into as many phalanxes of connectivity; then the other side of the screen - the beyond the screen? The network infrastructure, and more specifically the underground fiber-optic channels, a kind of nervous/bone system, reveal the fragility of the World Wide Web - or is this fragility only surface?
- [mythology in progress](https://baronlanteigne.zip/mythology-in-progress/) (2017): _Mythology in progress_ is an interactive online performance series that questions the place of the audience in the culture of live streaming and the over-quantification of our actions on social networks. During the performance, a virtual environment is presented to visitors. Through comments or reactions (emoji), the audience is in control of an interactive system that transforms the virtual environment throughout the performance. For example, the participants of the 9th live stream were immortalized while their Facebook profile data was used to create a glitched virtual avatar. Thus, the reaction system created by social networks is decontextualized.
- [nature morte](https://baronlanteigne.zip/nature-morte/) (2017–2022): Nature Morte is my first body of work. Running from 2017 to 2022, this exploration is tied directly to my arrival in Québec City. A city full of opportunities and of room to begin an installation and sculpture practice, one that went on to colour my other research. I approached this body of work intending to create intermediate states between the real and the virtual. Sculptures taking the form of screen portals opening onto virtual worlds.

## Artworks and tools

- [2026-01-08_operatedMemory](https://baronlanteigne.zip/2026-01-08-operatedmemory/) (2026)
- [2026-02-01_lightBleed](https://baronlanteigne.zip/2026-02-01-lightbleed/) (2026)
- [in extremis zagreb](https://baronlanteigne.zip/in-extremis-zagreb/) (2026, Zagreb, HR)
- [opal-ctl data looper](https://baronlanteigne.zip/opal-ctl-data-looper/) (2026)
- [skull](https://baronlanteigne.zip/skull/) (2026)
- [UE cryptomatte](https://baronlanteigne.zip/ue-cryptomatte/) (2026): For the past three or four years I've been mostly focused on building this relation between the camera and its subject in an exclusively spatial way. Screen space work feels very flat to me compared to the intricacies I'm trying to build into my virtual spaces. That said, I miss jamming with 2D screen based effects. In parallel, I've been grabbing every opportunity to do more sound design, and now I'm looking for ways to bridge the two. Sound is really good at expressing transformations over time. I often see it as sculpting time with a gesture. Structure and repetition are then the tools that turn that gesture into something more musical. In the way I approach space, everything is in motion, and that requires a notion of time too. But what I end up expressing through 3D space is impermanence, the unstable nature of things. I don't feel I've succeeded in using space to present something that evolves in a direction. I'd like to balance the spatial work I've been doing by introducing this sense of time, and I'm hoping it gives me a better sense of structure. That's why I'm looking forward to bringing my virtual world simulations back into a hub like TouchDesigner, where I can process the captured images further.
- [2025-03-15_T028_00.01.19.47](https://baronlanteigne.zip/2025-03-15-t028-00-01-19-47/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.06.18.39](https://baronlanteigne.zip/2025-03-15-t028-00-06-18-39/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.07.12.50](https://baronlanteigne.zip/2025-03-15-t028-00-07-12-50/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.07.17.22](https://baronlanteigne.zip/2025-03-15-t028-00-07-17-22/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.08.34.05](https://baronlanteigne.zip/2025-03-15-t028-00-08-34-05/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.09.12.18](https://baronlanteigne.zip/2025-03-15-t028-00-09-12-18/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.09.30.45](https://baronlanteigne.zip/2025-03-15-t028-00-09-30-45/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.10.35.59](https://baronlanteigne.zip/2025-03-15-t028-00-10-35-59/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.10.36.45](https://baronlanteigne.zip/2025-03-15-t028-00-10-36-45/) (2025, Galerie Charlot, Paris, FR)
- [2025-03-15_T028_00.11.16.48](https://baronlanteigne.zip/2025-03-15-t028-00-11-16-48/) (2025, Galerie Charlot, Paris, FR)
- [hard data / soft bodies](https://baronlanteigne.zip/hard-data-soft-bodies/) (2025, ELEKTRA, Montréal, CA): A generative virtual environment centered on how we interface with technology, presented as installation, single-channel animation, and live performance.
- [touch grass recto verso](https://baronlanteigne.zip/touch-grass-recto-verso/) (2025, Recto Verso, Québec City, CA)
- [touch grass joliette](https://baronlanteigne.zip/touch-grass-joliette/) (2024, Musée d'Arts de Joliette, Joliette, CA): short animation work projected onto an outdoor surface in Joliette. Commissioned by the Musée d'Art de Joliette.
- [touch grass pohang](https://baronlanteigne.zip/touch-grass-pohang/) (2024, Ice Cargo Culture Center, Pohang, KR)
- [touch grass sporobole](https://baronlanteigne.zip/touch-grass-sporobole/) (2024, Sporobole, Sherbrooke, CA)
- [touch grass val d'or](https://baronlanteigne.zip/touch-grass-val-d-or/) (2024, Centre d'Exposition de Val-d'Or, Val-d'Or, CA)
- [2023.07.22_romanFatigue](https://baronlanteigne.zip/2023-07-22-romanfatigue/) (2023)
- [2023.08.13_touchingGrass](https://baronlanteigne.zip/2023-08-13-touchinggrass/) (2023): Original animation iteration that later became the touch grass installation.
- [2023.09.03_deepDive](https://baronlanteigne.zip/2023-09-03-deepdive/) (2023)
- [ménagerie d'écran](https://baronlanteigne.zip/menagerie-d-ecran/) (2023): network of small screen sculptures and computers
- [persistence of fiction](https://baronlanteigne.zip/persistence-of-fiction/) (2023): led module sculpture by Lucas Paris and Myriam Bleau for which I created a short animated work inspired by the flow of light.
- [touch grass livart](https://baronlanteigne.zip/touch-grass-livart/) (2023, Le Livart, Montréal, CA)
- [touch grass oxyd](https://baronlanteigne.zip/touch-grass-oxyd/) (2023, Oxyd, Winterthur, CH)
- [ascension](https://baronlanteigne.zip/ascension/) (2022): ascension invites the visitor to explore an environment whose behaviour revolves around a central element: an ascending/descending liquid that refracts light. Counter-intuitive but based on an internal consistency, the core of this suspended landscape unfolds through the manipulation of a data flow exchanged by connected devices. By moving, it is possible to slow down the movement of this substance in order to better observe it, or to be carried away by the dizzying acceleration of the scene. An ceaseless blossoming of hands all around, reminds us that these are both the source and the condition of the continuous omni-connection that characterizes our actual relationship to the world. Baron Lanteigne is interested in the particularities that allow us to interpret an image as a physical place, whether it be perspective, horizon, or Euclidean architecture. With ascension, he revisits this logic by structuring a space and a “nature” according to other rules. text by Nathalie Bachand
- [la plante](https://baronlanteigne.zip/la-plante/) (2022, Sporobole, Sherbrooke, CA): la plante is a sculptural work that is both connected and materially tangible. A device whose aesthetics are inspired by medical equipment is dedicated to the calculation and representation of a virtual plant entity, visible from a screen. A digital plant is maintained and kept alive through situations proposed to participants via a chat server. These events—for example, opening a window or shading the plant—influence the simulation parameters of the plant’s condition and its evolution. Loosely inspired by Tamagotchis, these small Japanese virtual pets, la plante requires care and attention in order to blossom. The work is thus a reflection of a complex system of interactions between the real and the virtual, a “snapshot” of the technology necessary for the functioning of a small interactive houseplant.
- [manipulation 10](https://baronlanteigne.zip/manipulation-10/) (2022): a vertical video loop from the *manipulations* series.
- [manipulation 6](https://baronlanteigne.zip/manipulation-6/) (2022): a vertical video loop from the *manipulations* series.
- [manipulation 7](https://baronlanteigne.zip/manipulation-7/) (2022): a vertical video loop from the *manipulations* series. also tied to the screen sculpture [[nature morte 7]]
- [manipulation 9](https://baronlanteigne.zip/manipulation-9/) (2022): a vertical video loop from the *manipulations* series.
- [nature morte 7](https://baronlanteigne.zip/nature-morte-7/) (2022): nature morte 7 is a screen sculpture that opens as an access point to a virtual world. The work presents a single, but fragmented window of screens on the floor. It peers into a world that has been forgotten, but is still up and running. The central piece of this work combines a screen with various visually underlined and apparent electronic parts. The hanging sculpture faces away from the viewer, to showcase its inner workings. By taking the consumer electronics from which it is made deliberately out of their typical context, the work aims to reveal a potential that is often trivialized. The piece brings attention to the container as much as the content; the physical electronics are as apparent as what is displayed on-screen. Both welcome reflection by bridging our two lived realities of the physical and virtual. The modular network of electronics seen on the back of the sculpture creates a glow that extends the virtual world seen within the screen, through light. The work also expands and exaggerates the amount of space such technology takes, in order to underline its pervasiveness.
- [OSCulator](https://baronlanteigne.zip/osculator/) (2022–2026): OSCulator is an OSC + MIDI plugin for Unreal Engine, designed to simplify bi-directional interaction between multiple tools. OSCulator parses and routes incoming data directly to the BP Actors you want to interact with. Within each BP, the data will be received through custom or existing functions or events. This greatly reduces data plumbing since you don’t need to build code dedicated to interfacing with your virtual world. From the user’s perspective, the OSC/MIDI messages will directly interface with Unreal’s existing structure. An upside of this approach is that everything you build to be remote controlled will also be callable from within UE. There is no redundancy.
- [tulip](https://baronlanteigne.zip/tulip/) (2022): This short animated loop was made in reference to the crypto art speculative bubble and the overall simplicity of the works presented on the nft markets: A tulip is wrapped in protective plastic. I then minted and sent an edition of this work to each of my collectors at the time.
- [kinetic portal (2021)](https://baronlanteigne.zip/kinetic-portal-2021/) (2021): This installation prototype was never shown, for fear it would break. It came out of the same desire to reinvent the screen as the explorations that led to the sculptures for [[nature morte 5]] and [[nature morte 7]]. The demo does contain a work from [[perfect suburb one]], a piece inspired in part by automation and smart-home technology.
- [l'ordinateur](https://baronlanteigne.zip/l-ordinateur/) (2021, Galerie 3, Québec, CA): l’ordinateur is a sculptural and digital installation resulting from a collaboration between Baron Lanteigne and Camille Bernard-Gravel. In reaction to how the screen is shaping our bodies, l’ordinateur takes the form of an exploded personal workstation with humanoid curved chairs. Through the abundance of wiring of this unusual computer, two screens of flexible LED modules are supported by a set of tubes reminiscent of both game modules and medical equipment. These stations, forming a network occupying the entire room, are connected to cushioned computer components floating in a cubic structure. The curved displays and the network of electronics devices involved in the artwork underline the materiality of the digital, which suddenly seems to become more tangible. Thanks to Line Nault, Jonathan Parent and Alexandre Burton for hosting the 2nd version of this project at Eisode Gallery. Thanks to Galerie 3 for the opportunity to present the first version of this project at its earliest stage.
- [manipulation 1](https://baronlanteigne.zip/manipulation-1/) (2021): a vertical video loop from the *manipulations* series.
- [manipulation 2](https://baronlanteigne.zip/manipulation-2/) (2021): a vertical video loop from the *manipulations* series.
- [manipulation 3](https://baronlanteigne.zip/manipulation-3/) (2021): a vertical video loop from the *manipulations* series.
- [manipulation 4](https://baronlanteigne.zip/manipulation-4/) (2021): a vertical video loop from the *manipulations* series.
- [manipulation 5](https://baronlanteigne.zip/manipulation-5/) (2021): a vertical video loop from the *manipulations* series.
- [perfect suburb one](https://baronlanteigne.zip/perfect-suburb-one/) (2021)
- [perfect suburb two](https://baronlanteigne.zip/perfect-suburb-two/) (2021)
- [#metawork 1](https://baronlanteigne.zip/metawork-1/) (2020): Screen capture from the cryptoart community around the Tangible Data release, materialised in a virtual gallery.
- [#metawork 2](https://baronlanteigne.zip/metawork-2/) (2020): Screen capture from the cryptoart community around the Tangible Data release, materialised in a virtual gallery.
- [#metawork 3](https://baronlanteigne.zip/metawork-3/) (2020): Screen capture from the cryptoart community around the Tangible Data release, materialised in a virtual gallery.
- [#metawork 4](https://baronlanteigne.zip/metawork-4/) (2020): Screen capture from the cryptoart community around the Tangible Data release, materialised in a virtual gallery.
- [augmented protective pouch](https://baronlanteigne.zip/augmented-protective-pouch/) (2020): tangible data is a multidisciplinary art project in which the artist documents the influence of the emerging NFT art market on his work. A diptych of screen sculptures entitled augmented protective pouch emerged from the artist’s experience with collectors and the crypto art communities. Suspended from the ceiling, the main screen features a 3D animated work that collectors have bid on using a cryptocurrency. This digital artwork, artificially rarefied by the NFT phenomenon, is wrapped in a protective cover with a built-in computer connected in real time to the Ethereum blockchain. Embedded in the cover, a smaller display reminiscent of an exhibition cartel presents metadata such as the transaction history that relates to the work’s NFT. Resting on a base, a second protective pouch refers to itself. Not hosting a screen, the computer embedded in it connects to an NFT representing a 3D model of the sleeve that was created as an initial prototype during the sculpture’s design. The screen sculpture augmented protective pouch, part of the tangible data project, thus manifests itself as a materialization of the NFT phenomenon stemming from the web.
- [framed scrolling](https://baronlanteigne.zip/framed-scrolling/) (2020): framed scrolling reflects, the way a distorting mirror would, the exhibition it is part of. Blurring the line between physical and virtual worlds, baron lanteigne transposes the online exhibition Re|Search into a three-dimensional environment recalling the gallery's white cube. The work looks, not without irony, at how exhibitions are staged and at the conditions under which online visitors receive them. In that sense it extends the artist's interests in online participation and in the spatialization of the Web. framed scrolling draws the online visitor into a labyrinthine course. With no real beginning or end, and presented as a loop, the video creates the illusion of an endless exploration and, as a result, an exhaustion of images, of spaces and of the subject itself. A true mise en abyme, the work offers a glimpse of the exhibition while evoking the variability of online experience. text by Lisa Tronca
- [in extremis budapest](https://baronlanteigne.zip/in-extremis-budapest/) (2020, Ludwig Museum, Budapest, HU)
- [tangible data five](https://baronlanteigne.zip/tangible-data-five/) (2020): Short animation loop — soft and liquefied screens, data juice, hands and devices blending into pixels.
- [tangible data four](https://baronlanteigne.zip/tangible-data-four/) (2020): Short animation loop — soft and liquefied screens, data juice, hands and devices blending into pixels.
- [tangible data one](https://baronlanteigne.zip/tangible-data-one/) (2020): Short animation loop — soft and liquefied screens, data juice, hands and devices blending into pixels.
- [tangible data three](https://baronlanteigne.zip/tangible-data-three/) (2020): Short animation loop — soft and liquefied screens, data juice, hands and devices blending into pixels.
- [tangible data two](https://baronlanteigne.zip/tangible-data-two/) (2020): Short animation loop — soft and liquefied screens, data juice, hands and devices blending into pixels.
- [in extremis geneva](https://baronlanteigne.zip/in-extremis-geneva/) (2019, Mapping Festival, Geneva, CH)
- [nature morte 5](https://baronlanteigne.zip/nature-morte-5/) (2019, Manif d'art 9, Québec City, CA): Fifth iteration of the nature morte series, a labyrinthine video work confusing real and virtual environments through perspective games and digital data manipulations.
- [m / m o i r e](https://baronlanteigne.zip/m-m-o-i-r-e/) (2017): m / m o i r e proposes a surreal future where data storage equipment is only a symbolic relic. An explorer of this digital jungle discovers an abandoned totem pole to document the technologies of the past. As the totem unfolds, a portal opens to a corrupted simulacrum of a human body. m / m o i r e is a work about our collective effort to archive the human legacy and shape the world in our image. As the virtual dimension grows, all of our energy is directed towards making the virtual as human as possible. Databending is used at various stages of creation to style a generic 3d model into a virtual avatar. This scarification of the digital body documents its past. Controlled glitches break the rigid digital body into a unique data container. Just as the marks and scars on our bodies document our past, glitches break the rigid digital body into a unique container of data.
- [nature morte 1](https://baronlanteigne.zip/nature-morte-1/) (2017): nature morte 1 is about embedded worlds and how we perceive our surroundings. What started as a test of my first installation ended up as an animation that blends five different levels of what we define as a world or reality: a video documentation of a sculpture, a virtual surrealist world, a graphical user interface. Everything else is presented as an ambiguous transitional states between these realities.
- [conifers](https://baronlanteigne.zip/conifers/) (2014): Visual work for "Conifers", a minimal vocal drone by Derek Piotr from the album Tempatempat.
- [in extremis lyon](https://baronlanteigne.zip/in-extremis-lyon/) (Lyon, FR)

## Exhibitions, performances and residencies

- [acoustique tactile](https://baronlanteigne.zip/acoustique-tactile/) (2026, Centre Phi): Collaboration with Lucas Paris for an audiovisual performance with a virtual environment. Presented at Phi on the 2026-02-13 at for Cymatiques IV, by Kohlenstoff Records
- [lux aeterna](https://baronlanteigne.zip/lux-aeterna/) (2026, Sonolux, Montréal, CA): A dyptic of single channel artworks each representing one half of [[hard data soft bodies]]
- [resonant connections](https://baronlanteigne.zip/resonant-connections/) (2026, 355 1er Rang Est, Sainte-Christine, QC, CA): A computer and a screen set down in a forest between two rocks, streaming a virtual periwinkle whose simulation collapses — a few metres from the real plants growing around it.
- [arrière-salles](https://baronlanteigne.zip/arriere-salles/) (2024, Le Lieu, Québec City, CA): Collaborative creation laboratory at Le Lieu, Québec, CA
- [résidence SAT dome](https://baronlanteigne.zip/residence-sat-dome/) (2024, Satosphère, Société des Arts Technologiques, Montréal, CA): a short residency in montreal's satosphere to develop a real-time improvisation instrument built around a game engine and motion capture.
- [ISEA - Symbiosis, Focus Québec](https://baronlanteigne.zip/isea-symbiosis-focus-quebec/) (2023, Forum des Images, Paris, FR): multi screens installation opening as a portal to a virtual organic form.
- [la matérialité du virtuel](https://baronlanteigne.zip/la-materialite-du-virtuel/) (2023, Centre des Arts d'Enghien-les-bains, Enghien-les-bains (FR)): monographic exhibition
- [digital resonance](https://baronlanteigne.zip/digital-resonance/) (2022, Gwangju Media Platform, Gwangju, KR)
- [tangible data (art mûr)](https://baronlanteigne.zip/tangible-data-art-mur/) (2021, Galerie Art Mûr, Montréal, CA)
- [signal culture](https://baronlanteigne.zip/signal-culture/) (2019, Signal Culture, Owego, US): Signal Culture is an artist-run center in the US. Signal Culture encourages creation of new work, building of community, and connection to history in the field of experimental media art by providing artists, researchers, and innovators with residencies, resources, and exhibition opportunities. More info about Signal Culture: https://www.signalculture.org/residency-program.html In 2019, I visited them in Owego where I had access to a studio regrouping equipment from the past five decades. Among this equipment lies two Nam June Paik's wobbulator. One of which was built and donated by Ivan Marusic Klif. The "Roadstar" was designed to be controlled by audio signal sent from a max patch. During my stay at signal culture I tamed this device by modifying the patch and controlling it with midi data coming from a sampler / step sequencer. I left a collection of presets in the patch for future residents to explore in hope they discover the hidden potential of this rather unique device.

## Texts

- [arrière-salles — short, en](https://baronlanteigne.zip/text/arriere-salles-en-short/) — on arrière-salles (en, short)
- [arrière-salles — short, fr](https://baronlanteigne.zip/text/arriere-salles-fr-short/) — on arrière-salles (fr, short, Stvn Girard)
- [la matérialité du virtuel — long, en](https://baronlanteigne.zip/text/materiality-of-the-virtual-en-short/) — on la matérialité du virtuel (en, long)
- [cinematography of virtual matter — short, en](https://baronlanteigne.zip/text/cinemato-en-short/) — on cinematography of virtual matter (en, short)
- [cinematography of virtual matter — short, fr](https://baronlanteigne.zip/text/cinemato-fr-short/) — on cinematography of virtual matter (fr, short)
- [framed scrolling — context and credits, en](https://baronlanteigne.zip/text/framed-scrolling-en/) — on framed scrolling (en, context and credits)
- [hard data / soft bodies — short, en](https://baronlanteigne.zip/text/hard-data-soft-bodies-en-short/) — on hard data / soft bodies (en, short)
- [hard data/soft bodies](https://baronlanteigne.zip/text/lux-aeterna-en/) — on hard data / soft bodies (en)
- [hard data/soft bodies, lux aeterna version](https://baronlanteigne.zip/text/lux-aeterna-fr/) — on hard data / soft bodies (fr)
- [in extremis — short, en](https://baronlanteigne.zip/text/in-extremis-en/) — on in extremis (en, short, original french text by Nathalie Bachand)
- [in extremis — fr](https://baronlanteigne.zip/text/in-extremis-fr/) — on in extremis (fr, Nathalie Bachand)
- [in extremis budapest — short, en](https://baronlanteigne.zip/text/in-extremis-en/) — on in extremis budapest (en, short, original french text by Nathalie Bachand)
- [in extremis budapest — fr](https://baronlanteigne.zip/text/in-extremis-fr/) — on in extremis budapest (fr, Nathalie Bachand)
- [in extremis geneva — short, en](https://baronlanteigne.zip/text/in-extremis-en/) — on in extremis geneva (en, short, original french text by Nathalie Bachand)
- [in extremis geneva — fr](https://baronlanteigne.zip/text/in-extremis-fr/) — on in extremis geneva (fr, Nathalie Bachand)
- [in extremis lyon — short, en](https://baronlanteigne.zip/text/in-extremis-en/) — on in extremis lyon (en, short, original french text by Nathalie Bachand)
- [in extremis lyon — fr](https://baronlanteigne.zip/text/in-extremis-fr/) — on in extremis lyon (fr, Nathalie Bachand)
- [in extremis zagreb — short, en](https://baronlanteigne.zip/text/in-extremis-en/) — on in extremis zagreb (en, short, original french text by Nathalie Bachand)
- [in extremis zagreb — fr](https://baronlanteigne.zip/text/in-extremis-fr/) — on in extremis zagreb (fr, Nathalie Bachand)
- [hard data/soft bodies](https://baronlanteigne.zip/text/lux-aeterna-en/) — on lux aeterna (en)
- [hard data/soft bodies, lux aeterna version](https://baronlanteigne.zip/text/lux-aeterna-fr/) — on lux aeterna (fr)
- [maintenir la matière — short, en](https://baronlanteigne.zip/text/maintenir-la-matiere-en/) — on maintenir la matière (en, short)
- [nature morte 1 — fr](https://baronlanteigne.zip/text/nature-morte-1-contexte-de-creation/) — on nature morte 1 (fr)
- [nature morte 1 — integral, en](https://baronlanteigne.zip/text/nature-morte-1-en-integral/) — on nature morte 1 (en, integral)
- [nature morte 1 — integral, fr](https://baronlanteigne.zip/text/nature-morte-1-fr-integral/) — on nature morte 1 (fr, integral)
- [nouvelles vanités — integral, en](https://baronlanteigne.zip/text/nouvelles-vanites-en/) — on nouvelles vanités (en, integral)
- [OSCulator - remaining close to our medium](https://baronlanteigne.zip/text/osculator-en-integral/) — on OSCulator (en, integral, Baron Lanteigne)
- [Description](https://baronlanteigne.zip/text/resonant-connections-en-description/) — on resonant connections (en, description)
- [Artist statement](https://baronlanteigne.zip/text/resonant-connections-en-statement/) — on resonant connections (en, statement)
- [Description](https://baronlanteigne.zip/text/resonant-connections-fr-description/) — on resonant connections (fr, description)
- [Texte d'intention](https://baronlanteigne.zip/text/resonant-connections-fr-intention/) — on resonant connections (fr, intention)
- [tangible data — long, en](https://baronlanteigne.zip/text/tangible-data-en-long/) — on tangible data (en, long)
- [tangible data — short, en](https://baronlanteigne.zip/text/tangible-data-en-short/) — on tangible data (en, short, Lisa Tronca)
- [tangible data — short, fr](https://baronlanteigne.zip/text/tangible-data-fr-short/) — on tangible data (fr, short, Lisa Tronca)
- [touch grass — short, en](https://baronlanteigne.zip/text/touch-grass-en-nath/) — on touch grass (en, short, Nathalie Bachand)
- [touch grass — short, en](https://baronlanteigne.zip/text/touch-grass-en-oxyd/) — on touch grass (en, short, Eve Hübscher for Oxyd Kunsträume)
- [touch grass — short, fr](https://baronlanteigne.zip/text/touch-grass-fr-nath/) — on touch grass (fr, short, Nathalie Bachand)
- [touch grass — short, ger](https://baronlanteigne.zip/text/touch-grass-ger-oxyd/) — on touch grass (ger, short, Eve Hübscher für Oxyd Kunsträume)
- [touch grass oxyd — short, en](https://baronlanteigne.zip/text/touch-grass-en-oxyd/) — on touch grass oxyd (en, short, Eve Hübscher for Oxyd Kunsträume)
- [touch grass oxyd — short, ger](https://baronlanteigne.zip/text/touch-grass-ger-oxyd/) — on touch grass oxyd (ger, short, Eve Hübscher für Oxyd Kunsträume)
- [touch grass recto verso — short, en](https://baronlanteigne.zip/text/touch-grass-en-nath/) — on touch grass recto verso (en, short, Nathalie Bachand)
- [touch grass recto verso — short, fr](https://baronlanteigne.zip/text/touch-grass-fr-nath/) — on touch grass recto verso (fr, short, Nathalie Bachand)
- [touch grass val d'or — short, en](https://baronlanteigne.zip/text/touch-grass-en-nath/) — on touch grass val d'or (en, short, Nathalie Bachand)
- [touch grass val d'or — short, fr](https://baronlanteigne.zip/text/touch-grass-fr-nath/) — on touch grass val d'or (fr, short, Nathalie Bachand)

## Optional

- [Everything as tables](https://baronlanteigne.zip/all/): every page, image, video and text, with dates, tags and links
- [Biographies and portraits](https://baronlanteigne.zip/info/): press-kit bios in French and English, from 15 to 215 words
- [Instagram](https://www.instagram.com/baronlanteigne)
- [YouTube](https://www.youtube.com/@baronlanteigne)
- [Substack](https://substack.com/@baronlanteigne)
- [GitHub](https://github.com/baronlanteigne)