Research-Driven Immersive Content Across Global Infrastructures
This new Media Art Nexus pitch deck (see below) presents a mature, research-to-infrastructure model for contemporary media art—one that treats film, immersive environments, and public screens as a single, scalable cultural system.
Founded and led by Mark Chavez and Ina Conradi, Media Art Nexus operates between Nanyang Technological University (Singapore) and Giant Monster Studio (Los Angeles), and focuses on translating scientific, ecological, and cultural research into large-format public and immersive media environments (pp. 1–3).
At the core of the platform is an end-to-end immersive content engine—from research and experimental production, through international validation, to large-scale dissemination across domes, architectural LED façades, and immersive theaters (pp. 3, 39). Rather than treating short films as finished artifacts, Media Art Nexus positions them as research prototypes used for narrative testing, visual-system development, and audience validation before large-format deployment (p. 10).
The deck documents an extensive international track record:
over 170 curated festival screenings, 50+ international awards, and 60+ exhibitions and immersive installations across museums, festivals, and urban media infrastructures worldwide (p. 8). Flagship works—including Moirai: Thread of Life, Quantum Logos (Vision Serpent), Chrysalis, and Elysian Fields—demonstrate how AI-driven animation, quantum-inspired narratives, and cinematic workflows can be adapted for domes, immersive theaters, and city-scale screens (pp. 11–15).
A major focus of the platform is public-scale cultural impact. Projects such as Echoes, Whispers, and Memories have been deployed across large LED façades in Hangzhou, Beijing, and Singapore, and inside immersive venues in Milan and Linz, using entropy and memory as frameworks for understanding urban, social, and ecological transformation (pp. 15–19).
The deck also details Media Art Nexus’ role in the City Digital Skin Art Festival (CDSA)—a transnational exhibition and dissemination infrastructure co-curated with the China Academy of Art, Public Art Lab Berlin, MEET Digital Culture Center Milan, and NTU Singapore (pp. 26–27). CDSA functions simultaneously as a testing ground, public exhibition network, and validation platform for emerging and established artists working in media architecture and AI-driven creativity.
Looking forward, Media Art Nexus is expanding its science-art alignment through collaborations with OceanX, connecting real scientific data and expeditions with immersive storytelling and large-scale public dissemination (pp. 40–42). This strategy directly addresses a growing global gap: immersive venues and domes are rapidly expanding, while culturally and scientifically grounded content remains scarce (pp. 43–45).
Taken together, the pitch deck frames Media Art Nexus not simply as a production studio or festival platform, but as a repeatable research-to-exhibition-to-distribution ecosystem—designed to support long-term cultural relevance, international circulation, and sustainable public engagement with science, ecology, and emerging media (pp. 46–47).
