These collections bring together selected digital editions presented through Sedition, the pioneering platform for collectible digital art founded in London in 2011. Working at the intersection of contemporary art and technological culture, Sedition has collaborated with internationally recognised artists, filmmakers, musicians, and new media practitioners to expand how art can be experienced, collected, and displayed in the digital age.
As a curated Sedition artist, Pandelis Diamantides develops works shaped by sound, light, code, perception, and embodied experience. Unfolding through generative computational systems, expanded audiovisual compositions, and custom technological processes, each collection becomes a distinct environment where image, vibration, data, and memory are treated as living material.
Conceived as collectible works for the screen, the editions move beyond representation toward intimate encounters with digital culture, luminous, rhythmic, unstable, and alive. Together, they form a curated constellation of works reflecting on how technology can extend perception, transform experience, and create new forms of connection.
Positioned between contemporary art, moving image, and digital experimentation, the collections embrace the evolving language of screen-based art while maintaining the singularity and collectibility of limited editions. Presented through Sedition’s international platform for digital art, the works exist within a wider ecology of artists and collectors exploring new forms of cultural experience beyond physical boundaries.
Παλμός α' / A vibration (excerpt)
Παλμός β' / A heartbeat (excerpt)
Παλμοί / Pulses (excerpt)
Meaning 'pulse', 'heartbeat' in Greek, Παλμός (palmós) is a collection of three generative audiovisual artworks by Pandelis Diamantides. The artworks contextualise the heart as a metaphor for emotion, and the notion of vibration as a connecting element between physical, biological, and social activity.
As a strategy of coping with the stress of social isolation during the Covid-19 pandemic, the artist observed and measured his own heartbeat and breath rhythm at regular intervals. By observing his own body reactions, becoming conscious of the connection between his own pulse and that of the world, the artist retained a feeling of togetherness during the continuous lockdowns.
Data collected from a single vibration, Παλμός α' (A vibration), a beating heart, Παλμός β' (A heartbeat), and the amount of movement of the crowd around a social point of interest, Παλμοί (Pulses), are used to navigate the parameters of bespoke software for artistic creation. The result is an audiovisual work that explores the universal experience of cardiac activity in response to thought, emotion, and movement.
With Every Tear a Dream (excerpt)
Fragments of Here (excerpt)
Rather than functioning as windows onto images or narratives, the works in this collection approach the screen as a material, spatial, and perceptual condition in itself. Emerging from an ongoing investigation into the non-representational potential of digital media, Quickly Photographed and Released Unharmed explores light, rhythm, signal, abstraction, and presence as primary artistic elements. Across moving image, sound, and generative structures, the works examine how screens can operate beyond depiction as environments of sensation, attention, and embodied experience.
Developed through audiovisual experimentation and perceptual research, the collection reflects on conditions of visual overstimulation within contemporary digital culture. Diamantides creates direct encounters with light and sound, treating the screen not as a representational surface but as an active luminous medium. Through rapid sequences of colour, flicker, pulse, and temporal interruption, the works generate retinal after-images and perceptual residues that persist beyond the frame itself.
Light is deployed as both material and event. Previous visual impressions become superimposed onto subsequent frames within the viewer’s perceptual field, producing unstable layers of optical memory and sensory interference. By engaging the neural mechanisms underlying visual perception, the works position the viewer as an active participant in the formation of the image, simultaneously observer and co-producer of the experience.
The collection proposes a mode of viewing rooted less in representation than in duration, immersion, and bodily awareness. The artworks unfold as shifting environments of light and frequency, exploring how technological systems can alter perception and reconfigure relationships between body, image, and attention.
Owns Nothing to the Light of Day (excerpt)
A Replay from Aeons Past (excerpt)
Go Back to Hiding in the Shadows is a collection of audiovisual works by Pandelis Diamantides. The work is a digital granary of processed instrumental and electronic sounds, field recordings, rock formations, plants, animals and swarms unfolds a narrative of becoming.
The prime source material of the work consists of deconstructed human voices, physical instruments and field recordings dissolved in an imagery of photographs, videos and processed visual material collected around the Troodos mountain range on the island of Cyprus.
Diamantides worked with custom software to algorithmically process the source material, generatively creating configurations of visuals and sound; a collaboration between human and algorithm, the work constitutes an audiovisual 'narrative of becoming' and questions the relationship between the digital and the organic.
The collection also seeks to explore place and identity as mutually defining forces whose interactions cannot be simplified or easily represented: "While creating the narrative of the performance I wanted to discover for myself what it is that connects me with the region (Cyprus, Eastern Mediterranean) where I grew up and developed the foundation of my personality and view of the world. I realised that what we people accept as place of origin, is what the establishment imposes on us which is usually the fabricated idea of nation and country. I visited the area again and again trying to understand what it means to me; nothing more than an introvert way of living, the experience of my reality, not a poor representation of it."