Chameleon Project, prototype 02, Dana Center, Science Museum, UK Feb 2008

Chameleon Project, prototype 01 and 03 Banff Center, Canada, March 2008

Chameleon Project, prototype 04, ICA, London. May 2008

Chameleon Project, prototype 06, University College London Hospital Foyer, London, July 2008

Chameleon Project, prototype 07, Dana Center, Science Museum, UK Feb 2009

Chameleon Project, prototype 07, Lighthouse, Brighton, UK March 2009

Chameleon Project, prototype 07, Sharjah Art Gallery, American University Cairo, Egypt, May 2009

Chameleon Project, prototype 06, After Darwin Contemporary Expressions curated by Bergit Ahrends, Jerwood Gallery, Natural History Museum, London, June 2009

Chameleon Project, prototype 08, Lighthouse, Brighton, UK August 2009

Chameleon Project, prototype 07, Affective Computing and Intelligent Interaction, Amsterdam, Netherlands, Sept 2009 

Chameleon Project, prototype 09, Fabrica, Brighton, UK Oct 2009

Chameleon Project, prototype 07, Superhuman: Revolution of the Species, RMIT Gallery, Melbourne, Nov 2009

Chameleon Project, prototype 06, How The Light Gets In, Hay, UK, June 2010

"The successes and challenges of Chameleon come from the emerging collaborative process. The team that Tina Gonsalves has sourced have had a glimpse into alternative (and relevant) research projects represented by a range of disciplines. This merging of research areas in Chameleon has had an impact on the approach that the scientists and technologists in the team take to their individual research. Potentially Chameleon has the possibility to impact on the databases that neuroscientists use to test their hypotheses moving from an archive of still images to dynamic ones developed by a video artist. This is incredibly exciting at a point when scientists still, in spite of claims to the contrary, have a tendency to see art as a visualisation or interpretive representation of their work.

The revelation of the work comes through Gonsalves’s production of a number of iterations that reveal the process taken in merging her video with the scientific modelling and reactive technology of emotion. Its perceived ability to reveal research and enhance public engagement in neuroscience is appealing to niche science and digital exhibition spaces. Art spaces are slower to respond seeing this work as a revelation of the scientific process rather than as an art project that is having an impact on science. These rare projects that genuinely merge art and science are difficult to find a curatorial context. Art spaces tend to commission clean finished work and science spaces like robust interactive and interpretive work. Tina’s well presented iterations of a process fall between the gaps and it is no
consequence that digital galleries and spaces are the ones that support the project.

Chameleon is a unique project that merges science, technology and art to create its own research strand that can be difficult for exhibition spaces that adhere to established models of both science and art". Helen Sloan, consultant curator



Chameleon Project, Dana Center, Science Museum, UK Feb 2008/09 

Consciousness Reframed, Vienna, July 2008

Banff Center, Canada, March 2008

MIT Media Lab, Cambridge USA March 2008

Chameleon Project, Lighthouse, Brighton, Feb, March, August  09

Le Cube, Paris, April 2009

Sharjah Art Gallery, American University Cairo, Egypt, May 2009

Simulated Certainty, Meeting New Frontiers of Science, Art and Thought, 30 Sept–-2 October, Barcelona, Spain 2009

Fabrica, Brighton, UK, Oct 2009

White Night Blanche, Fabrica, Oct 2009

Exploratorium, San Francisco, Oct 2009

Superhuman, Melbourne, Australia, Nov 2009

Superhuman Curatorial Masterclass, Melbourne, Australia, Nov 2009

KEER 2010, Paris 2010

Brain and Creativity Institute, Los Angeles 2010

Computer Art Society, London Knowledge Club 2010

Nokia Research Center, Finland, 2010

How The Light Gets In, the philosophy and music festival at Hay, Hay, UK 2010


"Tina Gonsalves, one of Australia’s prominent media-art-science practitioners gave insight in to the specific kinds of questions (for Gonsalves it was “psychophysiolgocial interactivity”) that lead artists to seek genuine, in-depth relations and long term institutionalised collaboration. Gonsalves: “I wanted to work with people who knew what body data meant, and to create more figurative and emotionally challenging video images that respond biologically to bodies”. What I appreciated most about Gonsalves’ discussion of the works were the complex temporal awareness of the vicitudes of instinct, experience and outcome for each work, the persistent tinkering experimentation, and her interrogation of the full range of the affect system, including obviously her own: feeltrace turned out to be so finely programmed as to be “traumatising”; Feel Insula presented the artist as “so vulnerable that I never wanted to show it again”. Her practice is interesting in this way that it cuts through discourses of spectatorship as a terminal or finite affectivity – this also reflected in her unfolding, multi-stage approach to research and experimentation of adaptations of works across sites and over time. That sort of persistence with variability and experimentation is evident in Emotional Contagion: a longrunning collaboration with neuroscientists, that has an ongoing display and research life due to the work’s own memory system, its gallery tour schedule and institutional research support, and parallel artisticand neuroscientific publication avenues". Rachel O'reilly